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    Self-Portrait with a Grey Felt Hat 1886-87 oil on canvas

    This is part 2 of a 5-part post on the drawings of Vincent van Gogh (1853 - 1890). Vincent van Gogh's more than 1,100 drawings remain comparatively unknown, although they are among his most ingenious and striking creations. He engaged drawing and painting in a rich dialogue, which enabled him to fully realise the creative potential of both means of expression. For more notes on van Gogh's drawings and for earlier works, see part 1. 

    1882 Woman with a Broom pencil, & watercolour on paper

    1882 Woman with a Broom pencil, & watercolour

    1882-83 Girl with a Shawl pencil & lithographic crayon on paper 51 x 31.3 cm

    1882-83 Head of a Fisherman with a Fringe of Beard and a Sou'wester pencil, lithographic crayon, pen, brush & ink, watercolour, heightened with opaque white

    1882-83 Head of a Woman pencil, lithographic crayon & wash on paper

    1882-83 Head of a Woman pencil, lithographic crayon, watercolour, heightened with opaque white on paper

    1882-83 Head of a Woman pencil, lithographic crayon

    1882-83 Head of a Woman pencil, pen, brush & ink

    1882-83 Old Man with a Top Hat pencil, lithographic crayon, pen & brush on paper

    1883 Fisherman pencil 47 x 25 cm

    1883 Girl Kneeling by a Cradle pencil, charcoal, heightened with opaque white

    1883 Girl with Pinafore, Half-Figure pencil, black chalk, pen, brush & ink, heightened with opaque white

    1883 Head of a Fisherman with a Fringe of Beard and a Sou'wester pencil, lithographic crayon, pen, brush & ink, watercolour

    1883 Head of a Fisherman with a Fringe of Beard and a Sou'wester pencil, lithographic crayon, pen, brush & ink, watercolour

    1883 Head of a Woman pencil, lithographic crayon & watercolour

    1883 Landscape with a Church pencil, pen & ink

    1883 Man Breaking Up the Soil pencil, black chalk & wash

    1883 Melancholy pencil, pen & ink on paper

    1883 Parsonage Garden in the Snow with Three Figures pen, brush & ink

    1883 Sien, Sewing, Half-Figure pencil & black chalk on paper

    1883 Sien, Sitting on a Basket, with a Girl black chalk, pen, brush & ink, watercolour

    1884 Alley Bordered by Trees pencil, brush & ink, white chalk 20.6 x 12.5 cmjpg

    1884 Avenue of Poplars pencil & ink

    1884 Ditch pencil, pen & ink, heightened with opaque white 42.3 x 34.5 cm

    1884 Houses with Thatched Roofs pencil, pen & ink, heightened with opaque white

    1884 Parsonage Garden pen & ink, heightened with opaque white 51.5 x 38 cm

    1884 Parsonage Garden pencil, pen & ink 40.3 x 54.6 cm

    1884 Pollard Birches pencil, ink, heightened with opaque white 39.5 x 54.2 cm

    1884 Pond with a Kingfisher pencil, pen, brush & ink, heightened with opaque white 40.2 x 54.2 cm

    1884 The Vicarage Garden pencil, pen & ink

    1884 Young Man with a Pipe pencil & watercolour

    1884-85 Head of a Man pencil, pen, brush, ink & wash on paper

    1884-85 Head of a Man pencil, pen, brush, ink & wash

    1884-85 Head of a Woman black chalk

    1884-85 Head of a Woman chalk on paper

    1884-85 Head of a Woman chalk on paper

    1884-85 Head of a Woman pen & ink

    1884-85 Head of a Woman pen, brush, ink & wash

    1884-85 Head of a Woman pencil & chalk on paper

    1884-85 Head of a Woman pencil, chalk & wash on paper

    1884-85 Head of a Woman pencil, pen & ink on paper

    1884-85 Head of a Woman pencil, pen & ink

    1884-85 Head of a Woman pencil, pen, brush & ink

    1884-85 Head of a Woman pencil, pen, brush & ink on paper


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    Self-Portrait 1887 oil on panel 34.9 x 26.7 cm
    This is part 3 of a 5-part post on the drawings of Vincent van Gogh (1853 - 1890). Vincent van Gogh's more than 1,100 drawings remain comparatively unknown, although they are among his most ingenious and striking creations. He engaged drawing and painting in a rich dialogue, which enabled him to fully realise the creative potential of both means of expression. For more notes on van Gogh's drawings see part 1. For earlier works see parts 1& 2 also. Note: Where a drawing relates to a finished oil painting I have also shown the painting:


