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This fascinating book highlights the artist’s early career as an illustrator and how it influenced his work as a painter and shaped his response to modernism.
A close look at early 20th-century New York City is revealed through the eyesof Ashcan artist John Sloan.
Descriptions and histories of the 1,265 oils by John Sloan (1871-1951), more than 1,000 of which are illustrated. Includes critical commentary, the artist's own comments, and an analysis of Sloan's work and his role in American painting. Indexing by title and subject. Illustrated.
"Medical treatment of elderly people is not working. Worse, it is often harmful. Clear, hard-hitting, and authoritative, A Bitter Pill investigates why the medical system - from its one-size-fits-all prevention strategy to hospital stays that don't benefit anyone - is failing old people who are in fragile health and what we can do about it." --Book Jacket.
John French Sloan (August 2, 1871 - September 7, 1951) was a U.S. artist. As a member of The Eight, a group of American artists, he became a leading figure in the Ashcan School of realist artists. He was known for his urban genre painting and ability to capture the essence of neighborhood life in New York City, often through his window. Sloan has been called "the premier artist of the Ashcan School who painted the inexhaustible energy and life of New York City during the first decades of the twentieth century," and an "early twentieth-century realist painter who embraced the principles of socialism and placed his artistic talents at the service of those beliefs.
This illustrated, practical record of talks and instructional advice by a member of the "Ashcan School" of American painting discusses line, tone, texture, light and shade, composition, design, space, perspective, related issues. Also: figure drawing, painting, landscape and mural painting, much more. Wealth of helpful suggestions and exercises.
"Challenging the cornerstone assumption of Sloan as a neutral spectator, Coco suggests the ways that he used art to define himself as both man and artist, at a time when the ideals of masculinity and artistic identity were at issue. Examining his self-admitted fear of women, she demonstrates how Sloan's perception of them, as potentially threatening to his manhood and his career, manifests itself subtextually in the fetishized nature of his windowed compositions.".
Reprint of: John Sloan's New York scene. -- New York: Harper & Row, 1965.
The Ashcan School painter John Sloan was preoccupied with the New York City rooftop perhaps more than any other American artist in the early decades of the twentieth century. This major loan exhibition offers the first in-depth examination of Sloan's career-long interest in the urban rooftop and expands on the visual culture of "the city above the city" with examples by notable contemporaries, including George Ault, Edward Hopper, William Glackens, and Reginald Marsh. Organized by the Palmer Museum of Art, the exhibition is accompanied by a publication and will travel to The Hyde Collection.