Rural Cabin


Dublin Core


Rural Cabin


In the 1930s, the Regionalist trend in American art was effecting palpable changes in popular culture. It’s foothold evinced its acceptance as the primary countermovement, and perhaps compromise, against the more extreme elements of Modernist abstraction. Following the natural course of this trend, a new generation of young traveling artists began to immerse themselves in the relatively unexplored corners of America, seeking a sense of identity amongst the country’s diversity. Palmer Schoppe was a promising student of the eminent Regionalist artist, Thomas Hart Benton, whose recently exhibited anthology of Southern paintings had earned critical public praise. Following in his mentor’s footsteps, Schoppe traveled to South Carolina, recording in memory and in sketches, the character of its land and people. Upon return to his home state of California, Schoppe inscribed his Southern experiences in a collaborative portfolio of well-known lithographs, which he titled Carolina Low Country. Like Benton’s best work, Schoppe’s treatment of these South Carolina scenes are theatrical and full of movement. Although dependent on an almost satirical degree of exaggeration, these images convincingly capture the character of Southern life in a way that is arguably more authentic and personal than those composed by his native Southern contemporaries.


Schoppe, Palmer






Wright Collection of Southern Art


American, 1912-2001

Still Image Item Type Metadata

Original Format

watercolor on paper

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