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Portfolios%3D%22575%22%20and%20Sort_Artist%3D%22Sloan,%20John%22
Drawing
Angna Enters Dancing
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
10 5/16 x 6 1/2 in. (26.2 x 16.5 cm)
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without frame
Graphite
Graphite
0
0
1900-2000, 20th century, dance, drawing, women
Drawing
Drawing of dance/mime skit called 'Contre Danse' by performer Angna Enters.
Angna Enters (ca. 1900 -1989) was known for performances that were often referred to as 'compositions in dance form' or 'episodes.' Enters used dance, mime, acting, costumes, music and sets to bring to life an array of characters from different times and foreign countries. Miss Enters was also an artist and exhibited paintings and drawings at The Memorial Art Gallery in November of 1936 and she performed in Rochester at least once in 1946.
Raised in Milwaukee, Enters moved to New York City in the early 1920's, where she enrolled in a life class taught by John Sloan at the Art Students League. Enters and Sloan met again several years later after a performance she gave in 1925. Sloan, Robert Henri and others were so impressed with Enters' performance that they created a committee to promote her work as they had done decades earlier for dance legend Isadora Duncan.
[Gallery label text]
1996.96
item
Memorial Art Gallery
9/8/1999
96.96TR1
Transparency
Memorial Art Gallery
2 x 2 3/4
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96.96DI1
digital image
Memorial Art Gallery
Imaging complete
2/19/2001
http://127.0.0.1:5000/Media/images/96.96_A1.jpg
Painting
Chinese Restaurant
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
26 x 32 1/4 in. (66 x 81.9 cm)
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overall framed size
horizontal
frame
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without frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, Ashcan School and friends, cats, Encyclopedia Britannica Collection, important MAG collections, paintings
Painting
John Sloan’s interest in the working class was not only aesthetic, it was also political. By 1909, Sloan was an active member of the Socialist party and used his art to shine a light on the equally noble and interesting lives of the lower classes. Marrying style to subject, Sloan’s loose brushwork and dark colors epitomize the Ashcan style.
[Gallery label text, 2007]
In 1909, many artists and collectors would not have considered a Chinese restaurant to be an appropriate subject for a painting. The artist, John Sloan, was part of a group of artists labeled “Ashcan” painters early in the century, because of their frequent choice of the less genteel aspects of urban life. Now, Sloan’s paintings are recognized as major documents of American life and this painting, like many others on view in this installation, is often loaned to museums in the United States and overseas.
Also called “The Eight,” Sloan and his seven colleagues exhibited together in a landmark show at Macbeth Gallery in 1908 in response to the jurying system of the National Academy and its more traditional members that frequently excluded less conventional artists.
It’s amusing to consider that in 1943, when the Encyclopedia Britannica collection was being assembled, that a painting created in 1909 would be considered contemporary. However, it may have been included in recognition of the fact that John Sloan painted his contemporary world as he saw it. In fact, in 1943, the freshness of Sloan’s style and the timeless nature of the scene painted thirty-four years previously did not seem out of keeping with many works from the 1940s. And Sloan was still quite an active artist at this point in his life.
[Gallery label text, 2006]
As recommended by his mentor, painter Robert Henri, John Sloan derived most of his subjects from close observation of his surroundings. Such was the case on the night of February 23, 1909, when he went out to eat at a restaurant on Sixth Avenue, not far from Herald Square. He wrote, “I saw a strikingly gotten up girl with dashing red feathers in her hat playing with the restaurant's fat cat. It would be a good thing to paint. I may make a go at it.” Characteristically, Sloan waited for a bit before undertaking the work, and on March 15 wrote, “I started a memory painting of the Chinese Restaurant girl I saw some four weeks ago." His intermittent working style is revealed by a diary entry on March, 18, in which he described not only working on the painting, but going to the restaurant again to “refresh my memory of the place.”
In 1944, the painting joined a corporate collection of outstanding contemporary art formed by the Encyclopedia Britannica. In 1951, the Memorial Art Gallery acquired fourteen paintings from the collection – this painting and work by Thomas Hart Benton, Georgia O'Keeffe, and Stuart Davis, among others.
[Gallery label text, 2003]
lower left
1951.12
item
Memorial Art Gallery
9/8/1999
51.12TR1
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Memorial Art Gallery
4 x 5
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51.12DI1
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Memorial Art Gallery
Imaging complete
7/10/2000
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36sloan3.tif
digital image
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51.12TR2
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51.12DI#2
digital image
6/1/2009
http://127.0.0.1:5000/Media/images/51.12_A2.jpg
Painting
Election Night
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
26 3/8 x 32 1/4 in. (67 x 81.9 cm)
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approximate installation dimensions
frame
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Oil
Oil
1907
1907
1907
1900-2000, 20th century, Ashcan School and friends, movement, paintings, politics in art
Painting
This scene, nearly unintelligible in its crowding and confusion, is Sloan’s celebration of the furor of the city on election night.
