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Finding Aid for the John Sloan Manuscript Collection
John Sloan Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum The John Sloan Manuscript Collection is made possible in part through funding of the Henry Luce Foundation, Inc., 1998 Acquisition Information Gift of Helen Farr Sloan, 1978 Extent 238 linear feet Access Restrictions Unrestricted Processed Sarena Deglin and Eileen Myer Sklar, 2002 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Letters from John Sloan to Will and Selma Shuster, undated and 1921-1947 1 Table of Contents Chronology of John Sloan Scope and Contents Note Organization of the Collection Description of the Collection Chronology of John Sloan 1871 Born in Lock Haven, Pennsylvania on August 2nd to James Dixon and Henrietta Ireland Sloan. 1876 Family moved to Germantown, later to Philadelphia, Pennsylvania. 1884 Attended Philadelphia's Central High School where he was classmates with William Glackens and Albert C. Barnes. 1887 April: Left high school to work at Porter and Coates, dealer in books and fine prints. 1888 Taught himself to etch with The Etcher's Handbook by Philip Gilbert Hamerton. 1890 Began work for A. Edward Newton designing novelties, calendars, etc. Joined night freehand drawing class at the Spring Garden Institute. First painting, Self Portrait. 1891 Left Newton and began work as a free-lance artist doing novelties, advertisements, lettering certificates and diplomas. 1892 Began work in the art department of the Philadelphia Inquirer. -
Yeats at Petitpas' 1910/C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 John Sloan American, 1871 - 1951 Yeats at Petitpas' 1910/c. 1914 oil on canvas overall: 66.2 × 81.28 cm (26 1/16 × 32 in.) framed: 80.96 × 96.36 × 6.51 cm (31 7/8 × 37 15/16 × 2 9/16 in.) Inscription: lower right: John Sloan Corcoran Collection (Museum Purchase, Gallery Fund) 2014.136.54 ENTRY In August 1910 the realist painter John Sloan began this group portrait of regulars at Petitpas’, a French restaurant and boardinghouse in the Chelsea district of Manhattan. The work joined other Ashcan school artists’ depictions of casual dining experiences in urban eateries that focused on portraiture and narrative, such as At Mouquin’s by William Glackens (American, 1870 - 1938) [fig. 1]. [1] The Ashcan school, informally led by Robert Henri (American, 1865 - 1929), generally focused on the everyday life of the working classes rather than idealized views of the city. George Luks (American, 1866 - 1933) and George Bellows (American, 1882 - 1925) completed a watercolor and a print, respectively, featuring Petitpas’ as well [fig. 2], but Sloan’s large image in oil is the most ambitious of the three. [2] The scene takes place in the enclosed backyard of the restaurant, where the dining room was located in the hot summer months. The party gathers around a table placed under an awning decorated with a French flag. [3] At the head sits John Butler Yeats, smoking and sketching. Yeats, the Irish portrait painter and father of the poet William Butler Yeats, lived at Petitpas’ from 1909 until his death in 1922. -
Faces of the League Portraits from the Permanent Collection
THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York. -
John Sloan Manuscript Collection Helen Farr Sloan Library & Archives
John Sloan Manuscript Collection Helen Farr Sloan Library & Archives, Delaware Art Museum John Sloan Diary, 1906 Jan. 1 Played golf today with Henri1 and Davis.2 We welcome the New Year at James B. Moore's3 "Secret Lair beyond the Moat" 450 W. 23rd. A very small party. James B., Henri, Barney Moore4 (no relative of Jim's) with Miss O'Connor,5 John Sloan, Mrs. J. Sloan. Pleasant evening and early morning. I'm going to try to do a bit less smoking this year. Mr. and Mrs. E. W. Davis,6 old "Wyatt" of the old 806 days,7 to dinner, with their boy 1 Robert Henri (1865-1929) was a major influence in American art in the last decade of the 19th century and the first of the 20th both as a painter and a teacher. He and Sloan met in December 1892. While Sloan never studied formally with Henri, he acknowldged him as his "father in art." Although their paths diverged after the period covered by the diaries, he and Sloan were very close in 1906. Henri's wife, Linda, had died the month before the dairies began and Henri, very lonely, visited the Sloans often. Henri's name was originally Robert Henry Cozad, but the family abandoned the use of "Cozad." His father and mother adopted the surname "Lee" and Henri's brother John became "Frank L. Southrn." [Bennard Perlman. Robert Henri. His Life and Art. New York: Dover Publications, Inc. 1991, pp. 5-6] 2 Edward Wyatt Davis, a friend of Sloan's from the early 1890s and assistant art editor of the Philadelphia Press for which Sloan had worked, had moved to New York and become art editor of the humor magazine Judge. -