    1884-85 Head of a Woman pencil, pen, brush & ink

    1884-85 Head of a Woman pencil

    1884-85 Head of a Young Man pencil

    1884-85 Head of a Young Man pencil

    1884-85 Head of a Young Man with a Pipe pencil

    1884-85 Peasant Woman, Head black chalk 40.2 x 33.3 cm

    1884-85 Woman with a Shawl black chalk

    1884-85 pencil, pen, brush, ink & wash

    1885 Head of an Old Man black chalk

    1885 Landscape in Stormy Weather black chalk

    1885 Landscape with Cottages and a Mill chalk on paper

    1885 Peasant Lifting Beet crayon

    1885 Peasant Woman Bending Over black chalk & wash on paper 52.2 x 43.2 cm

    1885 Peasant Woman Digging black chalk & wash

    1885 Peasant Woman Digging black chalk on paper 55.7 x 41 cm (see painting below)

    1885 Peasant Woman Digging oil on panel

    1885 Peasant Woman at the Washtub black chalk

    1885 Peasant black chalk

    1885 Peasant Woman Gleaning black chalk, grey wash heightened with opaque white 53.3 x 42.5 cm

    1885 Peasant Woman Lifting Potatoes black chalk & wash

    1885 Peasant Woman Lifting Potatoes black chalk

    1885 Peasant Woman Stooping and Gleaning black chalk on paper

    1885 Peasant Woman, Stooping with a Spade, Digging Up Carrots black chalk


    1885 Peasant Woman, Carrying Wheat in Her Apron black chalk & wash on paper

    1885 Peasant Woman, Carrying a Sheaf of Grain black chalk & wash

    1885 Peasant Woman, Kneeling, Seen from the Back black chalk 43 x 52 cm

    1885 Peasant Woman, Pitching Wheat or Hay black chalk on paper

    1885 Peasant Woman, Working with a Long Stick black chalk

    1885 Peasant, Digging chalk on paper

    1885 Planting Beets charcoal heightened with opaque white 114.3 x 132.3 cm

    1885 Wheat Field with Sheaves and a Windmill black chalk 44.3 x 56.3 cm

    1885 Woman by the Wash Tub in the Garden pencil, chalk, pen & ink on paper 32.1 x 26.3 cm


    1886 Churchyard in the Rain pen, brush, coloured chalk heightened with opaque white 36.9 x 48.3 cm

    1886 Terrace of a Café (La Guinuette) pencil, pen & ink heightened with opaque white 38.7 x 52.5 cm

    1887 Boulevard de Clichy, Paris pen & coloured chalk 40.1 x 54.4 cm

    1887 Head of a Man (possibly Theo van Gogh) charcoal & coloured chalk

    1888 A Garden with Flowers pen & ink 61 x 49 cm

    1888 Arles, View from the Wheat Field pen & ink 31.5 x 24 cm (see painting below)

    1888 Arles, View from the Wheat Field oil on canvas 73 x 54 cm

    1888 Bush in the Park at Arles pen & ink 13.5 x 17 cm

    1888 Farmhouse with Wheat Field Along a Road pencil, pen & ink 25.8 x 34.9 cm

    1888 Field of Grass with a Round Clipped Shrub pencil, pen & ink on paper 25.8 x 34.6

    1888 Fishing Boats at Sea pen & ink 24.2 x 31.6 cm

    1888 Fishing Boats at Sea pen & ink 24.2 x 31.6 cm (see watercolour below)

    1888 Fishing Boats on the Beach at Saintes-Maries watercolour 40.4 x 55.5 cm (see painting below)


    1888 Fishing Boats on the Beach at Saintes-Maries oil on canvas 65 x 81.5 cm


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    Self-Portrait as a Painter 1888 oil on canvas 65.5 x 50.5 cm
    This is part 4 of a 5-part post on the drawings of Vincent van Gogh (1853 - 1890). Vincent van Gogh's more than 1,100 drawings remain comparatively unknown, although they are among his most ingenious and striking creations. He engaged drawing and painting in a rich dialogue, which enabled him to fully realise the creative potential of both means of expression. For more notes on van Gogh's drawings see part 1. For earlier works see parts 1 - 3 also. Note: Where a drawing relates to a finished oil painting I have also shown the painting:

    1888 Garden with Flowers pen & ink 24 x 31.5 cm

    1888 Garden with Flowers pen & ink 49 x 61 cm

    1888 Garden with Sunflowers pencil, pen & ink 60.7 x 49.2 cm

    1888 Harvest Landscape pen & ink on paper 24.1 x 31.8 cm

    1888 Harvest Landscape pen & ink 24.2 x 31.9 cm

    1888 Harvest in Provence, at the Left Montmajour pen & watercolour 39.5 x 52.5 cm

    1888 Harvest Landscape watercolour (see painting below)

    1888 The Harvest oil on canvas 75 x 92 cm

    1888 Haystacks near a Farm pen & ink 24.1 x 31.8 cm

    1888 Haystacks near a Farm pen & ink on paper 24.1 x 31.9 cm (see painting below)

    1888 Haystacks near a Farm oil on canvas 73 x 92.5 cm

    1888 Hill with the Ruins of Montmajour pen & ink

    1888 Joseph Roulin, Sitting in a Cane Chair, Three-Quarter-Length pen & ink

    1888 Joseph Roulin, Three-Quarter-Length pen & ink on paper 51.4 x 42.2 cm (see painting below)

    1888 Joseph Roulin, Sitting in a Cane Chair oil on canvas 81.3 x 65.4 cm

    1888 La Crau Seen from Montmajour pencil, pen & ink 48.6 x 60.4 cm

    1888 Landscape near Montmajour with Train pencil, black chalk, pen & ink

    1888 Landscape with Hut in the Camargue pencil, pen & ink

    1888 Landscape with Path and Pollard Trees pencil, pen & ink on paper 25.8 x 34.7 cm

    1888 Lawn with Weeping Tree pencil, pen & ink

    1888 Meadow with Flowers pencil, pen & ink on paper 25.7 x 34.7 cm

    1888 Newly Mowed Lawn with Weeping Tree pencil, pen & ink 2

    1888 Newly Mowed Lawn with Weeping Tree pencil, pen & ink on paper

    1888 Olive Trees, Montmajour pencil, pen & ink

    1888 Orchard with Blossoming Plum Trees (The White Orchard) pen & ink heightened with opaque white 39.5 x 53.6 cm

    1888 Portrait of Patience Escalier pencil, pen & ink 49.5 x 38 cm (see painting below)

    1888 Portrait of Patience Escalier oil on canvas 64 x 54 cm

    1888 Portrait of Patience Escalier oil on canvas 69 x 56 cm (see painting below)

    1888 The Old Peasant Patience Escalier with Walking Stick, Half-Figure pen & ink

    1888 Portrait of the Postman Joseph Roulin pen & ink 31.8 x 24.3 cm (see painting below)

    1888 Portrait of the Postman Joseph Roulin oil on canvas 64 x 48 cm

    1888 Quay with Men Unloading Sand Barges pencil, pen & ink (see painting below)

    1888 Quay with Men Unloading Sand Barges oil on canvas 55 x 66 cm

    1888 Road with Trees pencil, pen & ink 24.6 x 23.9 cm

    1888 Rocks with Trees pencil, brush, pen & ink 49.1 x 61 cm

    1888 Sower with Setting Sun ink [on a letter]

    1888 Sower with Setting Sun ink on paper

    1888 Sower with Setting Sun pen & ink 24.4 x 32 cm (see painting below)

    1888 Sower with Setting Sun oil on canvas 64 x 80.5 cm

    1888 Street in Saintes-Maries pen & ink 30.5 x 47 cm

    1888 Street in Saintes-Maries pen & ink  24.3 x 31.7 cm (see painting below)

    1888 Street in Saintes-Maries oil on canvas 38 x 46 cm

    1888 The Road to Tarascon with a Man Walking pencil, pen & ink on paper 25.8 x 35 cm

    1888 The Zouave pen & ink (see watercolour below)

    1888 The Zouave wax crayon, pen & ink, watercolour on paper 31.5 x 23.6 cm (see painting below)

    1888 The Zouave oil on canvas 65 x 54 cm


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    Self-Portrait 1889 oil on canvas 65 x 54 cm
    This is part 5 of a 5-part post on the drawings of Vincent van Gogh (1853 - 1890). Vincent van Gogh's more than 1,100 drawings remain comparatively unknown, although they are among his most ingenious and striking creations. He engaged drawing and painting in a rich dialogue, which enabled him to fully realise the creative potential of both means of expression. For more notes on van Gogh's drawings see part 1. For earlier works see parts 1 - 4 also. Note: Where a drawing relates to a finished oil painting I have also shown the painting:

