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cubist$18007$ - translation to italian
![[[Charles Demuth]], ''[[I Saw the Figure 5 in Gold]]'', 1928, [[Metropolitan Museum of Art]]](https://commons.wikimedia.org/wiki/Special:FilePath/NY Met demuth figure 5 gold.JPG?width=200 "[[Charles Demuth]], ''[[I Saw the Figure 5 in Gold]]'', 1928, [[Metropolitan Museum of Art]]")
![Wall Street]]'', 1915](https://commons.wikimedia.org/wiki/Special:FilePath/Wall Street by Paul Strand, 1915.jpg?width=200 "Wall Street]]'', 1915")
![[[Morton Schamberg]], ''Telephone,'' 1916, oil on canvas, [[Columbus Museum of Art]].](https://commons.wikimedia.org/wiki/Special:FilePath/Morton Livingston Schamberg - Telephone (1916).jpg?width=200 "[[Morton Schamberg]], ''Telephone,'' 1916, oil on canvas, [[Columbus Museum of Art]].")
![John Storrs]], ''Profile Head with Cap'', c. 1918, woodcut on paper [[Smithsonian American Art Museum]]](https://commons.wikimedia.org/wiki/Special:FilePath/Head Woodcut 1920.jpg?width=200 "John Storrs]], ''Profile Head with Cap'', c. 1918, woodcut on paper [[Smithsonian American Art Museum]]")
![[[Joseph Stella]], ''Brooklyn Bridge,'' 1919–1920, [[Yale University Art Gallery]]](https://commons.wikimedia.org/wiki/Special:FilePath/Joseph Stella, 1919-20, Brooklyn Bridge, oil on canvas, 215.3 x 194.6 cm, Yale University Art Gallery.jpg?width=200 "[[Joseph Stella]], ''Brooklyn Bridge,'' 1919–1920, [[Yale University Art Gallery]]")
![Stuart Davis]], ''Lucky Strike,'' 1921, oil on canvas, [[Museum of Modern Art]] [[New York City]]](https://commons.wikimedia.org/wiki/Special:FilePath/Davis_Stuart_Lucky_Strike_1921.jpg?width=200 "Stuart Davis]], ''Lucky Strike,'' 1921, oil on canvas, [[Museum of Modern Art]] [[New York City]]")
![Stuart Davis, ''Steeple and Street'', 1922, [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]](https://commons.wikimedia.org/wiki/Special:FilePath/Davis steeple street.jpg?width=200 "Stuart Davis, ''Steeple and Street'', 1922, [[Hirshhorn Museum and Sculpture Garden]], [[Washington, DC.]]")
![[[Charles Demuth]], ''Incense of a New Church'' (1921)](https://commons.wikimedia.org/wiki/Special:FilePath/Demuth_Charles_Incense of a New Church, 1921.jpg?width=200 "[[Charles Demuth]], ''Incense of a New Church'' (1921)")
![Charles Demuth, ''[[My Egypt]]'', oil on composition board, 1927, [[Whitney Museum]]](https://commons.wikimedia.org/wiki/Special:FilePath/Charles_Demuth_-_My_Egypt.jpg?width=200 "Charles Demuth, ''[[My Egypt]]'', oil on composition board, 1927, [[Whitney Museum]]")
![Charles Demuth, ''Chimney and Watertower,'' oil on composition board, 1931, [[Amon Carter Museum]], [[Fort Worth, Texas]]](https://commons.wikimedia.org/wiki/Special:FilePath/Demuth_Charles_Chimney_and_Watertower_1931.jpg?width=200 "Charles Demuth, ''Chimney and Watertower,'' oil on composition board, 1931, [[Amon Carter Museum]], [[Fort Worth, Texas]]")
![[[Charles Sheeler]], ''Skyscrapers'' (1922)](https://commons.wikimedia.org/wiki/Special:FilePath/Skyscrapers_Sheeler_1922.jpg?width=200 "[[Charles Sheeler]], ''Skyscrapers'' (1922)")
![Charles Rosen]], ''Sidewheel in the Rondout''](https://commons.wikimedia.org/wiki/Special:FilePath/Sidewheel_in_the_Rondout.jpg?width=200 "Charles Rosen]], ''Sidewheel in the Rondout''")
Definition
Wikipedia
Precisionism was a modernist art movement that emerged in the United States after World War I. Influenced by Cubism, Purism, and Futurism, Precisionist artists reduced subjects to their essential geometric shapes, eliminated detail, and often used planes of light to create a sense of crisp focus and suggest the sleekness and sheen of machine forms. At the height of its popularity during the 1920s and early 1930s, Precisionism celebrated the new American landscape of skyscrapers, bridges, and factories in a form that has also been called "Cubist-Realism." The term "Precisionism" was first coined in the mid-1920s, possibly by Museum of Modern Art director Alfred H. Barr although according to Amy Dempsey the term "Precisionism" was coined by Charles Sheeler. Painters working in this style were also known as the "Immaculates", which was the more commonly used term at the time. The stiffness of both art-historical labels suggests the difficulties contemporary critics had in attempting to characterize these artists.