[Gallery label text, 2007]
John Sloan met Robert Henri in Philadelphia, and from early on maintained a friendship and correspondence with him until Henri died in 1929. He moved to New York City at Henri’s urging.
On November 5, 1907, he wrote: “Election Day… saw the noisy trumpet blowers, confetti throwers and the 'ticklers' in use - a small feather duster on a stick which is pushed in the face of each girl by the men, and in the face of men by the girls. A good humorous crowd, so dense in places that it was impossible to control one's movement.” The location, Herald Square at 34th and Broadway, was close by the New York Herald Building as well as Macy's. The elevated railroad tracks loomed overhead, increasing the suggestion of noise and activity in the scene.
Sloan included Election Night as one of his entries in the 1908 exhibition at Macbeth Gallery. In his estimation, it was “…one of my best things. So that I felt happy in the evening, that good all over feeling that only comes from satisfaction in work - the real happiness, the joy of accomplishing or thinking that one has accomplished, which amounts to the same thing.”
[Gallery label text, 2003]
lower left
1941.33
item
Memorial Art Gallery
9/8/1999
41.33TR1
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Memorial Art Gallery
4 x 5
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41.33DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
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41.33SL3
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detail- lady in red
2 x 2
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detail-man with false nose
2 x 2
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detail-streetlight
2 x 2
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36sloan1.tif
digital image
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Print
Anshutz Talking on Anatomy
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
7 5/16 x 8 13/16 in. (18.5 x 22.4 cm)
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overall
sheet
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image/plate
Printer's ink
Printer's ink
1912
1912
1912
1900-2000, 20th century, etchings
Print
In 1905, shortly after Bellows arrived in New York to study painting, Robert Henri arranged a lecture at the New York School of Art by Thomas Anshutz, an instructor at the Pennsylvania Academy of Fine Arts. In attendance were a number of artists who would form the core of the urban realists led by Henri-among them George Bellows (standing, third from the right toward the upper right corner), John Sloan, and William Glackens. Sloan recorded the event in this etching.
On close examination, it is possible to see a caricature of Bellows with the initials GB. According to artist Rockwell Kent, who is also included in this etching, "We used to paint all over the walls of the studio, and Sloan shows some of those paintings in his etching. The one bearing the initials 'GB' is probably someone's caricature of Bellows at that time."
[Gallery label text]
lower rightlower leftlower center
1989.43
item
Memorial Art Gallery
9/8/1999
89/43SL1
slide
full
2 x 2
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89.43DI1
digital image
2 x 2
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89.43DI#2
digital image
9/6/2012
http://127.0.0.1:5000/Media/images/89.43_A2.jpg
Print
Barber Shop
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
()
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plate
image
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Printer's ink
Printer's ink
1915
1915
1915
1900-2000, 20th century, daily life, etchings
Print
lower rightlower rightlower left
1917.12
item
Memorial Art Gallery
9/8/1999
17.12SL1
slide
full
2 x 2
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2 x 2.5
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glossy
8 x 10
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17.12DI1
digital image
full
2 x 2
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http://127.0.0.1:5000/Media/images/17.12_A1.jpg
Print
Turning Out the Light
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
7 3/4 x 11 5/16 in. (19.7 x 28.7 cm)
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Printer's ink
Printer's ink
1905
1905
1905
1900-2000, 20th century, etchings, night, women
Print
For centuries, New York and Paris have shared a reputation as centers of vice and licentious behavior. While John Sloan’s tender print of a bedtime moment in a New York tenement seems far removed from the ubiquitous and explicit displays of contemporary sexuality, the image was firmly rejected for the American Water Color Society’s 1906 exhibition as being ‘vulgar’ and ‘indecent.’
Sloan was part of a group of artists later called the Ashcan School, who did not shy away from subjects that other artists found unworthy or unattractive. Because so many of the artists, among them Sloan, had difficulty exhibiting their work due to their choice of subject matter and their idiosyncratic styles, they mounted their own exhibition in 1908 at Macbeth Gallery in New York City and were subsequently referred to as The Eight.
[Label text, 2003]
lower rightlower leftlower centerlower left, in the plate
1991.22
item
Memorial Art Gallery
9/8/1999
91.22SL1
slide
full
2 x 2
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91.22DI1
digital image
2 x 2
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91.22DI#2
digital image
5/26/2016
http://127.0.0.1:5000/Media/images/91.22_A2.jpg