George Wesley Bellows was conceived in Columbus, Ohio. He went to The Ohio State University from 1901 until 1904. There he played for the baseball and b-ball groups and gave delineations to the Makio, the school's understudy yearbook. He was urged to turn into an expert baseball player, and he filled in as a business artist while an understudy and he kept on tolerating magazine assignments for an amazing duration. In spite of these open doors in sports and business art, Bellows wanted accomplishment as a painter. He left Ohio State in 1904 just before he was to graduate and moved to New York City to consider art. Roars initially accomplished notification in 1908, when he and other understudies of Henri composed a presentation of for the most part urban investigations. While numerous pundits considered these to be roughly painted, others discovered them welcomely bold and a stage past crafted by his educator. Howls instructed at the Art Students League of New York in 1909, despite the fact that he was increasingly keen on seeking after a profession as a painter. His acclaim developed as he added to other broadly perceived juried appears.
Cries' urban New York scenes portrayed the crudity and confusion of average workers individuals and neighborhoods and furthermore caricaturized the privileged societies. From 1907 through 1915, he executed a progression of paintings portraying New York City under snowfall. These paintings were the principle proving ground in which Bellows built up his solid feeling of light and visual surface. These showed a distinct difference between the blue and white breadths of the day off the harsh and squalid surfaces of city structures and made an esthetically unexpected picture of the similarly unpleasant and filthy men battling to clean up the disturbance of the unadulterated day off. In any case, Bellows' arrangement of paintings depicting novice bouts were seemingly his mark commitment to art history. These paintings are portrayed by dull climates, through which the brilliant, generally lain brushstrokes of the human figures distinctively hit with a solid feeling of movement and bearing.
Developing distinction as a painter got completely changes him and work. In spite of the fact that he proceeded with his previous themes, Bellows likewise started to get picture commissions, just as social solicitations, from New York's well off world-class. Furthermore, he followed Henri's lead and started to summer in Maine, painting seascapes on Monhegan and Matinicus islands. Simultaneously, in every case socially cognizant Bellows likewise connected with a gathering of radical artists and activists called "the Lyrical Left", who tended towards turmoil in their outrageous backing of individual rights. He instructed at the main Modern School in New York City (as did his coach, Henri), and served on the publication leading body of the communist diary, The Masses, to which he contributed numerous drawings and prints starting in 1911. In any case, he was frequently inconsistent with the other donors due to his conviction that artistic opportunity should best any ideological publication strategy. Roars likewise prominently contradicted from this hover in his open help of U.S. mediation in World War I. In 1918, he made a progression of lithographs and paintings that graphically portrayed the monstrosities submitted by Germany during its intrusion of Belgium. Remarkable among these was The Germans Arrive, which depended on a real record and frightfully represented a German fighter limiting a Belgian youngster whose hands had recently been cut off. Be that as it may, his work was likewise profoundly reproachful of the local oversight and mistreatment against war dissidents directed by the U.S. government under the Espionage Act.