    1888 Thistles Along the Roadside pencil, pen & ink

    1888 View of Arles from a Hill pen & ink 48.6 x 60 cm

    1888 View of Saintes-Maries with Church and Ramparts pen & ink 43 x 60 cm (see painting below)

    1888 View of Saintes-Maries oil on canvas 64 x 53 cm

    1888 Vincent's House in Arles (aka The Yellow House) pen & ink 13 x 20.5 cm (see watercolour below)

    1888 Vincent's House in Arles (aka The Yellow House) pen & watercolour 25.5 x 31.5 cm

    1888 Wheat Field with Setting Sun pen & ink (see painting below)

    1888 Wheat Field with Setting Sun oil on canvas 74 x 91 cm

    1888 Wheat Field with Sheaves pen & ink

    1888 Wheat Field with Sheaves pen & ink 24.2 x 31.7 cm (see painting below)

    1888 Wheat Field with Sheaves oil on canvas 55.2 x 66.6 cm

    1888 Wheat Field with Sheaves and Arles in the Background pen & ink 31.7 x 24.2 cm

    1888 Wheat Field with Sheaves and Arles in the Background pencil, pen & ink on paper

    1889 A Corner of the Garden of St. Paul's Hospital at St-Remy pencil, black chalk & ink 62 x 48 cm

    1889 Corridor in Saint-Paul Hospital chalk & gouache 61 x 47.5 cm

    1889 Cypresses pencil, pen & ink 62.3 x 46.8 cm (see painting below)

    1889 Cypresses oil on canvas 93.3 x 74 cm

    1889 Enclosed Field behind Saint-Paul Hospital, Rising Sun black chalk, pen & ink 47 x 62 cm

    1889 Fountain in the Garden of Saint-Paul Hospital chalk, pen & ink 49.5 x 46 cm

    1889 Mountain Landscape Seen across the Walls pen & ink

    1889 Olive Orchard pen & ink

    1889 Olive Trees in a Mountain Landscape pencil, pen & ink

    1889 Starry Night pen & ink (see painting below)

    1889 Starry Night oil on canvas 73.7 x 92.1 cm

    1889 The Courtyard of the Hospital of Arles pencil, pen & ink 45.5 x 59 cm

    1889 The Park at Arles black chalk, pen & ink 49 x 61.5 cm

    1889 Tree with Ivy in the Asylum Garden pencil, pen & ink

    1889 Trees with Ivy pencil, pen & ink

    1889 Wheat Field with Cypresses at the Haude Galline near Eygalieres chalk, pen & ink 47 x 62 cm (see two paintings below)

    1889 Wheat Field with Cypresses at the Haude Galline near Eygalieres oil on canvas 51.5 x 65 cm

    1889 Wheat Field with Cypresses at the Haude Galline near Eygalieres oil on canvas 73 x 93.5 cm

    1889 Wild Vegetation in the Mountains pen & ink

    1890 A House at Auvers pencil & chalk on paper

    1890 Cottages with a Woman Working in the Foreground charcoal, pastel, pen 47 x 62 cm

    1890 Houses among Trees with a Figure black chalk

    1890 Landscape with Cottages pencil & watercolour

    1890 Landscape with Houses among Trees and a Figure charcoal, wash heightened with opaque white

    1890 Mademoiselle Gachet at the Piano black chalk

    1890 Old Vineyard with Peasant Woman pencil & wash

    1890 Sun over Walled Wheat Field black chalk, pen & ink heightened with opaque white

    1890 Women Working in Wheat Field black chalk


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    Continuing the intermittent theme on the New York "Ashcan School" (see Introduction 4 Oct 2012, William Glackens 6 - 14 Oct 2012, Robert Henri 22 Oct - 1 Nov 2012, George Luks 7 - 13 Nov 2012) the next artist I'm featuring is Everett Shinn.

    Self-Portrait 1901 pastel on paper
    Everett Shinn (1876 – 1953) was born in Woodstown, New Jersey, a large Quaker community. His parents were rural farmers. Shinn left Woodstown at the age of fourteen and enrolled at a technical institution known as the Spring Garden Institute in Philadelphia from 1888-1890. The school specialised in the teaching of mechanical drawing and architecture and was also attended by fellow member of “The Eight,” John Sloan. Following his education, Shinn spent a year working at the Thackery Gas Fixture Works designing light fixtures. After being fired for doodling in the margins of his plans, his former employer urged him to go into a more creative field, citing the newspaper and magazine industries as examples.

    He began his work for the Philadelphia Press in 1893 as an illustrator. Many, including Shinn, consider this the true beginning of his art career. In later years, Shinn would express his great dismay over the development of photography as the major source of pictorials in newspapers because it eventually largely replaced his form of art. He continually moved from paper to paper for the rest of his illustrating career, receiving a pay increase with each move. The attention to detail necessary for his newspaper illustrations is reflected in his style and later paintings, especially those of urban nature. 

    Shinn has said of his experience at the Philadelphia Press: "In the Art Department of the Philadelphia Press on wobbling, ink-stained drawing boards William J. Glackens, George Luks, Everett Shin and John Sloan went to school, a school now lamentably extinct…a school that trained memory and quick perception."

    It was during Shinn's time in Philadelphia that artists John Sloan and Joseph Laub established the Charcoal Club as an alternative art school. The group, whose members were members of "The Eight" such as Henri, Sloan, Glackens, Luks and Shinn, reached a peak membership of 38 and sketched nudes and did critiques of each others work. The club is often thought of as the establishing point of the Philadelphia group, later known as ‘The Eight’.

    In 1897, Shinn was offered a higher paying job as an illustrator for the New York newspaper, The World. He moved there and was joined shortly there after by his wife, Flossie, and by other members of the Charcoal Club. Shinn enjoyed living in the city and observing the eccentric daily hustle and bustle exemplified by living in New York. Much of Shinn's life and opinions were reflected in his work. His life in New York was a major subject in many of his paintings. Shinn often depicted scenes of drama and violence, rallying for social change and urban understanding. Coinciding with the dramatic themes found throughout his work, theatre was also a major subject in Shinn's pastels.

    In 1899, he quit the newspaper business and began working for Ainslee's Magazine, a magazine that also employed his wife, who was by that time a very successful illustrator and who brought in a good deal of the household income.Shinn also started displaying his work publicly in 1899 with mixed reactions. In 1900, he and Flossie travelled to Europe for him study and prepare to produce another exhibit. The trip greatly influenced his art in years to come during his visit, he saw European art that was focused on theatrical portrayals, as well as impressionist works.

    He suffered many losses during the Great Depression and sold very few paintings during that time. Between 1910 and 1937, Shinn held only one exhibition of paintings at Knoedler's in 1920. Between 1937 and his death in 1953, Shinn received several awards commending his innovative paintings and participated in several exhibitions. He died of lung cancer in 1953.

    This is part 1 of a 3-part post on the works of Everett Shinn:

