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Charles
also coined the term "Precisionism", mainly to denote what he
himself did. It indicated both style and subject. In fact, the
subject was the style: exact, hard, flat, big, industrial, and
full of exchanges with photography. Photography fed into painting
and vice versa.
No expressive strokes of paint. Anything live or organic, like
trees or people, was kept out. There was no such thing as a Precisionist
pussycat. Sheeler's work records the displacement of the Natural
Sublime by the Industrial Sublime, but his real subject was the
Managerial Sublime, a thoroughly American notion. And though Precisionism
broadened into an American movement in the late twenties and early
thirties, Sheeler's work defined its essential scope and meaning.
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