Paper

Student Artwork Guide

Non Objective

Name Class Date

Louis Schanker, Non Objective (1939). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Louis Schanker wahooart.com/en/artists/louis-schanker/
Artist’s dates
1903 – 1981
Painted
1939
Original size
23 x 37 cm

In context

Non Objective — Louis Schanker

How big is it?

The original measures 23 × 37 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1900
  2. 1910
  3. 1920
  4. 1930
  5. 1940
  6. 1950
  7. 1960
  8. 1970
  9. 1980

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 78 at death.

Painted when the artist was 36. The artist lived to 78. 5 of the 13 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Louis Schanker (1903–1981) ▲ this work, 1939 every dated painting, decade by decade

First works: up to 1937 Main working years: 1937–1941 Late works: from 1941

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/louis-schanker-non-objective-AQRP2K-en/

Colours

Measured from the image

    Main colour

    Bronze #c27929

    Catalogued palette

    • #C27929
    • #F0D464
    • #404E26
    • #8C997D

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Bronze
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Balanced How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Louis Schanker over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%300 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 4 most looked-at works by Louis Schanker

    1. 1 Static and Revolving 50.0%200 visits
    2. 2 Football, 1937 25.0%100 visits
    3. 3 Study in Green and Black 25.0%100 visits
    4. — Non Objective, 1939 this painting 0.0%0 visits

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 17 works by this artist, of which 3 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Louis Schanker

    The Wandering Soul of American Abstraction

    Louis Schanker was an artist whose life was as much a tapestry of movement and grit as the layered compositions he left behind. Born in 1903 amidst the vibrant, Orthodox Jewish community of the Bronx, New York, his early years were shaped by the rich traditions of his Romanian immigrant parents, Sam and Fannie. While his upbringing provided a foundation of intellectual curiosity and craftsmanship, Schanker possessed a restless spirit that could not be contained by the city limits. In 1920, he embarked on a nomadic odyssey across the United States, a period of profound transformation where he lived the life of a traveler, joining circus troupes like Barnum and Bailey and enduring the grueling labor of wheat threshing in the Great Plains. These formative, often difficult experiences—the dust of the plains and the spectacle of the circus—would later seep into his artistic consciousness, manifesting as evocative imagery and a deep-seated respect for organic, natural forms.

    Upon returning to New York in the mid-1920s, Schanker began to weave these disparate threads of experience into a formal artistic language. His education was nothing short of legendary, as he studied at prestigious institutions such as Cooper Union and the Art Students League. It was within these hallowed halls that he rubbed shoulders with the titans of modernism; his mentors included Barnett Newman, Mark Rothko, and Milton Avery. This period of intense study was further enriched by a shared studio space with the Soyer brothers, Chaim Gross and Adolph Gottlieb, creating a crucible of experimental dialogue that would define his approach to form. His travels to Europe in the early 1930s, including time spent at the Académie de la Grande Chaumière in Paris, allowed him to absorb the nuances of Cubism, which he would eventually re-interpret through a uniquely American lens.

    A Legacy of Color and Form

    Schanker’s mature style emerged as a sophisticated interplay between geometric precision and expressive vitality. He became a pioneer of color-patch compositions, a technique where vibrant, often fragmented planes of color interact to create depth and rhythm. His work is characterized by a remarkable ability to balance the rigid structures of abstraction with the fluid energy of life. Whether through his woodcut prints or his large-scale murals, Schanker sought to capture the essence of movement—a quality perhaps inherited from his years on the move. His contributions to the Works Progress Administration (WPA) and the Public Works of Art Project allowed him to leave a tangible mark on the American landscape, working alongside other luminaries like Jackson Pollock and Lee Krasner to redefine the boundaries of graphic arts and mural painting.

    The significance of Schanker’s oeuvre lies in its role as a bridge between early 20th-century Cubism and the burgeoning Abstract Expressionist movement. His ability to translate lived, visceral experience into a language of pure form makes his work deeply resonant. Some of his most notable artistic milestones include:

    Founding Membership: His pivotal role as a member of the American Abstract Artists group, helping to establish a distinct identity for American modernism.

    WPA Contributions: His impactful work as an artist and supervisor in the mural and graphic arts departments during the Great Depression.

    Masterful Printmaking: The creation of striking woodcuts, such as Forms in Action, which demonstrate his mastery of texture and structural depth.

    Iconic Imagery: Works like Man Cutting Wheat, which serve as poignant reflections of his time spent in manual labor across the American heartland.

    Ultimately, Louis Schanker remains a vital figure in the history of American art—a painter who could find the universal in the particular, and the abstract in the earthly. His life was a journey from the structured traditions of the Bronx to the wide-open expanses of the Great Plains, and finally into the profound, silent depths of color and shape. Through his hands, the chaos of a wandering life was distilled into a lasting legacy of beauty and structural innovation.

    Where to read more

    Find this online

    QR code linking to the download page for Non Objective

    wahooart.com/en/art/download/louis-schanker-non-objective-AQRP2K-en/

    Cite this artwork

    MLA
    Schanker, Louis. Non Objective. 1939, https://wahooart.com/en/art/louis-schanker-non-objective-AQRP2K-en/
    APA
    Schanker, Louis (1939). Non Objective [Painting]. https://wahooart.com/en/art/louis-schanker-non-objective-AQRP2K-en/
    Chicago
    Louis Schanker. Non Objective. 1939. https://wahooart.com/en/art/louis-schanker-non-objective-AQRP2K-en/
    Harvard
    Schanker, Louis (1939) Non Objective. Available at: https://wahooart.com/en/art/louis-schanker-non-objective-AQRP2K-en/

    Look closely

    Non Objective — Louis Schanker

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Forms in Action (1941), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Louis Schanker was about 36 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Where can I buy a digital image of "Non Objective" by Louis Schanker?

    To get a digital file of "Non Objective" by Louis Schanker, order a high-resolution digital image download on its Digital Image page.

    Do the colors of "Non Objective" appear strong or soft?

    The color intensity of "Non Objective" is vivid. Intensity describes how strong the colors appear.

    What is the color identity of "Non Objective" by Louis Schanker?

    "Non Objective" by Louis Schanker uses an earthy palette, with bronze (#c27929) as the dominant color.