    1898 Snow Storm, Madison Square, New York pencil & pastel 57.8 x 65.7 cm

    c1898 New York Harbor pastel 21.6 x 33.7 cm

    1899 Street Scene at a Fire printed illustration 16 x 18 cm

    1899 Chinese Restaurant gouache on paper 21.6 x 33.7 cm

    1899 Horse-drawn Bus pastel on paper 55.2 x 74.9 cm

    1899 Madison Square and the Dewey Arch, Cross Streets of New York pastel, watercolour & gouache on board 74.3 x 46.3 cm

    1899 Magazine Poster

    1899 The Fight ink & watercolour on paper 21 x 33.7 cm

    1899 Winter on 21st Street, New York pastel on grey paper 51.8 x 61.9 cm

    c1899 Fifth Avenue mixed media on paper 51 x 41 cm

    1900 Back Row, Follies Bergere pastel on paper 52 x 69 cm

    1900 Fleishman's Bread Line pastel & watercolour on paper 21.6 x 34.3 cm

    1900 Print from Harper's Weekly magazine 35 x 23 cm

    1900 Progress of the Work on the Underground Railroad printed illustration from Harper's Weekly 17 x 22 cm

    c1900-05 Sullivan Street oil on canvas 20.3 x 25.4 cm

    c1900 All Night Café pastel, watercolour & graphite on paper 25 x 33.8 cm

    1901 Broadway, Late in the Afternoon printed illustration from Century magazine 15 x 19 cm

    1901 Cabs on the Fifth Avenue Side of Madison Square printed illustration from Century magazine 15 x 19 cm

    1901 The Docks, New York City pastel on paper 39.4 x 55.9 cm

    1902 Spanish Music Hall

    1902 The Hippodrome, London oil on canvas 66.9 x 89.4 cm

    1902 The Singer oil on canvas 66.7 x 44.1 cm

    1902-06 Keith's Union Square oil on canvas 51.6 x 61.6 cm

    1903 34th Street pastel on paper 22.9 x 33 cm

    1903 Girl in Bathtub pastel on paper 40.6 x 35.6 cm

    1903 In the Loge oil & pastel on canvas 64.8 x 43.5 cm

    1903 Steps Between Houses Paris Street pastel on paper 53 x 71 cm

    1903 Theater Scene oil on canvas 55.9 x 63.2 cm

    1903 Window Shopping pastel on paper 36.2 x 45.72 cm

    1904 Eviction (Lower East Side) gouache on paper 21.3 x 33.3 cm

    1904 Matinée Crowd, Manhattan pastel & gouache on illustration board 46.4 x 27.9 cm

    1904 The Tightrope Walker pastel on board 30.5 x 33 cm

    1904 The White Ballet oil on canvas 74.9 x 93.3 cm

    1905 Concert Stage oil on canvas 41.9 x 50.8 cm

    1905 Outdoor Stage, France oil on canvas 62.9 x 54.6 cm

    1905 Saturday Night watercolour & pastel on paper 45.1 x 60.3 cm

    c1905-06 Rehearsal of the Ballet oil on canvas 45 x 67 cm

    1906 A French Music Hall oil on canvas 61 x 74.9 cm


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    Everett Shinn (1876 - 1953) was an American realist painter and member of the Ashcan School,also known as 'the Eight.' He was the youngest member of the group of modernist painters who explored the depiction of real life. He is most famous for his numerous paintings of New York and the theatre, and of various aspects of luxury and modern life inspired by his home in New York City.

    For biographical notes on Shinn, and for earlier works, see part 1. This is part 2 of a 3-part post on the works of Everett Shinn:

    1906 Frédérique Follows her Husband illustration for Frédérique conté crayon on paper 39.7 x 53.3 cm

    1906 I Leaned Over Her and Plucked from her Lips a Kiss conté crayon on paper 38.7 x 51 cm

    1906 Strong Man, Clown, and Dancer oil on canvas board 25.2 x 20 cm

    1906 The East River at Night pastel 33.3 x 53.3 cm

    1906-07 Julie Bonbon chalk on paper 45.7 x 45.1 cm

    c1906-07 The Orchestra Pit, Old Proctor's Fifth Avenue Theater oil on canvas 43.8 x 49.5 cm

    c1906 Girl on Stage oil on canvas 25.4 x 30.5 cm

    1907 Fire on 24th Street, New York City pastel on board 59.1 x 45.7 cm

    1907 Julie Bonbon pastel on paper 54.6 x 39.4 cm

    1907 Olympic Theater pencil, watercolour & gouache on paper 20.3 x 24.8 cm

    1907 Paris Stage pastel on board 38.1 x 44.4 cm

    1908 Green Park, London 35.6 x 45.7 cm

    1908 Night Life, The Accident pastel, watercolour & gouache on paper 33 x 43.8 cm

    1908 Out of a Job - News of the Unemployed pencil, black crayon & wash on board 34.3 x 70.5 cm

    1908 Revue oil on canvas 45.7 x 61 cm

    1908 The Bar at McSorley's watercolour on paper 27.3 x 47 cm

    1910 Actress in Red Before Mirror pastel 32 x 37 cm

    1910 Fifth Avenue pastel on paper 31.4 x 38.7 cm

    1910 Mrs. A. Stewart Walker in a Fur pastel on paperboard 71.1 x 35.6 cm

    1910 Nude Bathers oil on canvas 64 x 76.8 cm

    1910 Nude pastel on paper 56.5 x 41.3 cm

    1910 Paris Exposition pastel on paper 22.2 x 29.8 cm

    1910 Washington Square pastel

    1910c Nude Getting into Bath monotype on paper 23.4 x 31.2 cm

    1911 Ballet Dancers pastel 66 x 91.4 cm

    1912 After the Rehearsal pastel on paper 44.4 x 65.4 cm

    1912 Canfield’s Gambling House gouache on paper 23.5 x 30.5 cm

    1912 Footlight Flirtation oil on canvas 73.7 x  92.1 cm

    1912 Girl with Japanese Lanterns oil on canvas 30.5 x 25.4 cm

    1912 Vaudeville Dancer pastel on board 51.4 x 41.9 cm

    1914 Tinsel Toes watercolour 68.5 x 75.2 cm

    1914 Two Girls Dressing for a Party pastel & gouache on paper 73.7 x 69.2 cm

    1915 Bonnie Glass pastel on paper 85.1 x 40.6 cm

    1915 View of Washington Square, New York conté crayon and watercolour

    1916 Cover of Vanity Fair

    1916 Look Out for the Autoped Girl advertisement from Puck magazine

    1918 London Music Hall oil on canvas 25.4 x 30.5 cm
     

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    Everett Shinn (1876 - 1953) was an American realist painter and member of the Ashcan School, also known as 'the Eight.' He was the youngest member of the group of modernist painters who explored the depiction of real life. He is most famous for his numerous paintings of New York and the theatre, and of various aspects of luxury and modern life inspired by his home in New York City.

    For biographical notes on Shinn see part 1. For earlier works by Shinn see parts 1 - 2 also. This is part 3 of a 3-part post on the works of Everett Shinn. After a short break, the next Ashcan School artist featured will be George Bellows.

    1920 Punch and Judy pencil, charcoal, watercolour & gouache on paperboard 33 x 24.8 cm

    1921 Ladies on a Swing oil on canvas 149.7 x 59.7 cm

    1924 Masquerade pastel on paper

    1925 Curtain Call oil on canvas 23.1 x 28.2 cm

    1927 Untitled pencil, watercolour & carbon pencil on paperboard 50.7 x 74 cm

    1933 Dancers Backstage

    1934 Nightclub Scene oil on canvas 91.4 x 8.46 cm

    1937 French Vaudeville oil on canvas 63.8 x 76.5 cm

    1940 graphite sketch

    c1940 Clown with Drum oil on board 29.8 x 27.3 cm

    1942 Clown with Big Pants oil on canvas 30.5 x 25.4 cm

    1942 Street Scene, Paris pastel on board 36 x 46 cm

    c1945 Washington Square oil on canvas 95.2 x 105.4 cm

    1948 Drawing for "David Copperfield" A Light Shines my Way ink on paper 16.2 x 9.2 cm

    1948 Drawing for David Copperfield Visits Steerforth at his Home Again ink on paper 41.9 x 24.2 cm

    1950 Figure ink & pencil on paper 20 x 15 cm
    1950 Little Theater pencil & watercolour

    1952 Before the Flatiron Building was Built pastel, charcoal & watercolour on paperboard 27.6 x 37.4 cm

    Ballet Dancer pastel 22.9 x 14.8 cm

    Ballet

    Bob Cratchitt's Wife with Toys (illustration from Dickens' A Christmas Carol) ink on paper 26.7 x 31.8 cm

