A Retrospective Exhibition of Etchings: Works in Exhibition
John Sloan, Dedham Castle (after Turner), 1888.
“This pale little plate, the earliest of my efforts at etching, is so timidly bitten that it looks like a drypoint. The exciting action of the acid evidently frightened me so that it is hard for me to believe that the lines ever saw acid. Done at the age of seventeen.”
John Sloan- Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, George Eliot, 1890.
“Made from a woodcut. While stronger than my first attempts, it has a sort of delicacy of approach that I haven’t pushed much further.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Girl and Harp, 1891.
“A rather interesting example of a plate which was discarded because the ground had broken down and the acid had gotten out of control. Kept perhaps on account of a poetic quality.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, George W. Childs, 1892.
“(This plate was lost. I have no proofs of it.)”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Schuylkill River, 1894.
“One of my few plates that looks like an etching from the connoisseur’s point of view. It might be that had I pursued the direction here suggested my etchings might have become quite popular. The plate was made with William Glackens beside me, absorbing his first and only lesson in etching.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Girl Seated, 1903, drypoint.
“Is done in drypoint, a medium which has never appealed to me; consequently this is a rather lonely example in my output.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, C. K. Keller, 1903.
“A friend in the art department of the Philadelphia Press, this early plate is etched in a manner that shows a trifle too much delicacy. The hand is rather good, but it is very much under the influences of perspective.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Paul de Kock, Portrait (and 53 plates for books), 1904.
“This large plate of Paul de Kock is a compilation from various contemporary portraits of the French novelist. From 1902 to 1905 I was engaged in making fifty-three etched illustrations for a limited edition of his works, which was published by Frederick J. Quimby, Boston.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Robert Henri, 1905.
“A sketch plate of my great friend and teacher, the distinguished painter, Robert Henri.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Will Bradner, 1905.
“A violinist friend in Philadelphia. This plate shows growing skill with the medium owing to the fact that I was producing the de Kock etchings at the time. The experience I gained in making over fifty plates during a period of three years did a great deal for my growth and proficiency as an etcher.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Flute Player, 1905.
“This was made shortly after my arrival in New York. I am sure he was less awed by the great city that I was at the time.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, James B. Moore, Esq., 1905.
“A typical New York bon vivant Tammany man, a friend and patron of the artists. He started a restaurant of his own in competition with Mouquin’s.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Connoisseurs of Prints, 1905.
“The first of my New York life plates. It shows an exhibition of prints that were to be auctioned at the old American Art Galleries on 23rd Street. The first of the series of “Connoisseurs” planned but never made.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Fifth Avenue Critics, 1905.
“These were typical of the fashionable ladies who used to drive up and down the Avenue about four o’clock of an afternoon, showing themselves and criticizing others.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, The Show Case, 1905.
“Material from west 23rd Street and Sixth Avenue appealed to me at this time. The devices of the toilette, which were then secrets, created more excitement among the adolescents than they would today.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Fun, One Cent, 1905.
“The Nickelodeon, with its hand-crafted moving photographs, was one of the attractions preceding the moving picture theaters. The one in which I garnered this bouquet of laughing girls was for many years on 14th Street near Third Avenue.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Man Monkey, 1905.
“In the side streets of the Chelsea and Greenwich Village districts, the one man band with hand organ accompanist furnished free entertainment to those who dropped no pennies.. He worked the horse-drawn traffic of the time, but before many years the automobile and motor truck cleared him from the streets.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, The Woman’s Page, 1905.
“Observations of life in furnished rooms back of my 23rd Street studio inspired many of my etchings and paintings of this period. Done with sympathy but no ‘social consciousness.’”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Man, Wife and Child, 1905.
“The conjugal status given by this title has, I hope, prevented any improper interpretation being placed on this scene. A small family in scant quarters.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Turning Out the Light, 1905.
“This plate has ‘charm.’ A verdict handed down by a very well known art critic of those days, Russell Sturgis, to whom I showed this group of my New York etchings. Perhaps it has, I’m not interested.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, The Little Bride, 1905.
“Back in 1906 there was a considerable French population north of 23rd Street, and the church near the Proctor’s Theater was known as the French Church. The stone steps down which these newly-weds are escaping have since been removed.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Roofs, Summer Night, 1906.
“I have always liked to watch the people in the summer, especially the way they live on the roofs. For many years I have not seen the summer life of the city, which has perhaps been better for my health than my production of city life etchings.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Mother, 1906.