John Sloan and Stuart Davis Is Gloucester: 1915-1918
JOHN SLOAN AND STUART DAVIS IS GLOUCESTER: 1915-1918 A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirement for the degree of Master of Arts by Kelly M. Suredam May, 2013 Thesis written by Kelly M. Suredam B.A., Baldwin-Wallace College, 2009 M.A., Kent State University, 2013 Approved by _____________________________, Advisor Carol Salus _____________________________, Director, School of Art Christine Havice _____________________________, Dean, College of the Arts John R. Crawford ii TABLE OF CONTENTS TABLE OF CONTENTS…………………………………………………………..………...iii LIST OF FIGURES…………………………………………………………….…………….iv ACKNOWLEDGEMENTS………………………………………………………………….xii INTRODUCTION…………………………………………………………………………….1 CHAPTER I. A BRIEF HISTORY OF GLOUCESTER……………………………………….....6 II. INFLUENCES: ROBERT HENRI, THE ASHCAN SCHOOL, AND THE MARATTA COLOR SYSTEM……………………………………………………..17 III. INFLUENCES: THE 1913 ARMORY SHOW………………………………….42 IV. JOHN SLOAN IN GLOUCESTER……………………………………………...54 V. STUART DAVIS IN GLOUCESTER……………………………………………76 VI. CONCLUSION: A LINEAGE OF AMERICAN PAINTERS IN GLOUCESTER………………………………………………………………………97 REFERENCES……………………………………………………………………………..112 FIGURES…………………………………………………………………………………...118 iii LIST OF FIGURES Figure Page 1. John Sloan, Near Sunset, Gloucester, 1914-1915………………..………..………..……118 2. Stuart Davis, Gloucester Environs, 1915……………………………………..………….118 3. Map of Gloucester, Massachusetts………………………………………….…...............119 4. Cape Ann Map…………………………………………………………………………...119 5. Map of the Rocky -
Chamber Pots and Gibson Girls: Fagg, John
University of Birmingham Chamber Pots and Gibson Girls: Fagg, John DOI: 10.1086/684919 License: None: All rights reserved Document Version Publisher's PDF, also known as Version of record Citation for published version (Harvard): Fagg, J 2015, 'Chamber Pots and Gibson Girls: Clutter and matter in John Sloan’s Graphic Art', American Art, vol. 29, no. 3, pp. 28-57. https://doi.org/10.1086/684919 Link to publication on Research at Birmingham portal Publisher Rights Statement: ©2015 Smithsonian Institution Chamber Pots and Gibson Girls: Clutter and Matter in John Sloan’s Graphic Art John Fagg American Art 2015 29:3, 28-57: doi/full/10.1086/684919 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. -
The Artist As Social Critic
THE ARTIST AS SOCIAL CRITIC: JOHN SLOAN AND THOMAS HART BENTON by Andrea Tarantino A Thesis/Project Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Masters of Social Science Emphasis in American History May, 2005 THE ARTIST AS SOCIAL CRITIC: JOHN SLOAN AND THOMAS HART BENTON by Andrea Tarantino Approved by the Master’s Thesis Committee: Rodney Sievers, Major Advisor Date Gayle Olson-Raymer, Committee Member Date Delores McBroome, Committee Member Date Delores McBroome, Graduate Coordinator, MASS – Teaching American History Cohort Date Donna E. Schafer, Dean for Research and Graduate Studies Date ABSTRACT Artistic expression reflects and influences the time, place and culture from which it springs. Many artists were inspired by the revolutionary optimism prevalent in the early twentieth century and viewed their art as a tool for changing society. In this study I plan to show how some artists have been politically active, chronicling their times and presenting a vision for a better, reformed America. This project focuses on two artists who represented the American experience during the first half of the twentieth century. Both had long careers and all were concerned with the social and economic issues of their day. John Sloan was a member of the so called Ashcan school of art. He portrayed the life of the common worker at the turn of the century. Sloan’s illustrations for the radical journal The Masses were among the most expressive pieces of political propaganda ever made in this country. Thomas Hart Benton was primarily concerned with the social and economic struggles of the working class person, especially during the Great Depression and New Deal era. -
