Ben Shahn (born September 12, 1898, Kaunas, Russia [now in Lithuania]—died March 14, 1969, New York, New York, U.S.) was an American painter and graphic artist whose work, displaying a combination of realism and abstraction, addressed various social and political causes.
Shahn immigrated with his family to New York City in 1906. In 1913–17 he worked as a lithographer’s apprentice while attending high school at night. He later attended New York University, City College of New York, and the National Academy of Design in New York. During travels to Europe in 1925 and 1927 he saw the works of the Old Masters.
In 1931–32 Shahn began his first major work, a series of paintings on the trial of the anarchists Nicola Sacco and Bartolomeo Vanzetti. Shahn expressed his sympathy for the defendants with great emotional power and satiric bite, and the series brought him fame. He explored another famous trial, that of the labour leader Tom Mooney, in a work of 1932–33. In 1933 Shahn enrolled in the New York City Public Works Art Project and executed a series of works on the Prohibition era. From 1935 to 1938 he worked for the Farm Security Administration as an artist and photographer.
Shahn and his wife, Bernarda Brysen, executed a series of panels for the lobby of the Bronx post office in New York in 1938–39, a project that took the form of a geographic panorama of American life. The year 1939 was particularly fruitful for Shahn, as he created three of his best-known pictures: Seurat’s Lunch, Handball, and Vacant Lot. Shahn also created widely reproduced graphic works, in which he developed an original and distinctive use of line. Beginning in the mid-1950s, his work became more reflective and less concerned with social criticism.