“For many years my mother was an invalid, but a happy one. Her interest in life and her wit and humor were unfailing to the end.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Memory, 1906.
“A memorial plate made after Linda Henri died, an intimate print which has become one of the most popular of my etchings.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Jewelry Store Window, 1906.
“This plate was made for ‘Canzoni’ by T. A. Daly, whose sentimentally humorous Dago dialect poems were nationally known.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Treasure Trove, 1907.
“This was a demonstration plate made to show the technical routine of biting various types of linework. Sometimes admired for its rather romantic treatment, but for the same reason not much to my liking.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Copyist at the Museum, 1908.
“I remember having trouble with an attempt at likenesses of myself and Dolly in the foreground of this plate. Why should the artist be so critical in such an unimportant matter.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Christmas Dinners, 1909.
“While contributions drop into the pot the city derelict wonders if he will live to dine. A sketch plate.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Turkey from Uncle, 1910.
“Two years have passed with few etchings. I remember an intensified interest in painting. During this period I first painted Hardesty Maratta’s colors, the use of which gave me my first real insight into color principles.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Night Windows, 1910.
“While his faithful wife is doing the wash downstairs my neighbor casts a roving eye across the area way. A commonplace or even vulgar incident may produce a work of art.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Girl and Beggar, 1910.
“Twenty-third Street, a winter night, and two haunters of the sidewalk. ‘Putting the Best Foot Forward,’ a drawing made for Harper’s Weekly was a variant on this theme.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, The Picture Buyer, 1911.
“William Macbeth hopes to make a sale. Casual visitors to his gallery tiptoe about, awed by the presence of purchasing power. A strong plate.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Anshutz on Anatomy, 1912.
“Tom Anschutz, our old teacher at the Pennsylvania Academy, gave anatomical demonstrations of great value to art students. Modeling the muscles in clay, he would then fix them in place on the skeleton. Those present in this etched record of a talk in Henri’s New York class include: Robert and Linda Henri, George Bellows, Walter Pach, Rockwell Kent, John and Dolly Sloan.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, The Serenade, 1912.
“Another frontispiece for a second collection of Tom Daly’s Dago dialect verses.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Swinging in the Square, 1912.
“I have always had enthusiastic interest in unspoiled girlhood, more in evidence in 1912 than now. Growth toward real womanhood is so often check at about this age.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Hanging Clothes, 1912.
“One of several small plates that were sent to friends at New Year’s.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Rag Pickers, 1913.
“A glimpse into one of the cellars in West Third Street under the elevated tracks which were occupied by rag sorters.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Combing her Hair, 1913.
“The secrets of the toilette as revealed to an incorrigible window watcher. Might have been called ‘At the Switch.’”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Prone Nude, 1913.
“My painting of the figure made at this period lack the graphic expression in which lies the chief merit of this plate.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Head with Necklace, 1913.
Not an important plate, but it has some technical relationship to Rembrandt, greatest of all teachers.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Girl in Kimono, 1913.
“Less reality is found in this plate than in most others of this period, for the reason that it was made directly from life. I feel that it is too much a visual record. The earnest study from the living model in the plates I etched from 1931 to 1933 was directed toward more dynamic realization, beyond visual.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Girls Running, 1914.
“This plate is another arising from my love for untamed womanhood. Made from reality because made from memory, like all of my city life etchings.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Woman and Child on Roof, 1914.
“The heat of summer in New York drives the folks at home to the roofs of the tenements, where extemporized shelters make spots that are comparatively cool. I suppose there are evidences of ‘social consciousness’ in this plate, but I hope no sentimentality.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Love on the Roof, 1914.
“Poetic license probably permitted me to introduce many details in these city life plates. Note the protest of the fluttering garments and the neglected child.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Isadora Duncan, 1915.
“When this great American and international high priestess of the dance returned from France at the outbreak of World War 1, for her first appearance in two years, after the tragic death of her children, she lacked the slenderness but was still, in my opinion, the greatest dancer on earth.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Barber Shop, 1915.
“Done on a zinc plate which is not susceptible to delicate biting. The linework was etched first, then the plate coated with powdered resin and prepared for aquatint in the usual manner. The lightest areas were blocked out first with stopping varnish, then medium darks, while the darkest were exposed the longest to the acid bath. I don’t remember making any previous experiments with aquatint.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Greetings, 1915, 1915.
“One of my New Year’s plates. I watched this little mother as she watched the world go by.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Girls Sliding, 1915.
