Robert henri formed the realism school of artists that the critics referred to as the ashcan school. why did the critics assign this derogatory term to henri and his followers? how was realism of this twentieth-century group different from realistic representation of the nineteenth-century? select a work of art by one of the followers of the ashcan school and one of the nineteenth-century realistic paintings from chapter 19 to illustrate your discussion.

1) Why did the critics assign this derogatory term to Henri and his followers?

Because the Ashcan School was creating an art form that portraits the day by day life of ordinary and humble people, and the detractors didn't believe that this was important. The term 'Ashcan' was often used, before the formation of this art movement, to describe art forms that were not understood or accepted by the audience. An ordinary art form.

2) How was realism of this twentieth-century group different from realistic representation of the nineteenth-century?

Because the members of the Ashcan School were focusing to portrait the urban life, while the 19th century realism wanted to do the opposite, choosing to paint the natural elements.

3) Select a work of art by one of the followers of the Ashcan School and one of the nineteenth-century realistic paintings to illustrate your discussion.

For this question, I think that the paintings you need to choose to ilustrate must contrast the ideas of these groups (Ashcan School and the traditional realism). Then, I believe that 'Hester Street' executed in 1905 by George Luks is a good choice, because it's portraits excacly what the Ashcan School wanted to do with art. On the other hand, 'The Cotton Pickers' (1876) or 'Long Branch, New Jersey' (1869), both executed by Winslow Homer, are a good counter argument.

Explanation:

this is not a question