Art of John Sloan, 1871-1951
THE ART OF -JoAn $foa.n 1871-1951 WALKER ART MUSEUM BOWDOIN COLLEGE, BRUNSWICK, MAINE January 20-February 28, 1962 V\ P. "foil The Bowdoin College Library John Sloan painting Buses in the Square in 1927, at the age of fifty-six. Photograph by Lusha Nelson. The Art of JOHN SLOAN 1871-1951 A LOAN EXHIBITION AND AN INTRODUCTORY DISPLAY OF PAINTINGS IN THE HAMLIN BEQUEST TO BOWDOIN COLLEGE WALKER ART MUSEUM BOWDOIN COLLEGE, BRUNSWICK, MAINE January 20—February 28, 1962 Copyright 1962 by Bowdoin College Issued by the President and Trustees of Bowdoin College Printed by The Anthoensen Press, Portland, Maine Plates by The Meriden Gravure Company, Meriden, Connecticut THE WALKER ART MUSEUM THE Walker Art Museum is an integral part of Bowdoin College. It is supported by the College and operated under the jurisdic- tion of the President and Trustees and a Committee on Art Interests of the Governing Boards. Committee on Art Interests of the Governing Boards of Bowdoin College Messrs. John H. Halford, Chairman; John W. Frost, Robert Hale, Roscoe H. Hupper, Neal W. Allen, Leon V. Walker, Frank C. Evans, and the Director of the Museum. Staff Philip C. Beam, Director Carl N. Schmalz, Jr., Associate Director Marvin S. Sadik, Curator Gertrude Plaisted, Museum Secretary Dolores Hiebert, Membership Secretary and Editor of the Bulletin Alice Pennell, Receptionist Sally Fields, Receptionist Merle Pottle, Museum Superintendent Digitized by the Internet Archive in 2015 https://archive.org/details/artofjohnsloan1800bowd LENDERS TO THE EXHIBITION Addison Gallery -
Artist Philanthropist
the artist as philanthropist strengthening the next generation of artist-endowed foundations a study of the emerging artist-endowed foundation field in the U.S. study report supplement 2013 the artist as philanthropist strengthening the next generation of artist-endowed foundations a study of the emerging artist-endowed foundation field in the US study report supplement 2013 Christine J. Vincent, Study Director Study Committee Alberta Arthurs Charles C. Bergman James T. Demetrion Lowery Stokes Sims James Allen Smith Stephen K. Urice Study Report published 2010. Study Report Supplement published 2013. www.aspeninstitute.org/psi/a-ef-report The views expressed are those of the authors and are not of the Program on Philanthropy and Social Innovation or the Aspen Institute, its trustees, or its funders. The Aspen Institute’s Program on Philanthropy and Social Innovation (PSI) seeks to inform and maximize the impact of grantmaking foundations, nonprofit organizations, social enterprises, and public-private partnerships through leadership development initiatives, convenings, and communications so that each can contribute to the good society at home and abroad. The Program’s theory of change rests on the premise that if their leaders have clarity about their values, are collaborative in their approach to problem-solving, and are aware of the strategies and potential partnerships available to them, they are more likely to succeed in advancing the social good. The Aspen Institute is an educational and policy studies organization with a mission to foster leadership based on enduring values and to provide a nonpartisan venue for dealing with critical issues. The Institute is based in Washington, DC; Aspen, Colorado; and on the Wye River on Maryland's Eastern Shore. -
Modern Art and Modern Movement: Images of Dance in American Art, C
