The Drunk - George Bellows
Archival giclée
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Description
A powerful lithograph by George Bellows depicting a scene of domestic struggle, rendered with dramatic tonal contrast and expressive line work.
George Bellows produced this lithograph, titled The Drunk, during the final years of his career. It captures a scene of domestic turbulence, rendered with the stark, high-contrast tonal range characteristic of his printmaking practice. The central figure, a man in a state of disarray, dominates the composition, his arms raised in a gesture that suggests both aggression and instability. He is flanked by two women, whose postures convey distress and physical recoil. In the background, a child lies on a patterned quilt, adding a layer of vulnerability to the scene.
Bellows was a member of the Ashcan School, a group of artists who focused on the realities of urban life in early twentieth-century America. Unlike the polished academic art of the period, his work often examined the raw, unvarnished experiences of the working class. The technique here relies on the expressive potential of lithographic crayon, allowing for deep, velvety blacks and subtle grey transitions that model the figures and define the space. The lighting is theatrical, casting long shadows that heighten the emotional tension of the encounter.
This print demonstrates Bellows's ability to translate complex human narratives into a single, frozen moment. The composition is tightly packed, forcing the viewer to confront the immediate physical struggle. By choosing to depict such a difficult subject, Bellows engaged with the social concerns of his time, documenting the consequences of poverty and alcoholism within the domestic sphere. The work remains a clear example of his technical mastery in the medium of lithography, where he manipulated the stone to achieve a painterly quality. It is a stark observation of human behaviour, presented without sentimentality or moralising commentary, reflecting the artist's commitment to portraying life as he observed it in the streets and homes of New York.
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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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
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
- Framed prints arrive ready to hang
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
- Handle prints with clean, dry hands
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
The Drunk - 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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