Unlike the other members of The Eight, Shinn did not exhibit in the famous 1913 Armory Show of modern art and, in fact, became over the years a confirmed anti-Modernist, expressing nothing but disdain for Picasso and Matisse.
 He remained a representational artist all his life with no interest in stylistic experimentation, and throughout the 1910s and 1920s he cultivated a market for deftly-made drawings in the spirit of a latter-day Watteau or Boucher.
This resistance to the changing era he was living in accounts, in part, for his declining place in art history after his death.
 His style, in the view of many observers, also took on a more facile, commercial quality, and some of his later works, like the murals painted for the bar of the Plaza Hotel, have an essentially nostalgic aim, reimagining in the 1940s the world of hansom cabs and city streets lighted by gas-lamps.

"Except for one exhibition at Knoedler's in 1920," his biographer writes, "Everett Shinn does not seem to have exhibited paintings between 1910 and 1937." (
In 1937, Shinn was included in the Whitney Museum's "New York Realists" show, which was, in essence, a reunion of the major Ashcan painters now that their day had passed.)
 The 1940s saw his work included in more museum exhibitions, though, and just prior to his death he was taken on by the prestigious James Graham Gallery in New York.
 In his best years, Shinn was well-paid and owned large houses in Connecticut and Upstate New York, but he went through a vast amount of money (along with four wives and numerous mistresses) and was financially straitened in his final days.
Unlike the other members of The Eight, Shinn did not exhibit in the famous 1913 Armory Show of modern art and, in fact, became over the years a confirmed anti-Modernist, expressing nothing but disdain for Picasso and Matisse.  He remained a representational artist all his life with no interest in stylistic experimentation, and throughout the 1910s and 1920s he cultivated a market for deftly-made drawings in the spirit of a latter-day Watteau or Boucher. This resistance to the changing era he was living in accounts, in part, for his declining place in art history after his death.  His style, in the view of many observers, also took on a more facile, commercial quality, and some of his later works, like the murals painted for the bar of the Plaza Hotel, have an essentially nostalgic aim, reimagining in the 1940s the world of hansom cabs and city streets lighted by gas-lamps.
"Except for one exhibition at Knoedler's in 1920," his biographer writes, "Everett Shinn does not seem to have exhibited paintings between 1910 and 1937." (In 1937, Shinn was included in the Whitney Museum's "New York Realists" show, which was, in essence, a reunion of the major Ashcan painters now that their day had passed.)  The 1940s saw his work included in more museum exhibitions, though, and just prior to his death he was taken on by the prestigious James Graham Gallery in New York.  In his best years, Shinn was well-paid and owned large houses in Connecticut and Upstate New York, but he went through a vast amount of money (along with four wives and numerous mistresses) and was financially straitened in his final days.
Everett Shinn