Charles Sheeler (July 16, 1883 – May 7, 1965) was an American artist known for his Precisionist paintings, commercial photography, and the 1921 avant-garde film, Manhatta, which he made in collaboration with Paul Strand.
Born~Died Jul 16, 1883 ~ May 7, 1965Last edited Oct 15, 2026, 4:25 PM
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Born ~ Died
Jul 16, 1883 ~ May 7, 1965
Born
(1883-07-16)July 16, 1883, Philadelphia, Pennsylvania, US
Charles Sheeler (July 16, 1883 – May 7, 1965) was an American artist known for his Precisionist paintings, commercial photography, and the 1921 avant-garde film, Manhatta, which he made in collaboration with Paul Strand. Sheeler is recognized as one of the early adopters of modernism in American art.
Early life and career
Charles Rettew Sheeler Jr. was born in Philadelphia, Pennsylvania. He attended the Pennsylvania Museum School of Industrial Art from 1900 to 1903, and then the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.1 Most of his education was in drawing and other applied arts. He went to Italy with other students, where he was intrigued by the Italian painters of the Middle Ages, such as Giotto and Piero della Francesca. After a trip to Paris in 1909, Sheeler was inspired by works of Cubist artists like Pablo Picasso and Georges Braque.2 Returning to the United States, Sheeler felt that he would not be able to make a living as a modernist painter, so he took up commercial photography, focusing on architectural subjects. Sheeler's first attempt at photography came as a teenager with a $5 Brownie, an effort that he described later as "ineffectual".3. He later taught himself photography while in his 20s.4
Early in his career, he was greatly impacted by the death of his close friend Morton Livingston Schamberg during the . Schamberg's painting had focused heavily on machinery and technology, a theme that featured prominently in Sheeler's own work.
This page is based on “Charles Sheeler” from English Wikipedia, (r1375431484) CC BY-SA 4.0 used under the license. The original authors are listed in its page history.
Sheeler owned a farmhouse in Doylestown, Pennsylvania, about 39 miles outside Philadelphia, which he shared with Schamberg until the latter's death. He was so fond of the home's 19th century stove that he called it his "companion" and made it a subject of his photographs. The farmhouse itself serves a prominent role in many of his photographs, which include shots of the bedroom, kitchen, and stairway. At one point he was quoted as calling it his "cloister." His work was also part of the painting event in the art competition at the 1932 Summer Olympics.7
On April 2, 1939, Sheeler married Musya Metas Sokolova, his second wife, six years after the death in 1933 of first wife Katharine Baird Shaffer (married April 7, 1921). In 1942, Sheeler joined the Metropolitan Museum of Art as a senior research fellow in photography, worked on a project in Connecticut with the photographer Edward Weston, and moved with Musya to Irvington-on-Hudson, some twenty miles north of New York. Sheeler worked for the Metropolitan Museum's Department of Publications from 1942 to 1945, photographing artworks and historical objects.8
Sheeler painted in a Precisionist style that complemented his photography and has been described as "quasi-photographic".9
Manhatta
In 1920, Sheeler invited photographer Paul Strand to collaborate on a "portrait" of Manhattan in film. The resulting 35mm nine-minute series of vignettes, called Manhatta after Walt Whitman's poem, Mannahatta, was the first avant-garde film created in America.10
In 1940, Fortune Magazine published a series of six paintings commissioned of Sheeler. To prepare for the series, Sheeler spent a year traveling and taking photographs. Fortune editors aimed to “reflect life through forms … [that] trace the firm pattern of the human mind,” and Sheeler chose six subjects to fulfill this theme: a water wheel (Primitive Power), a steam turbine (Steam Turbine), the railroad (Rolling Power), a hydroelectric turbine (Suspended Power), an airplane (Yankee Clipper) and a dam (Conversation: Sky and Earth) [\1](/en/w/Charles%20Sheeler).
"Charles Sheeler: The Works on Paper" - Museum of Art, The Pennsylvania State University, University Park, PA, February 10 – March 24, 1974; Terry Dintenfass, Incorporated, 18 East 67 Street, New York, NY, April 2–20, 1974. 62 works on paper. An exhibition organized at the Pennsylvania State University; catalogue and selection by John P. Driscoll; catalogue foreword, Wm. Hull, Director, Museum of Art, The Pennsylvania State University; 81 pages. "Charles Sheeler: The Works on Paper", Museum of Art, The Pennsylvania State University, 1974.