    Cane Man (illustration from Dickens' A Christmas Carol) ink on paper 48.3 x 29.2 cm

    Christmas Wreath (illustration from Dickens' A Christmas Carol) ink on paper

    Jumping the Hole in the Ice (illustration for Peter Rabbit) ink on paper 40.6 x 29.2 cm

    Kitchen at Bob Cratchitt's (illustration from Dickens' A Christmas Carol) ink on paper 39.4 x 19.4 cm

    Masquerade pastel on paper 77.5 x 53.6 cm

    Rabbits at Home (illustration for Peter Rabbit) ink on paper 23.2 x 34.3 cm

    Rabbits in Formal Attire (illustration for Peter Rabbit) ink on paper 25.4 x 40.6 cm

    Saturday Night pastel on paper

    Seated Nude conté crayon & watercolour 21.6 x 19.1 cm
    The Hatpin sanguine on paper 31.9 x 45 cm

    The Mirror sanguine on paper 31.8 x 44.9 cm

    The Revue

    The Slattern Maid (Miss Slowboy) ink on paper 24.8 x 7 cm

    Untitled (Illustration for Dicken's Cricket on the Hearth) ink on paper 29.8 x 21.6 cm

    Woman Combing her Hair sanguine on paper 31.8 x 45 cm

    Woman Getting into Bed sanguine on paper 31.8 x 45.1 cm

    Woman in a Bed sanguine on paper 31.9 x 43.9 cm

    Woman with Fox Collar sanguine on paper 31.9 x 44.9 cm

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  • 11/30/12--00:58: Burton Wasserman
  • Burton Wasserman was born in Brooklyn, NY in 1929. He studied painting with Ad Reinhart and Burgoyne Diller at Brooklyn College, graduating in 1950. He formed strong friendships with both of these artists and developed a life-long passion for abstract art.

    Whilst pursuing a career as an art professor, writer, and critic, Wasserman has continued actively to produce paintings, prints and sculpture. In his work of the 1960s the influence of the DeStijl movement, and consequently that of Reinhardt and Diller, is most strongly felt - simple geometric shapes, the use of only primary colours, and images reduced to a bare minimum. Through the years Wasserman's work has subtly evolved, always remaining abstract, at times moving into a more painterly approach, and at other times more geometrical but with a wider range of colours.

    Wasserman’s work has appeared in more than forty solo exhibitions over the years. He has authored five books and hundreds of magazine articles about artists and their works. His art criticism and commentary appear regularly in Prime Time Arts and Entertainment and the monthly Delaware Valley journal Art Matters. He has exhibited widely, and his work is in the collections of the Philadelphia Museum of Art; New Jersey State Museum, Trenton; Stedelijk Museum, Amsterdam; Staatsgalerie, Stuttgart; and the Montreal Museum of Fine Arts, amongst others.

    In 2004, he retired as Professor of Art from Rowan University in Glassboro, NJ, where he taught courses in printmaking, painting, design, art education, modern art and art appreciation over a 44-year career. Active as a board member of numerous local and national art associations.

    “My work is essentially metaphorical,” says Wasserman, “Each painting is a picture of itself. Each is the accumulation of a half century of inquiry, impulses, feelings and observation coming out of layers of experiences gathered over time.”

    late 1950s graphite & colour pencil on tracing paper 27.9 x 30.5 cm

    late 1950s Untitled - Pink, Yellow, Blue/Gray, Black & White graphite & colour pencil on tracing paper with collage 34.9 x 43.2 cm

    1953 Composition oil on canvas 47.6 x 31.9 cm

    1960s Construction Theme Development silkscreen 60.3 x 45.7 cm

    1960s Construction, Blue, Gray, Red, and Black silkscreen 17.8 x 24.1 cm

    c1960s Idea colour pencil & board construction 33 x 24 cm

    c1960s Untitled - Black & Gray colour pencil on paper 35.6 x 27.9 cm

    c1960s Untitled - Red colour pencil on paper 20.3 x 25.4 cm

    early 1960s Transformation collage of silkscreened sheets on red paper 43.2 x 48.3 cm

    1961 Construction Theme Variation graphite & colour pencil on tracing paper 30.5 x 35.6 cm

    1962 Untitled graphite & colour pencil on tracing paper 5.5 x 19.1 cm

    1962 Was, Is, and Ever Shall Be acrylic on masonite 81.3 x 61 cm

    1963 Construction, Black and White Counterpoint silkscreen 49.5 x 35.6 cm

    1964 Squares/Cross pen & ink on artist's board 24.8 x 24.8 cm

    1966 Untitled (Red, Blue, Black) oil on masonite 9 x 12 in

    1967 Study for Construction Concept cloured pencil on paper 35.6 c 27.9 cm
    1967 Construction Concept silkscreen 26 x 18.7 cm

    1967 Number Thirty Four silkscreen 27.9 x 22.9 cm

    1967 Study for Number 34 crayon on paper 20.3 x 28 cm

    1967 Study for Number Forty crayon on paper 25.4 x 19.1 cm

    1967 Untitled  - Diamond colour pencil on tracing paper 22.2 x 20.3 cm

    1967 Untitled - Blue colour pencil on acetate 26 x 22.2 cm

    1967 Untitled - Red and Black colour pencil on paper 26 x 22.9 cm

    1967 (title unknown)

    1968 Construction Theme Development oil on wood construction 27 x 19.1 x 5.1 cm

    1969 "1969-P-NN" oil on canvas 76.4 x 45.7 cm

    1972-73 (title unknown) silkscreen

    1989 Morphic Iconography, The Origins Laid Bare oil on board 73.4 x 86.4 cm

    1996 At Different Stages In Life acrylic on card 39.4 x 29.2 cm

    2006 Blues oil on canvas composition stock card 26.7 x 24.1 cm

    2007 Monument in Progress oil on board 45.7 x 55.9 cm

    (date unknown) Construction in Black and Blue

    (date unknown) bwyellowsquare

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  • 12/02/12--02:08: Saul Bass – film posters

  • Photograph of Saul Bass © Harrie Verstappen
    Saul Bass was born in 1920 in New York City, to a Jewish immigrant family. A creative child, he drew constantly. For college, he attended night classes at the Art Students League where he had the fortune of studying under György Kepes, a master of the functional Bauhaus aesthetic.

    In the 1940s, Bass left New York for California. He worked mostly for advertising until his first major break: a poster for the 1954 film, Carmen Jones. The filmmakers were so impressed by his poster work, they invited him to design the title credits as well. This turned out to be a game changing decision.

    1954 Carmen Jones
    Saul Bass stepped up the sophistication of film posters with his distinctive minimal style and he completely revolutionized the role of title credits in films. Traditionally, credits were static and drab. They were considered so un-important, they would actually be projected onto the closed curtains which would only open for the first official scene of the movie.

