NARRATOR: Adam Weinberg is Alice Pratt Brown Director of the Whitney Museum.

ADAM WEINBERG: Enormous concrete grain elevators loom at the center of this painting by Charles Demuth. At the right, we see an almost elegant-looking smokestack—its plume of smoke barely discolors the clear blue sky. At the bottom left, a small chimney suggests rooftops of buildings dwarfed by the concrete structure behind them—as if the giant silos are actually pushing the older structures right off the edge of the canvas.   

What does the presentation of these grain elevators tell us about the ideology behind them? The image is oddly sterile—painted in a precise, machine-like way. The surface of this painting is so pristine, you can hardly find a single brushstroke. It almost looks like a photograph. Rays of light bifurcating the canvas spotlight the building, but the light is cold, almost harsh. The painting’s title provides another clue—it’s called My Egypt. The title and the monumentality of these grain elevators suggest that Demuth is placing the architecture of American industry on par with the great monuments of the past, like the pyramids of ancient Egypt. 

In this painting we can see both the optimism and the anxiety of the period. 

Charles Demuth (1883-1935), _My Egypt_, 1927. Oil, fabricated chalk, and graphite pencil on composition board. 35 15/16 × 30 in. (91.3 × 76.2 cm). Whitney Museum of American Art, New York; Purchase, with funds from Gertrude Vanderbilt Whitney 31.172

NARRATOR: Adam Weinberg is Alice Pratt Brown Director of the Whitney Museum.

ADAM WEINBERG: Enormous concrete grain elevators loom at the center of this painting by Charles Demuth. At the right, we see an almost elegant-looking smokestack—its plume of smoke barely discolors the clear blue sky. At the bottom left, a small chimney suggests rooftops of buildings dwarfed by the concrete structure behind them—as if the giant silos are actually pushing the older structures right off the edge of the canvas.   

What does the presentation of these grain elevators tell us about the ideology behind them? The image is oddly sterile—painted in a precise, machine-like way. The surface of this painting is so pristine, you can hardly find a single brushstroke. It almost looks like a photograph. Rays of light bifurcating the canvas spotlight the building, but the light is cold, almost harsh. The painting’s title provides another clue—it’s called My Egypt. The title and the monumentality of these grain elevators suggest that Demuth is placing the architecture of American industry on par with the great monuments of the past, like the pyramids of ancient Egypt. 

In this painting we can see both the optimism and the anxiety of the period.