"Charles Sheeler: Across Media" – National Gallery of Art, Washington, DC, May 7 – August 27, 2006. Toured at the Art Institute of Chicago, October 7, 2006 – January 7, 2007; and the M. H. de Young Memorial Museum, February 10 – May 6, 2007. 50 works included, including paintings, photographs, works on paper, and a film.15
Murphy, Jessica (November 1, 2009). "Charles Sheeler (1883–1965)". Heilbrunn Timeline of Art History. The Metropolitan Museum of Art. Retrieved September 17, 2026. ↩
Charles Sheeler (July 16, 1883 – May 7, 1965) was an American artist known for his Precisionist paintings, commercial photography, and the 1921 avant-garde film, Manhatta, which he made in collaboration with Paul Strand. Sheeler is recognized as one of the early adopters of modernism in American art.
Early life and career
Charles Rettew Sheeler Jr. was born in Philadelphia, Pennsylvania. He attended the Pennsylvania Museum School of Industrial Art from 1900 to 1903, and then the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.1 Most of his education was in drawing and other applied arts. He went to Italy with other students, where he was intrigued by the Italian painters of the Middle Ages, such as Giotto and Piero della Francesca. After a trip to Paris in 1909, Sheeler was inspired by works of Cubist artists like Pablo Picasso and Georges Braque.2 Returning to the United States, Sheeler felt that he would not be able to make a living as a modernist painter, so he took up commercial photography, focusing on architectural subjects. Sheeler's first attempt at photography came as a teenager with a $5 Brownie, an effort that he described later as "ineffectual".3. He later taught himself photography while in his 20s.4
Early in his career, he was greatly impacted by the death of his close friend Morton Livingston Schamberg during the influenza epidemic of 1918.5 Schamberg's painting had focused heavily on machinery and technology,6 a theme that featured prominently in Sheeler's own work.
Sheeler owned a farmhouse in Doylestown, Pennsylvania, about 39 miles outside Philadelphia, which he shared with Schamberg until the latter's death. He was so fond of the home's 19th century stove that he called it his "companion" and made it a subject of his photographs. The farmhouse itself serves a prominent role in many of his photographs, which include shots of the bedroom, kitchen, and stairway. At one point he was quoted as calling it his "cloister." His work was also part of the painting event in the art competition at the 1932 Summer Olympics.7
On April 2, 1939, Sheeler married Musya Metas Sokolova, his second wife, six years after the death in 1933 of first wife Katharine Baird Shaffer (married April 7, 1921). In 1942, Sheeler joined the Metropolitan Museum of Art as a senior research fellow in photography, worked on a project in Connecticut with the photographer Edward Weston, and moved with Musya to Irvington-on-Hudson, some twenty miles north of New York. Sheeler worked for the Metropolitan Museum's Department of Publications from 1942 to 1945, photographing artworks and historical objects.8
Sheeler painted in a Precisionist style that complemented his photography and has been described as "quasi-photographic".9
Manhatta
In 1920, Sheeler invited photographer Paul Strand to collaborate on a "portrait" of Manhattan in film. The resulting 35mm nine-minute series of vignettes, called Manhatta after Walt Whitman's poem, Mannahatta, was the first avant-garde film created in America.10
In 1940, Fortune Magazine published a series of six paintings commissioned of Sheeler. To prepare for the series, Sheeler spent a year traveling and taking photographs. Fortune editors aimed to “reflect life through forms … [that] trace the firm pattern of the human mind,” and Sheeler chose six subjects to fulfill this theme: a water wheel (Primitive Power), a steam turbine (Steam Turbine), the railroad (Rolling Power), a hydroelectric turbine (Suspended Power), an airplane (Yankee Clipper) and a dam (Conversation: Sky and Earth) [\1](/en/w/Charles%20Sheeler).
"Charles Sheeler: The Works on Paper" - Museum of Art, The Pennsylvania State University, University Park, PA, February 10 – March 24, 1974; Terry Dintenfass, Incorporated, 18 East 67 Street, New York, NY, April 2–20, 1974. 62 works on paper. An exhibition organized at the Pennsylvania State University; catalogue and selection by John P. Driscoll; catalogue foreword, Wm. Hull, Director, Museum of Art, The Pennsylvania State University; 81 pages. "Charles Sheeler: The Works on Paper", Museum of Art, The Pennsylvania State University, 1974.
"Charles Sheeler: Across Media" – National Gallery of Art, Washington, DC, May 7 – August 27, 2006. Toured at the Art Institute of Chicago, October 7, 2006 – January 7, 2007; and the M. H. de Young Memorial Museum, February 10 – May 6, 2007. 50 works included, including paintings, photographs, works on paper, and a film.15
Murphy, Jessica (November 1, 2009). "Charles Sheeler (1883–1965)". Heilbrunn Timeline of Art History. The Metropolitan Museum of Art. Retrieved September 17, 2026. ↩