Modern Art and Modern Movement: Images of Dance in American Art, c. 1900-1950 By © 2011 JoLee Gillespie Stephens Submitted to the Kress Foundation Department of the History of Art and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy ______________________________ Dr. Charles Eldredge, Chair ______________________________ Dr. David Cateforis ______________________________ Dr. Michelle Heffner-Hayes ______________________________ Dr. John Pultz ______________________________ Dr. Linda Stone-Ferrier ______________________________ Date Submitted This Dissertation Committee for JoLee Gillespie Stephens certifies that this is the approved version of the following dissertation: Modern Art and Modern Movement: Images of Dance in American Art, c. 1900-1950 Chairperson: ____________________________ Date Approved: __________________________ ii For Nathan and his seven years of tireless support and steadfast love. And for Beckett. Thank you for sleeping. iii Acknowledgments The beginnings of this project can be traced back to the fall of 2005 when I was a student in Dr. David Cateforis’s Cubism Seminar. I was searching for an American cubist painting to research and Dr. Cateforis suggested H. Lyman Saÿen’s The Thundershower. I was immediately drawn to the two dancing figures and by the end of the semester I knew that this was a topic I wanted to continue exploring. I am grateful for the support, advice, and enthusiasm of my dissertation adviser, Dr. Charles Eldredge, who encouraged me to fling my net wide as I considered my topic. Thank you for your careful reading, your insightful questions, and your dedication to scholarly excellence. I wish to thank Dr. -
Samuel and Mary R. Bancroft Pre-Raphaelite Manuscript Collection
Samuel and Mary R. Bancroft Pre-Raphaelite Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Bequest of Samuel and Mary R. Bancroft, 1935 Extent 47 linear feet Processed Betty Elzea, 1992 Access Restrictions Some restrictions apply to materials in Boxes 36 and 37A Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 www.delart.org Preferred Citation Samuel and Mary R. Bancroft Pre-Raphaelite Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Table of Contents History of the Collection Scope and Contents Note Organization of the Collection Description of the Collection Added Material – Bancroft Archives Drawer List – Bancroft Archives History of the Collection The Samuel and Mary R. Bancroft Collection of Pre-Raphaelite Art at the Delaware Art Museum in Wilmington, Delaware, is unique. No other art collection is devoted specifically to this important nineteenth century movement, and it is doubtful that there are many other collections so thoroughly documented. The collection came about through the personal taste and enthusiasm of Samuel Bancroft, Jr. (1840- 1915), a Wilmington Quaker industrialist, and his family and business connection with Manchester, England. Bancroft was the son of Joseph Bancroft (1803-1874) of Rockford (now part of the city of Wilmington), who emigrated from Lancashire to the U.S.A. in 1824. Joseph was following his brother John, who had emigrated in 1821, and his parents, John and Elizabeth (Wood) Bancroft who, with their other eleven children had emigrated in 1822. -
John Sloan's Newspaper Career: an Alternative to Art School
John Sloan's Newspaper Career: An Alternative to Art School ELIZABETH H. HAWKES N THE 1890S aspiring artists often lacked the financial means to pursue conventional art training, which entailed lengthy I study at American and European academies. For John Sloan (1871-1951), gaining employment as a newspaper artist served as an alternative art education. Sloan spent twelve years as an artist working for two Philadelphia newspapers, the Inquirer and the Press, with a brief three-month hiatus at the New York Herald. He began his first newspaper job in 1892 at the age of twenty. SLOAN'S EARLY YEARS John Sloan was born in the central Pennsylvania lumber town of Lock Haven. His family moved to Philadelphia when he was about six.' His father, a photographer and cabinetmaker in Lock Haven, hoped for a better business opportunity and found em- ployment as a salesman in a stationery business. The Sloans lived I wish to acknowledge the suppon of Helen Earr Sloan; the John Sloan Memorial Foundation; Harriet Menieger, Lihrarian, of the Helen Farr Sloan Library at the Del- aware Art Museum; and Maiy E Holahan, Registrar, Delaware Art Museum. 1. Sloan was still in Lock Haven in April 1877. Betty Elzea, The Wards and the Sloans: The Family Connection Between the Irish Firm of Colour Printers and the American Artist John Sloan (Wilmington: Delaware Art Museum, 1990), 36. ELIZABETH H. HAWKES is an independent curator from West Chester, Pennsylvania, specializing in American painting and illustration. She served as Associate Curator at the Delaware Art Museum and Curator of the Museum's John Sloan Collection.