Art that captures a single moment of beauty and activity on New York’s streets is always captivating. But there’s something to be said for images that reveal something about Manhattan from a far away vantage point, showing a city not in the center but on the sidelines.
Kroll, who studied at the Art Students League and exhibited at the famous 1913 Armory Show, was known for his nudes and country or seaside landscapes, and he also painted Central Park, Broadway, and other city locations.
But he also depicted New York in the early 20th century from the outside in, illustrating the city’s rhythms from across the East and Hudson Rivers.
“Queensboro Bridge,” from 1912, the painting at the top of the page, is one such example. The majesty of the relatively new bridge (only three years old here) takes center stage, but the monolithic city looms behind it.
I’m not exactly sure where Kroll was when he painted the second image, 1920’s “Manhattan Rhythms,” the second image.
He presents us with a solid, impenetrable city high above the wharves and docks of the river, a metropolis that dwarfs the men who work there.
“View of Manhattan Terminal Yards From Weehawken” (1913) puts industry and commerce on display. The train tracks may be on the New Jersey side of the Hudson River, but they and the boats sending smoke into the sky work to enrich Manhattan across the water.
“Terminal Yards,” the fourth painting (also 1913) gives us another, snow-covered view.
I love that the city skyline is barely in “Manhattan From Hoboken” (1915), another painting of the metropolis from the heights of New Jersey.
The vibrant colors and web of tree branches—not to mention the thick clouds and smoke coming from boats and trains beside the river—almost obscure the Empire State Building and the rest of the cityscape.
If you’re not there in the middle of it, New York is far enough away to feel like another country.