Charles Demuth here portrayed a cigar factory using a sharply linear, planar style inspired by streamlined machinery. The building was part of the industrial landscape in his hometown of Lancaster, Pennsylvania, which Demuth began depicting with increasing monumentality in the last years of his life. Although he presented the factory with no reference to the potentially detrimental effects of industrialization, the painting expresses some irony or ambivalence. Demuth drew the title from the last line of “The Star-Spangled Banner,” which was adopted as the United States national anthem the year he painted this work, thus implying that for many workers, the factory was the new “home of the brave.”
Date
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Alfred Stieglitz Collection, gift of Georgia O'Keeffe
Reference Number
1948.650
Extended information about this artwork
The Bulletin of The Art Institute of Chicago, 43 (Nov. 1949), 65 (ill.).
Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), 124.
James M. Dennis, Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry (University of Wisconsin Press, 1998), 212–14 (ill.).
Judith A. Barter, et al., American Modernism at the Art Institute of Chicago, From World War I to 1955 (Art Institute of Chicago, 2009), cat. 77. 72.
Paintings at the Art Institute of Chicago: Highlights of the Collection, (Art Institute of Chicago/Yale University Press, 2017) p. 118.
New York City, Whitney Museum of American Art, Charles Demuth Memorial Exhibition, Dec. 15, 1937–Jan. 16, 1938, cat. 37.
New York, Museum of Modern Art, Charles Demuth, 1950, cat. 153.
Philadelphia, Pennsylvania Academy of the Fine Arts, One Hundred–Fiftieth Anniversary Exhibition, Jan. 15–Mar. 13, 1955, cat. 236.
Paris, Musse National d’Art Moderne / Centre Georges Pompidou, Realismes entre Revolution et ReaConnon, Dec. 17, 1980–Apr. 20, 1981, p. 253; Berlin, Staatliche Kunsthalle, May 10–June 30, 1981.
San Francisco Museum of Modern Art, Precisionist Painting and American Photography, Sept. 9, 1982–Nov. 7, 1982, cat. 40; St. Louis Art Museum, Dec. 6, 1982–Jan. 30, 1983, Baltimore Museum of Art, Feb. 28–?, 1983, Des Moines Art Center, May 2–July 17, 1983, Cleveland Museum of Art, Aug. 15–Oct. 9, 1983.
New York, Whitney Museum of American Art, Charles Demuth, Oct. 14, 1987–Jan. 16, 1988; Los Angeles County Museum of Art, Feb. 25–Apr. 24, 1988.
LeHavre, France, Musee des Beaux Arts, Transparence 1920–1980, Sept. 14–Nov. 26, 1995.
Tokyo, ASAHI Shimbun, Masterworks of Modern Art from The Art Institute of Chicago; Nagaoka, Niigata Prefectural Museum of Modern Art, Apr. 20–May 29, 1994, Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994, Yokohama Museum of Art Aug. 6–Sept. 25, 1994.
Washington, DC, National Gallery of Art, Alfred Stieglitz and Modern Art in America, Jan. 28–Apr. 22, 2001.
Fort Worth, Texas, Amon Carter Museum of American Art, Chimneys and Water Towers: Charles Demuth’s Late Paintings of Lancaster, Aug. 18–Oct. 14, 2007; West Palm Beach, Florida, Norton Museum of Art, Nov. 17, 2007–Jan. 20, 2008; Whitney Museum of American Art, Feb. 23–Apr. 27, 2008.
Art Institute of Chicago, America After the Fall: Painting in the 1930s, June 5–Sept. 18, 2016; Paris, Musee de l’Orangerie, Oct. 15, 2016–Jan. 30, 2017; London, Royal Academy, Feb. 25–June 4, 2017, cat. 12.
The artist; bequeathed to Georgia O’Keeffe, Abiquiu, New Mexico, and New York, N.Y., 1935; given by Georgia O’Keeffe to the Art Institute of Chicago, 1948.
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