“Healthy happy girls putting on a floor show for appreciative bums in Washington Square.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Return from Toil, 1915.
“A bevy of boisterous girls with plenty of energy left after a hard day’s work. A simplified version of this subject was made for a cover drawing of The Masses.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Mars and Bacchante, 1915.
“A happy old harridan of pre-Prohibition days has constituted herself a problem by seeking support from the U.S. Mail Box.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Silence (Isaac Rice), 1915.
“Isaac Rice’s chief claim to fame in the fact that he backed Holland in his early experiments with submarine vessels. This post-mortem etching was commissioned by his widow as a memorial. George Bellows made a drawing at the same time.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Isaac Rice, 1915.
“Isaac Rice was known among chess players as the inventor of the ‘Rice Gambit.’ This portrait, commissioned by Mrs. Rice, was compiled from various photographic sources.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, McSorley’s Back Room, 1916.
“Old John McSorley and two friends in the back room of the now famous McSorley’s Old House at Home. Nothing but ale was ever served there.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Calf Love, 1916.
“Adolescent affection expresses itself in slaps and kicks and general rough handling.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Standing Nude, 1916.
“May be compared with the nudes etched in the Thirties, although the plate is relatively trivial in purpose.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Growing up in Greenwich, 1917.
“A glimpse of the trials of a Village girl emerging into young ladyhood.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Sidewalk, 1917.
“An everyday incident on New York’s East Side. A plate missing from most American collections.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Mosaic, 1917.
“The plate is a satire on abstract art, and implies that followers of this trend are obeying the Mosaic Law.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, “Hell Hole”, 1917.
“The back room of Wallace’s at Sixth Avenue and West Fourth Street was a gathering place for artists, writers and bohemians of Greenwich Village. The character in the upper right hand corner of the plate is Eugene O’Neill. Strongly etched lines are reinforced by aquatint tones.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Arch Conspirators, 1917.
“A mid-winter party on the roof of the Washington Square Arch. Among those present: Marcel Duchamp (Nude Descending the Stairs), Charles Ellis (actor), John Sloan, and Gertrude Smith (Woe) instigator of the affair. A document was drawn up to establish the secession of Greenwich Village from the United States, and claiming protection of President Wilson as one of the mall nations. The door of the Arch stairway has since been kept locked.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Seeing New York, 1917.
“Poultry on the way to East Side execution. A sketch plate.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Nude Sketches, 1917.
“Needled on the plate directly from life. This etching is interesting in its gradations of biting, which are well controlled.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, New Year’s Eve and Adam, 1918.
“With some degree of exaggeration this records an incident of the holiday season in a New York hotel.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Bandit’s Cave, 1920.
“Uptown thrill seekers during the period of Prohibition are about to venture into a basement ‘tea room’ in Bohemia.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Bonfire, 1920.
“This fire frolic on a vacant lot has resulted in a plate with fine qualities of light and movement.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Boys Sledding, 1920.
“A lively impression from Washington Square after a snowstorm. In going back over my etchings for the purpose of these comments, it seems notable that I have been more interested in life than in ‘art.’ Too many of us today are over-concerned with formulas. There is little doubt, however, that we will emerge eventually better artists for having been through a period of conscious study.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Movie Troupe, 1920.
“Director, leading man, leading lady, and camera man have made use of one of the picturesque backgrounds to be found in Greenwich Village at that time.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Fire Can, 1921.
“A New Year plate dealing with the ‘fun with fire’ theme.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Little Woman, 1921.
“This plate was made on New Year’s eve. While my wife was dozing in the New Year I made this etching ‘to start the New Year right.’”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Stealing the Wash, 1921.
“A connoisseur in woolen underwear makes his selection from a wash hung out on the roofs below my studio window.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Invitation, 1921.
“This little plate in which the technique is so well adapted to the scale, foretells a gay party at the studio.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Patrol Party, 1921.
“Another ‘invitation’ plate for a studio party during Prohibition. Here again the technique is well adapted to the size of the plate.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Dragon of the Rio Grande, 1922.
“There are few landscaped etchings among my works.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Sisters at the Window, 1923.
“A girl on the brink of adolescence under the watchful eye of her younger sister, both under the watchful eye of the neighboring etcher. Subject matter which produced one of my best plates.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Herself in Chair, 1923.
“Darning the stockings of ‘himself’ is a study of studio life, with light quality well rendered.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Rector’s Daughter, 1923.