    Bass, however, was committed to injecting life into these graphics, making them as much a part of the cinematic experience as anything else. Introducing his signature “kinetic type,” Bass’ letters dashed and moved across the screen and frequently incorporated images other than text.
    Titles became a spectacle to be seen. Film reels with Bass credits were delivered to movie theaters along with a note: “projectionist – pull curtain before titles.”

    Bass went on to create dozens of iconic film posters and title credits. His final projects before his death in 1996 were credits for four Martin Scorsese films: Goodfellas(1990), Cape Fear (1991), The Age of Innocence (1993) and Casino(1995).

    These are some of his best known film posters: 

    Stalag 17

    1955 The Man with the Golden Arm
    Saul Bass's enduring influence is still seen today in many references to his most iconic works like the poster above. This is a 2003 The White Stripes album cover:


    2003 The White Stripes album

    1956 Storm Centre

    1957 Edge of the City

    1957 Love in the Afternoon

    1957 Saint Joan

    1958 Bonjour Tristesse

    1958 The Big Country

    1958 Vertigo advertisement

    1958 Vertigo

    1959 Anatomy of a Murder

    1960 Exodus

    1960 Psycho

    1960 Spartacus

    1960 The Magnificent Seven advertisement

    1961 One, Two, Three

    1961 West Side Story

    1962 Advise & Consent 1

    1962 Advise & Consent 2

    1962 Advise & Consent3

    1962 Birdman of Alcatraz

    1963 Nine Hours to Rama

    1963 The Birds

    1963 The Cardinal

    1965 Bunny Lake is Missing

    1965 In Harm's Way

    1966 Grand Prix

    1966 Seconds

    1967 Hurry Sundown

    1967 The Two of Us

    1968 The Fixer

    1970 Tell me that you love me, Junie Moon

    1971 Such Good Friends

    1979 The Human Factor

    1980 The Shining

    1993 Schindler's List

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    Bellows by Robert Henri 1911 oil on canvas 81 x 66 cm
    Continuing the intermittent theme on the New York "Ashcan School" (see Introduction Oct 2012, William Glackens Oct 2012, Robert Henri Oct - Nov 2012, George Luks Nov 2012, Everett Shinn Nov 2012) the next artist I'm featuring is George Bellows.

    George Wesley Bellows (1882-1925) was a prolific and accomplished leader among American painters who approached representation of the American scene realistically.

    George Bellows was born in Columbus, Ohio in 1882. At Ohio State University (1901-1904) he distinguished himself as an athlete, but he determined that he wanted to be an artist and went to New York City in 1904 without graduating. For a time he supported himself as a professional athlete. He studied at the New York School of Art under Robert Henri, who became an influential and lifelong friend. 

    Bellow's early paintings are swift and vivid character studies, of sombre tonality. His development was very rapid, and from 1906 on his works were accepted in national exhibitions. He was fascinated with the spectacle of the great city: its buildings, crowds, types, and rivers. Though he was denounced by conservative critics as one of the "apostles of ugliness," his technical brilliance made him more acceptable than any of the other painters of similar impulse. He became an associate of the National Academy of Design at the age of 27, the youngest person ever so honoured, and was elected a full academician four years later. His work is marked by exuberance, variety of subject matter, humour, and vitality. 

    In 1907 Bellows produced the first of several paintings of prizefighters in action in the ring; these expressed violent action with power and seeming spontaneity. He married in 1910, rebuilt an old house on 19th Street, and started his teaching career at the Art Students League. He was a teacher of the Henri variety - bringing out the individuality of each student with excitement and imagination. He spent several summers in Maine, where he painted windswept landscapes and sea scenes. In the summer of 1912 Bellows visited California and New Mexico - his only excursion to the Far West. He never went to Europe. 

    Bellows was well represented in the important Armory Show of 1913. The new European movements exhibited there may have had an unsettling influence on him, as they did on many progressive American painters who discovered that their innovations had been in subject matter rather than in method or form. In 1916 Bellows turned to lithography (at this time seldom used by serious artists) because its immediacy attracted him, His nearly 200 lithographs deal with a wide variety of subjects - genre scenes, nudes, portraits, landscapes, literary illustrations, and humorous or satiric commentaries. He was deeply and emotionally affected by World War I and recorded his reactions in a series of powerful and painful prints that have been compared with those of Goya. 

    In 1918 he became interested in Jay Hambidge's theory of dynamic symmetry, which provided a geometric system of composition for controlling the artist's work. Hambidge (and Bellows) believed it was followed by many of the great artists of antiquity. Bellows taught at the Chicago Art Institute in 1919; his sojourn there was remembered as a whirlwind of enthusiasm and activity. A neglected attack of appendicitis caused Bellows's death in January 1925 in New York. 

    I am mainly showing Bellows’ paintings in this series of posts along with a chosen handful of his lithographs – showing all his lithographs would be overkill. This is part 1 of a 6-part post on the works of George Bellows:

    1898 Sag Harbor watercolour 28.9 x 53 cm

    after 1904 Old Fisherman oil on canvas 61 x 48.6 cm

    1905 Bethesda Fountain (Fountain in Central Park) oil on canvas 51.4 x 61.8 cm

    1905 Central Park oil on canvas 54.6 x 64.8 cm

    1905 May Day in Central Park oil on canvas 45.7 x 55.9 cm

    1905 Robin oil on canvas 107.9 x 77.47 cm

    c1905 Head of Boy (aka Gray Boy) oil on canvas 66.7 x 52.1 cm

    1906 Cross-Eyed Boy oil on canvas 50.8 x 66 cm

    1906 Kids oil on canvas 81.3 x 106.7 cm

    1906 Portrait of My Father oil on canvas 72 x 55.9 cm

    1906 River Rats oil on canvas 77.5 x 97.8 cm

    1906 Swans in Central Park oil on canvas 47 x 53.3 cm

    c1906 Election Night Times Square charcoal, lithographic crayon, conté crayon, ink on paper 46.1 x 66 cm

    c1906 On the East Side crayon, charcoal & ink on paper 31.8 x 25.4 cm (image)

