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Towering skyscrapers loom over the Third Avenue El train tracks as it winds its way through Manhattan.
Living on St. Marks Place, Lozowick would often have taken this train, which ran from South Ferry to the
Bronx. Devoid of people, the print focuses on the contrast between the rectilinear geometry of the
buildings and the curvature of the tracks. Its dramatic chiaroscuro causes the buildings to stand out as
white ghosts against the darkened sky.
(Derek Butler)
10. Hanover Square, 1929
Coll. Warren and Andrea Grover
Dramatically framed by the steel beams of the Third Avenue El, this print offers a view of Hanover Square,
in downtown Manhattan. The print typifies modern New York during the Roaring Twenties, complete with
skyscrapers, rapid transit trains, cars, and trucks.
(Derek Butler)
11. Hudson Bridge, 1929
Coll. Warren and Andrea Grover
The 1920s saw a significant increase in the mass production of cars necessitating the construction of new
roads, highways, and bridges. Among the major construction projects of the period was the Hudson River
Bridge, later renamed the George Washington Bridge, which connects New Jersey with Manhattan. This
scene shows only the two steel towers of the suspensions bridge, which would not be completed until
1936.
(Meghan Maloney)
12. Noon, 1930
The Montclair Art Museum, Gift of Lee Lozowick
Noon, showing a farmhouse shaded by a tree may have been made during the summer of 1930, when
Lozowick was a fellow at the Yaddo Art Colony at Saratoga Springs. Different from his usual subjects of
skyscrapers and industrial scenes, this print nonetheless shows his pervasive interest in geometric
shapes and dramatic chiaroscuro contrasts.
(Karen Beraitis)
13. Steam Shovel, 1930
Special Collections Division, Newark Public Library, Newark, NJ
While during the early 1920s, Lozowick focused on skyscrapers and bridges, by the late 1920s and early
1930s, he became interested in the machines and the men that built them. This print depicts a steam
shovel, one of the crucial machines that helped construct the rapidly growing highway system in America.
(Derek Butler)
The distinctive sound of jackhammers reverberated in cities across America during the Great Depression.
Under the Works Progress Administration, the government hired millions of unemployed men to carry out
construction projects. Lozowick often portrayed urban workers, and these three men subject to jarring
vibrations and jagged concrete reflect the countrys struggle for stability as they strive to maintain a
living and rebuild the foundations of a nation.
(Taryn Nie)
(Karen Beraitis)
23. Lynching (Lynch Law), 1936
The Montclair Art Museum, Gift of Lee Lozowick
Lozowick was profoundly affected by incidents of racial and social injustice taking place in both the United
States and Europe. In a letter to art historian Francis V. OConnor, he wrote that he couldnt remember the
exact inspiration for this scene, but he does mention a flooding incident in Alabama in which whites were
saved and blacks were callously left to drown as a possible stimulus. He also told OConnor that the
print was a self-portrait.
(Chelsea Levine)
24. Thanksgiving Dinner, 1938 but printed in 1972
Coll. Warren and Andrea Grover
In stark contrast with traditional views of Thanksgiving as a day of plenty, Lozowicks version depicts a
soup kitchen in the Bowery, in which four men are served a meager dinner of hot soup and bread.
(Chelsea Levine)
25. Artist on Vacation, 1939
The Montclair Art Museum, Gift of Lee Lozowick
Here Lozowick shows us a moment of leisure in the famous artist colony of Mohegan Island, Maine. The
two nude figures, most likely Lozowick and his wife Adele, laze among the sharp cliff overlooking the
ocean. Lozowick watches as the woman, her legs spread carelessly, reads a book.
(Kristin Lapos)
26. Derricks and Men, 1939
Coll. Warren and Andrea Grover
In the late 1920s and 30s, Lozowick provided artwork and wrote for New Masses (1926-48), a left wing
publication closely associated with the Communist party, USA. This caused him to refocus his art from the
products of engineering and industry to the producers. Here, a spotlight illuminates three workers as they
ride on a section of steel girder for a new building or bridge.
(Chelsea Levine)
27. Spring on 5th Avenue, 1940
Coll. Warren and Andrea Grover
The growing gap between social classes in the years before World War II concerned Lozowick as he
advocated for class equality. Here, a poor man sells flowers to a wealthy couple on the street, distracting
them from window shopping for the latest fashions on New Yorks Fifth Avenue.
(Derek Butler)
28. Nuns on Wall Street, 1941
Special Collections Division, the Newark Public Library, Newark, NJ
Two nuns walk alongside large, straight-walled skyscrapers towards Trinity Church. It was once the tallest
building in New York City, but it is now dwarfed by new construction. Like the church, the nuns seem out
of place alongside the skyscrapers and businessman on Wall Street and remind us of the past in a
modern city.
(Brianna LoSardo)
29. Georgia Landscape, 1943
Coll. Warren and Andrea Grover
Inspired by a trip to Georgia in the early 1940s, this print, also called Georgia Moss, combines several
visual memories, including a prison chain gang and workers in a cotton field. The scene is set in a dense
jungle-like landscape with tall trees heavily hung with Spanish moss.
(Marisol Padilla)
30. Low Horizon, 1947
Special Collections Division, the Newark Public Library, Newark, NJ
The meticulously drawn tree trunks jut out at abrupt angles while factories, bridges, and skyscrapers are
reduced to mere outlines on the horizon. With the addition of the human figure, towering over the city yet
dwarfed by nature, Lozowick seems to remind us that even while people are molding steel into
engineering marvels, some aspects of nature will always remain untamable.
(Taryn Nie)
31. Along the Tracks, 1955
Special Collections Division, the Newark Public Library, Newark, NJ
This print shows a row of hollyhocks set against a weathered backdrop articulated by telegraph wires and
insulators. It seems that this is one of several prints in his oeuvre that evoke rather than represent. The
artist appears to have been interested in the contrast between nature and industry, between irregularity
and geometry, and between light and dark.
(Karen Beraitis)
32. Mayaland Yucatan, 1958