“Ann Rector, a student at the League who married Duffy, well known cartoonist of the Baltimore Sun.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Sixth Avenue, Greenwich Village, 1923.
“Looking at this etching with the plates of Albrecht Durer in mind, one notes great differences in design and technique. Here, life is stressed and formal composition is less evident, the handling more emotional. A comparison of extremes, perhaps.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Shine in the Square, 1923.
It has been said that my work has been influenced by Cruikshank, but no critic has traced it to its true source which is the work of John Leech, particularly in his Punch drawings. Cruikshank’s people always have a quality of caricature.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Washington Arch, 1923.
“A simple and telling design which would have been weakened by more delicate technical approach.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Bob Cat Wins, 1924.
“A feminine row outside a ‘tea room’ during the days of Prohibition, demonstrating the advantages of the new bobbed hair in such an encounter.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Snowstorm in the Village, 1925.
“Viewed from my studio on Washington Place, the Jefferson Market Court tower and the elevated tracks on Sixth Avenue under a swirl of snow.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, “Patience”, 1925.
“An operatic episode. My memory fails to provide the names and place, but the plate makes its own record.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Sculpture in Washington Square, 1925.
“The title refers to the Garibaldi statue, the Washington Arch, the snow man and the helter skelter Tammany tree surgery. The life of Washington Square furnished me with much material I often regret leaving the neighborhood.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Busses in Washington Square, 1925.
“Holiday afternoons and Sunday were busy days for the Riverside buses leaving the Square. My studio windows overlooked this patient crowd; this etching and several paintings of similar scenes resulted.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, A. Enters, Contre-dance, 1926.
“The first of a number of plates which were inspired by the charming and original dance episodes of Angna Enters. This is the only one for which she posed.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, Nude with Mirror, 1926.
“Line and aquatint. It may be here noted that with me aquatint tones have no delicate transition nor do I desire such.”
John Sloan-Comments on Etchings Originally published in conjunction with the exhibition.
John Sloan, X-rays, 1926.
“A consultation on the interior arrangements of John Sloan, this aquatint has always amused friends in the medical profession.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Subway Stairs, 1926.
“In modern times incoming trains cause updrafts in the subway entrances. Getting on an omnibus in the hoop-skirt period was exciting in great grandmother’s day.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Reading in the Subway, 1926.
“As Sir John Suckling wrote in 1620: ‘Her feet beneath her perricoat Like little mice peeped in and out, As id they feared the light.’”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Fashions of the Past, 1926.
“A well-arranged shop window and the contrasting costumes of the passers-by, whose dress of the time will in turn become costumes of the past.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Easter Eve, Washington Square, 1926.
“An aquatint record of an April shower, happy girls and spring flowers.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Miss Angna Enters in “Rendez-vous” (No. 1), 1926.
“A plate made for New Year’s -the title ‘1927 Enters.’”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Miss Angna Enters in “Rendez-vous” (No. 2), 1926.
“No one could be more able than Miss Enters to recreate the beauty of woman in the costumes of past days. The spectator is carried back to live in the past and he has a sensation of contemporary appreciation.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Twenty-fifth Anniversary, 1926.
“An invitation to what turned out to be a very jolly affair in the garden of our Santa Fe studio.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Kraushaar’s, 1926.
“My old friend, John F. Kraushaar engaged in the difficult job of selling a picture to a man whose wife feels she needs sables.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, The Indian Detour, 1927.
“A satire on the Harvey Indian Tour. Buses take the tourists out to view the Indian dances, which are religious ceremonials and naturally understood as such by the visiting crowds.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Enters in “Odalisque”, 1927.
“Miss Enters’ beautiful and sensuous interpretation of Renoir’s painting of the same title.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Knees and Aborigines, 1927.
“A civilized audience when skirts were at their height, viewing modestly dressed savages at a pueblo Indian dance in New Mexico. Perhaps the pun may be permitted.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, The Lafayette, 1928.
“An old restaurant and hotel whose French cuisine has been for years and still is regarded as one of the best in New York. The atmosphere of the Nineteenth Century remains.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude Reading, 1928.
“This nude posed in the etcher’s studio gives the first strong evidence of sculptural approach. It is interesting to recall that the same quality is being sought in the paintings of and since that time.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Fourteenth Street, “The Wigman”, 1928.
“Old Tammany Hall, headquarters of the bosses of New York City, has ceased to exist. It lurked, menacing, in dingy red brick, facing the tawdry amusements of East Fourteenth Street.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Frankie and Johnnie, 1928.