    1907 August Lundberg oil on canvas 64 x 46 cm

    1907 Club Night oil on canvas 109.2 x 134.2 cm

    1907 Dance at Insane Asylum charcoal with stumping, pen & ink, crayon, chalk on paper 48 x 63 cm

    1907 Forty-Two Kids oil on canvas 107.6 x 153 cm

    1907 Frankie the Organ Boy oil on canvas 122 x 88 cm

    1907 Little Girl in White oil on canvas 157.5 x 86.4 cm

    1907 Pennsylvania Excavation oil on canvas 88 x 111.8 cm

    1907 The Knock Out ink & pastel on paper 55.2 x 71.1 cm

    1907 Tin Can Battle, San Juan Hill, New York ink, crayon & charcoal on paper 50.8 x 60.3 cm

    1908 A Cloudy Day (Hudson River, Coming Squall) oil on fabric mounted on fibreboard 76.3 x 98 cm

    1908 Excavation at Night oil on canvas 86.4 x 111.8 cm

    1908 In Virginia oil on canvas 74.3 x 94 cm

    1908 Noon oil on canvas 55.9 x 71.1 cm

    1908 North River oil on canvas 83.5 x 109.2 cm

    1908 Paddy Flannigan oil on canvas 76.2 x 63.5 cm

    1908 Rain on the River 81.9 x 97.2 cm

    1908 Steaming Streets oil on canvas 97.5 x 76.8 cm

    1908 Up the Hudson oil on canvas 91.1 x 122.2 cm

    1908-10 Beach at Coney Island oil on canvas 106.7 x 152.4 cm

    1909 Blue Morning oil on canvas 80.3 x 110.2 cm

    1909 Both Members of this Club oil on canvas 114.9 x 160.4 cm

    1909 Excavation work for the Pennsylvania Station oil on canvas

    1909 Lone Tenement oil on canvas 91.8 x 122.3 cm

    1909 Nude Girl, Miss Leslie Hall oil on canvas 152.4 x 106.7 cm

    1909 Stag at Sharkey's oil on canvas 92.1 x 122.6 cm
     In 1917 Bellows produced a lithograph of the same subject:

    1917 Stag at Sharkey's lithograph 47.3 x 60.5 cm (image)

    1909 Summer City oil on canvas 96.5 x 121.9 cm

    1909 Summer Night, Riverside Drive oil on canvas 90.2 x 120.6 cm

    1909 The Bridge, Blackwell's Island oil on canvas 86.5 c 111.9 cm

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    George Bellows (1882 – 1925) was an American painter and lithographer. He studied with Robert Henri at the New York School of Art and became associated with the artists of the Ashcan School. Best known for his boxing scenes, he achieved notoriety with his painting Stag at Sharkey's (1909), which depicts an illegal boxing match. He was one of the organizers of the Armory Show.

    For full biographical notes on Bellows and for earlier works, see part 1. This is part 2 of a 6-part post on the works of George Bellows:

    1909 The Palisades oil on canvas 76.2 x 96.8 cm

    1909 The Stone Fence oil on canvas 45.7 x 61 cm

    1909 Winter Afternoon oil on canvas 76.2 x 96.5 cm

    1910 A Morning Snow - Hudson River oil on canvas 114.6 x 160.7 cm

    1910 Blue Snow, the Battery oil on canvas 86.4 x 111.8 cm

    1910 Crowd at the Polo Game oil on canvas 114.6 x 161 cm

    1910 Floating Ice oil on canvas 114.3 x 160 cm

    1910 Polo at Lakewood oil on canvas 114.9 x 161.3 cm

    1910 Polo Game oil on canvas

    1911 An Island in the Sea oil on canvas 87 x 112.7 cm

    1911 Breaking Sky, Monhegan oil on canvas 11.2 x 15.2 cm

    1911 Docks in Winter oil on canvas 76.2 x 111.8 cm

    1911 Evening Swell oil on canvas 76.2 x 96.5 cm

    1911 Gorge and Sea oil on canvas 86.4 x 26 cm

    1911 Gull Rock and Whitehead oil on canvas 28.2 x 36.1 cm

    1911 New York oil on canvas 106.7 x 152.4 cm

    1911 Shore House oil on canvas 101.6 x 106.7 cm

    1911 Snow Dumpers oil on canvas 91.8 x 122.2 cm

    1911 Snow-Capped River oil on canvas 115.9 x 161 cm

    1911 Sunset, Jersey Hills oil on canvasboard 28.6 x 38.7 cm

    1911 The Sea oil on canvas 86.4 x 112.1 cm

    1912 Counted Out lithographic crayon & charcoal, brush & ink over graphite 64.8 x 52.6 cm

    1912 Evening Hills, Catskill Mountains oil on panel

    1912 Men of the Docks oil on canvas 114 x 161 cm

    1912 Mrs. Albert M. Miller oil on canvas 196 x 102 cm

    1912 My Baby oil on canvas 72.4 x 57.1 cm

    1912 Portrait of Dr. Walter Quincy Scott oil on canvas 111.8 x 86.4 cm

    1912 Portrait of Professor Joseph Russell Taylor oil on canvas 97.2 x 81.6 cm

    1912 The Circus oil on canvas 86 x 111.8 cm

    1912 Winter Road oil on canvas 86.4 x 111.8 cm

    1913 Approach of Rain oil on panel 33.5 x 49.5 cm

    1913 Beating out to Sea oil on panel

    1913 Blackhead and Sea oil on panel 38.1 x 49.5 cm

    1913 Churn and Break oil on panel 45.1 x 55.9 cm

    1913 Cliff Dwellers oil on canvas 102.1 x 106.8 cm

    1913 Cliff Dwellers watercolour, pen & brush & ink, crayon & charcoal on paper 54.2 x 68.8 cm

    1913 Evening Blue oil on panel 44.4 x 54.6 cm

    1913 Fern Woods oil on board 38.1 x 49.5 cm

    1913 Flaming Breakers oil on panel 15 x 19.5 cm

    1913 Fog Rainbow oil on panel 45.7 x 55.9 cm

    1913 Forth and Back oil on panel 38.1 x 49.5 cm


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    George Bellows (1882 – 1925) was an American painter and lithographer. He studied with Robert Henri at the New York School of Art and became associated with the artists of the Ashcan School. Best known for his boxing scenes, he achieved notoriety with his painting Stag at Sharkey's (1909), which depicts an illegal boxing match. He was one of the organizers of the Armory Show.

    For biographical notes on Bellows see part 1. For earlier works see parts 1 - 2 also. This is part 3 of a 6-part post on the works of George Bellows:

    1913 From Rock Top, Monhegan oil on panel 38.1 x 49.5 cm

    1913 Green Breaker oil on panel 38.1 x 49.5 cm

    1913 Green Point oil on panel 38.1 x 49.5 cm

    1913 Harbor at Monhegan oil on canvas 66 x 96.5 cm

    1913 Hill and Valley

    1913 Monhegan Island oil on panel 45.7 x 55.9 cm

    1913 Out of the Calm oil on panel 15 x 19.5 cm

    1913 Pueblo, Tesuque, No. 1 oil on canvas 102.2 x 106.7 cm

    1913 Rock Bound oil on panel 45.7 x 55.9 cm

    1913 Sea in Fog oil on panel 38.1 x 49.5 cm

    1913 Sun Glow oil on panel 38.1 x 49.5 cm

    1913 Sun and Spray oil on panel 35.6 x 49.53 cm

    1913 Tang of the Sea oil on panel

    1913 The Big Dory oil on panel 45.7 x 55.9 cm

    1913 The Blue Pool oil on panel 38.1 x 49.5 cm

    1913 The Gray Sea oil on panel 32.7 x 49.2 cm

    1913 The Rich Water oil on panel 37.5 x 48.6 cm

    1913 Through the Trees oil on board 38.1 x 49.5 cm

    1913 Tide Ledge oil on panel 33.7 x 49.5 cm

    1913 Vine Clad Shore - Monhegan Island oil on panel 38.1 x 49.5 cm

    1913 Wave oil on canvas

    1913 West Wind oil on panel

    1913 William Oxley Thompson oil on canvas 203.2 x 101.6 cm

    c1913 Shaghead oil on paperboard

    1914 A Grandmother oil on panel 94 x 74.5 cm

    1914 Emma at the Piano

    1914 Emma in Night Light oil on panel 56 x 46 cm

    1914 Evening Group tempera on canvas 63.5 x 76.2 cm

    1914 Florence Pierce oil on canvas 97 x 76 cm

    1914 Love of Winter oil on canvas 82.5 x 102.9 cm

    1914 Madeline Davis tempera on canvas 76.2 x 63.5 cm

    1914 Portrait of Geraldine Lee, No. 1 oil on panel 22.5 x 18.25 cm

    1914 Summer Surf oil on panel

    1915 Easter Snow oil on canvas 86.4 x 114.3 cm

    1915 Lucie oil on canvas 56 x 48 cm

    1915 Nude Girl with a  Parrot oil on canvas 100.3 x 78.7 cm

    1915 Parrot oil on canvas 49.2 x 38.1 cm


    1915 Riverfront oil on canvas 115.2 x 160.3 cm Awarded the gold medal at the Panama-Pacific Exposition in San Francisco in 1915

