Business Men's Class - George Bellows
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Description
A 1916 lithograph by George Bellows depicting a group of men in a New York gymnasium, rendered with expressive lines and dramatic light.
George Bellows, a central figure of the Ashcan School, produced this lithograph in 1916. The work captures a scene within a New York City gymnasium, where a group of middle-aged men participate in a structured exercise session. Bellows focuses on the physical exertion and the somewhat awkward postures of the participants, who are dressed in period-appropriate athletic attire. The instructor, positioned on a raised platform, leads the group through their movements with a sense of authority that contrasts with the varied physical conditions of his students.
The composition utilises strong chiaroscuro effects, typical of Bellows's graphic work. Light emanates from the upper reaches of the room, casting deep shadows that define the figures and the gym equipment. The background contains specific details, such as signage for a massage parlour and the rules of health, which ground the scene in a specific urban reality. Bellows employs a vigorous, expressive line quality to convey the energy of the room. The figures are rendered with a degree of caricature, reflecting the artist's interest in the human condition and the social dynamics of early twentieth-century American life.
This print demonstrates Bellows's technical proficiency with the lithographic medium. He exploits the tonal range of the stone to create a sense of atmosphere and depth. The work avoids idealisation, choosing instead to present a candid observation of men attempting to maintain their fitness in a crowded, industrial-era environment. It remains a notable example of his ability to document the mundane aspects of city life with both humour and technical precision.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
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Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Business Men's Class - George Bellows
Artist Biography
George Bellows
He painted boxing matches at Tom Sharkey's saloon, an illegal club near the Brooklyn waterfront where bare-knuckle fights happened in a back room. Stag at Sharkey's, painted in 1909 when he was twenty-six, shows two fighters locked together under electric light, the crowd surging at the edges of the canvas. The paint is applied with a violence that matches the subject.
He was the youngest artist associated with the Ashcan School and the boldest. While other members painted park benches and tenement laundry lines, Bellows painted excavation sites, shipyards, snow-covered lots, and river swimmers. The compositions are physically large, thickly painted, and arranged with an energy that makes the viewer feel as though the scene is still happening.
He worked as a newspaper sports illustrator to pay the bills, and the events he covered became paintings. In 1923 he was at the Polo Grounds on assignment for the New York Evening Journal when Luis Firpo knocked Jack Dempsey out of the ring and nearly into his lap. The painting he made of the moment reversed the punch to a left hook because the composition worked better that way. Accuracy was less important than impact.
He died of a ruptured appendix in 1925, at forty-two.
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