“A small chorus singing ‘Frankie and Johnnie’ crowds the tiny stage of Provincetown Players Theater in Macdougall Street.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Seven Toed Pete, 1929.
“This plate was produced on order of a patron who was much interested in the card game so named.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Dolly, 1929.
“A worthy plate, but being family portraiture it never seemed entirely successful as a likeness, a common defect of good portraits.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Antique a la Francaise, 1929.
“With all of its precision this plate has a satisfactory sense of the life and artistry of Angna Enters’ marvelous dance episodes. Some line engraving is used in addition to the etching.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude on Stairs, 1930.
“One of the larger plates and quite a successful translation of form and color-sculpture.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, “Up the Line, Miss?”, 1930.
“A young lady of Greenwich Village who is about to treat herself to an afternoon drive on Fifth Avenue. Etched from a sketch made years before.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Pavanna, 1930.
“This plate has merits but it lacks the disdainful majesty of Miss Enters’ portrayal of a proud, sensual and religious Spanish aristocrat.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Salesmanship, 1930.
“The wily art of selling a thing that is neither liked nor wanted.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, The Green Hour, 1930.
“I have made several etchings produced under the inspiration of the creative genius of Angna Enters. This one has given me great satisfaction. (Drawing on tissue paper) Sketch note made on the spot, and the final plan worked out on tissue paper from which the main outlines were traced on the smoked wax-covered copper plate.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude on Draped Couch, 1931.
“Now begins the period of sustained interest in the nude figure, both in my etchings and paintings, which holds me to the present day. This plate has good sculptural qualities.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Crouching Nude and Press, 1931.
“A very successful plate, a favorite of both the artist and some print collectors.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Robert Henri, Painter, 1931.
“Made after his death, from a planned portrait sketch of twenty five years before. I am well pleased with the plate and hope that is conveys some of the kindly strength and helpful wisdom which this great artist so freely gave to others.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude with Cigarette, 1931.
“The nudes of this period were needled directly on the plate without preliminary studies, and when they achieve results like this I feel they are of lasting importance.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Half Nude on Elbow, 1931.
“Here there is an attempt at linework of too much delicacy which interferes with the sense of realization.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude by Bookcase, 1931.
“Nothing could be less informative or romantic than the titles of these etchings. Perhaps I should have called one ‘Poetry.’”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Long Prone Nude, 1931.
“The general effect is delicate, but it is robust in drawing. Has monumental characteristics.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude in Shadow, 1931.
“Here I attempted the difficult problem of drawing a figure entirely in shadow without losing the sense of solidity.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude and Etching Press, 1931.
“If I am not mistaken this plate has charm, not, however, of a kind that I would object to.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude Resting on Elbow, 1931.
“Might this plate be too skillful and technically proficient? Perhaps as well that it is in this way rather an exception.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude with Furniture, 1931.
“This etching seems to catch the ‘ethereal’ quality of flesh amid furniture and draperies, although I must admit I had no such purpose in mind.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude on the Floor, 1931.
“One of the best of this group of etchings. Shows my interest in achieving foreshortening without perspective. I have said a great deal about this in my Gist of Art. Line engraving is introduced in this plate.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude with Bowl of Fruit, 1931.
“Thirty-one nude subjects were etched between 1930 and 1933, and at the same time many canvases were painted. The most appreciative remark I have ever heard made about this print was ‘she looks like metal.’ My liking for this expression indicates the fact that I am not interested in the delicate beauty of human flesh. Worthwhile sculpture has no such sensuous interest.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude with Halo, 1931.
“I think we can all agree that this lacks the voluptuous charm of a Boucher or a Fragonard. ‘T is well.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude on Studio Couch, 1931.
“Rather nice in technique. I am glad they are not all nice this way.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude on Posing Stand, 1931.
“The technical delicacy of this plate is more likely to please others that the artist. I has good tonal qualities and perhaps ‘charm.’”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude on Chaise Lounge by Window, 1933.
“I had intended to go on with this plate; however, experience tells me that further work does not always mean improvement.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude Leaning over Chaise Lounge, 1933.
“This is more sensitive than some others of this period, but has also sufficient strength and perhaps beauty.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude Foreshortened, 1933.
“The presence of some engraved lines in this plate makes many of the etched lines seem to have the same quality.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude on Hearth, 1933.
“This painting is to me related to the painting of Renoir, which is not surprising since I believe the approach is similar to the painter’s approach to realization.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude with Wine Glass, 1933.
