The Street - George Bellows
Archival giclée
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Description
A detailed lithograph by George Bellows capturing the dense, atmospheric energy of a crowded New York City street in 1917.
George Bellows, a central figure of the Ashcan School, produced this lithograph in 1917. The work captures the dense, chaotic energy of early twentieth-century New York City. Bellows focuses on the urban experience, documenting the crowded conditions of the Lower East Side. The composition is dominated by the looming structure of an elevated railway, which casts deep shadows over the figures below.
The scene is populated by a diverse array of city dwellers. Two women in the foreground, dressed in contemporary fashion, walk with a sense of detachment from the surrounding bustle. Nearby, a group of children and adults navigate the narrow thoroughfare. The artist employs a high-contrast tonal range, typical of his graphic work, to define the textures of clothing, the rough brickwork of the tenements, and the play of light on the pavement.
Bellows avoids romanticising the urban environment. Instead, he presents a direct observation of daily life. The figures in the windows of the tenement buildings add a sense of voyeurism to the composition, suggesting the cramped living quarters that defined the era. The lithographic process allows for a wide variety of marks, from the soft, atmospheric shading of the background to the sharper, more defined lines of the foreground figures. This print offers a window into the social fabric of a rapidly industrialising city, reflecting the artist's interest in the human condition within a modern, often overwhelming, metropolitan setting. The work remains a significant example of American printmaking from the early twentieth century, demonstrating the technical skill and observational rigour that defined Bellows's career.
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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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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 Street - 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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