Convicts and Guard
By the time of the Armory Show, a considerable number of painters, sculptors, and illustrators were treating the city as a subject. Some had been influenced through Henri's teaching, but often these artists developed their interest in urban landscapes on their own. Edith Dimock's Sweatshop Girls in the Country (Gallery K) provides an example of the younger, lesser-known artists working in the Ashcan tradition at the time of the Armory Show. Dimock, a close associate of Henri, Sloan, Jerome and Ethel Myers and the wife of William Glackens, was one of the most financially successful American artists at the exhibition. She sold all eight of her works submitted to the show.
American Watercolors, Drawings, etc.
Jerome Myers, who was intimately involved in planning the Armory Show, worked in relative solitude for years painting
subjects on the Lower East Side before meeting Sloan and other Ashcan artists. Myers exhibited 15 unidentified drawings in Gallery L and two paintings in Gallery N. Eugene Higgins, another artist who worked independently from the Ashcans, emphasized the poverty and suffering of his subjects, exhibiting Convicts and Guard (above) in
Gallery L. Weary and Hunger Under a Bridge were found in Gallery N, depicting the meager existence experienced by the urban poor. Charles White's Condemned Tenement continued in this vein, while his Fulton Market, like Frank A. Nankivell's New York in the Making and Paul Burlin's William's Street, accentuated the growth and transformation of the city through skyscrapers and bridges.