“This will become a rare state as soon as I get around to clearing up the face, which is at present inconsistent.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude in Armchair by Fireplace, 1933.
“Many of these plates will be better appreciated when print collectors break through their conventional attitude toward technique and subject matter.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Brunette Head and Shoulders, 1933.
“A color-sculptural result is achieved here which is all too infrequently found in etchings.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude and Arch, 1933.
“For about ten years my studio overlooked Washington Square, in a house remodelled by George Inness, Jr., son of the great landscape painter.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude Standing on Stairway, 1933.
“Most of these figure etchings are, I trust, quite lacking in emotional appeal. But many have no lack of sculptural integrity.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude at Dressing Table, 1933.
“I hope, and I almost believe, that some day more people will join the artist in linking the nude plates of 1931-1933.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude at Piano, 1933.
“A strong relationship between this etching and the painting of Renoir is to me quite noticeable. My own best results in painting of the nude are made with the same graphic intent.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude and Breakfast Tray, 1933.
“This plate is very satisfactory to its producer and it might be hoped that general appreciation may come eventually. If the figure to you looks like brass, I thoroughly agree; that is one reason why I like it. Too many nudes absolutely fail as art because they look like flesh looks.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude at Bedside, 1933.
“Many of these nude study plates have invented accessories, which in this case assist the figure considerably.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Standing Nude, 1933.
“The figure etches, and the background engraved with the burin.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Nude and Newspapers, 1933.
“Strong in drawing and striking in black and white relationships. Real and not realistic; has carrying power that may sometimes be desirable in a print. Going further in color-texture had perhaps been my intention but it is just as well that I left the plate when I did. Perhaps before long the public will begin to realize that nudes are not necessarily cheaply realistic, sentimental, or even sensuous as Thomas Craven seems to demand.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Romany Marye in Christopher Street, 1922, 1936.
“All Greenwich Villagers know Romany Marye, who has acted the part of hostess, philosopher and friend in her series of quiet little restaurants for the past thirty-five years. The etching shows her chatting in her deep comfortable voice to Dolly and myself.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Dolly Sloan, 1936.
“On account of the graphic experiment going on in this etching, it is best viewed from distance of about three feet, as perspective is deliberately reversed.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Better Mouse-traps?, 1937.
“Someone has written- if a man excel in anything, even if it only be in making better mouse-traps, the world will make a path to his door.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Snow on the Range, 1937.
“Early in October the Sangre de Christo Range wears its first blanket of snow.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Winnowing Wheat, 1937.
“A primitive process still to be seen in the Indian villages of the New World.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Sante Fe Family, 1937.
“A burro carries the male, the senora and child proceed on foot.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Black Pot, 1937.
“The potter’s art bridges the gulf between two civilizations.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Hombres in the Sun, 1937.
“Sante Fe winter: warm in the sun, cold in the shade.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, 150- 165. Plates for “Of Human Bondage”, 1937.
“Plates made for Somerset Maugham’s Of Human Bondage, published by the Limited Editions Club. Of Human Bondage is a great and strong novel and I welcomed the opportunity of making sixteen etchings for the Limited Editions Club. I dare not hope that the illustrations I made reach the perfection of Somerset Maugham’s masterpiece. (Drawings) Preliminary drawings for the etchings were made on tissue paper, then coated with paraffin, reversed and traced on the etching ground.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, A Thirst for Art, 1938.
“One of those exhibition opening cocktails parties. Enthusiasm resulting from the lifting of Prohibition prevails over interest in art.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Their Appointed Rounds, 1939.
“A mezzotint practically. It was a discarded plate that I ground down on a carborundum wheel. Then I etched the drawing, took the wax off and burnished down the surface to make the lights. The highest whites were most highly polished.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, The Shell of Hell, 1939.
“Etching and mezzotint. This plate made in January, 1939, is an expression of the idea that uniforms are one of the basic devices of militarism. The world began to go to war a few months later.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Sunbathers on the Roof, 1941.
“Twenty years during which my summers were spent in Sante Fe, lessened my opportunities of studying New York life at its best in the summer. This etching, done many years after most of my New York plates, is, I think, of equal merit.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
John Sloan, Fifth Avenue, 1909, 1941.
“My most recent etching and my most honored, a prize winner in fact. I hardly think the plate deserves this distinction, but prizes have always been the least of my worries.”
John Sloan-Comments on Etching Originally published in conjunction with the exhibition.