    1916 Anne with Her Parasol oil on canvas 110.5 x 84.5 cm

    1916 Builders of Ships oil on canvas 76.2 x 111.8 cm

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    George Bellows Self-Portrait c1921 watercolour
    George Bellows (1882 – 1925) was an American painter and lithographer. He studied with Robert Henri at the New York School of Art and became associated with the artists of the Ashcan School. Best known for his boxing scenes, he achieved notoriety with his painting Stag at Sharkey's (1909), which depicts an illegal boxing match. He was one of the organizers of the Armory Show.

    For full biographical notes on Bellows see part 1. For earlier works see parts 1 - 3 also. This is part 4 of a 6-part post on the works of George Bellows:

    1916 Cleaning his Lobster Boat oil on canvas 45.7 x 55.9 cm

    1916 Dock Builders oil on canvas 76.7 x 97 cm

    1916 Edge of the Pasture - Glow of the Sun oil on panel 45.7 x 55.9 cm

    1916 Farm of John Tom oil on canvas 55.9 x 71.1 cm

    1916 Geraldine Lee No.2 oil on panel 97 x 76 cm

    1916 Hungry Dogs lithograph 34 x 24.6 cm (image)

    1916 In a Rowboat oil on canvas 77.5 x 112.4 cm

    1916 Jean with Blue Book and Apple oil on plywood 54.6 x 44.4 cm

    1916 Lillian oil on panel 96.5 x 76.2 cm

    1916 Mantinicus oil on canvas 81.3 x 101.6 cm

    1916 Mantinicus crayon on paper 16.5 x 22.9 cm

    1916 Matinicus from Mt. Ararat oil on panel 45.7 x 55.9 cm

    1916 Ox Team, Wharf at Matinicus oil on canvas 55.9 x 71.1 cm

    1916 Romance of Autumn oil on canvas

    1916 Shipyard Society oil on panel 76.2 x 96.5 cm

    1916 Splinter Beach lithograph 38.2 x 58.9 cm (image)

    1916 The Fish Wharf, Matinicus Island oil on panel 45.7 x 55.9 cm

    1916 The Sawdust Trail oil on canvas 160 x 114.6 cm

    1916 The Teamster oil on canvas 86.4 x 111.8 cm

    1916 Wet Night oil on canvas 56.5 x 71.8 cm

    c1916 Breaking Sky, Monhegan

    1917 Anne in Black Velvet oil on panel 97.6 x 76.4 cm

    1917 California Headlands oil on wood panel 45.6 x 55.8 cm

    1917 Criehaven, Large oil on canavas 76.2 x 112.1 cm

    1917 Golf Course - California oil on canvas

    1917 Horses, Carmel oil on panel 45.7 x 55.9 cm

    1917 Sanctuario oil on panel 50.8 x 61 cm

    1917 The Fisherman (study) oil on panel 45.7 x 55.9 cm

    1917 The Fisherman oil on canvas 76.2 x 111.8 cm

    1917 The Sand Cart oil on canvas 76.8 x 111.9 cm

    1917 The Village on the Hill oil on canvas 76.2 x 111.8 cm

    1918 The Barricade oil on canvas 122.2 x 212.1 cm
    Painting inspired by an incident in August 1914 where German soldiers used Belgium townspeople as human shields.

    1918 Barricade, from The War Series lithograph 43.4 x 74.2 cm (image)

    1918 Edith Cavell oil on canvas 114.3 x 160 cm

    1918 Edith Cavell (The Murder of Edith Cavell) from The War Series lithograph
     
    1918 Massacre at Dinant oil on cardboard 125.7 x 210.8 cm

    1918 Massacre (Massacre at Dinant), from The War Series lithograph 45.4 x 75.9 cm (image)

    1918 Return of the Useless oil on panel 149.9 x 167.6 cm

    1918 The Return of the Useless, from The War Series lithograph 50.6 x 55.2 cm (image)

    1918 Soldiers in a Barn lithographic crayon & ink on paper 50 x 64.8 cm

    1918 The Germans Arrive oil on canvas 125.7 x 201.3 cm

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    Self-Portrait 1921 lithograph 26.7 x 19.8 cm (image)
    George Bellows (1882 – 1925) was an American painter and lithographer. He studied with Robert Henri at the New York School of Art and became associated with the artists of the Ashcan School. Best known for his boxing scenes, he achieved notoriety with his painting Stag at Sharkey's (1909), which depicts an illegal boxing match. He was one of the organizers of the Armory Show.

    For biographical notes on Bellows see part 1. For earlier works see parts 1 - 4 also. This is part 5 of a 6-part post on the works of George Bellows:

    1919 Children and Summer among the Shrubs oil on canvas 45.7 x 55.9 cm

    1919 Clouds and Meadow oil on panel 50.8 x 61 cm

    1919 Dead Orchard, Newport, Rhode Island oil on canvas 74.9 x 90.2 cm

    1919 Emma in Black Print oil on canvas 101.9 x 81.9 cm

    1919 Emma in the Purple Dress tempera on canvas 101.6 x 81.3 cm

    1919 Margarite tempera on canvas 81.3 x 66 cm

    1919 Mrs. Chester Dale oil on canvas 108 x 101.6 cm

    1919 Mrs. T. in Cream Silk, No 1 oil on canvas 122 x 97 cm

    1919 Mrs. T. in Wine Silk oil on canvas 121.9 x 96.5 cm

    1919 Nude with White Shawl oil on canvas

    1919 Paradise Point oil on canvas 50.8 x 61 cm

    1919 Red Sun oil on panel 50 x 57.1 cm

    1919 Tennis Tournament oil on canvas 101.6 x 106.7 cm

    1919 The Old Pioneer oil on canvas 101.6 x 81.3 cm

    1919 The Studio oil on canvas 121.9 x 96.5 cm

    c1919 Prize Fight lithographic crayon on paper 37.5 x 28.9 cm

    1920 A Wild Place oil on canvas 16.5 x 24 cm

    1920 Anne in White oil on canvas 147 x 109 cm

    1920 Aunt Fanny oil on canvas 112 x 87 cm

    1920 Blasted Tree and Deserted House oil on canvas 45.7 x 55.9 cm

    1920 Cattle and Pig Pen oil on canvas 51.4 x 61.6 cm

    1920 Cliffs at Eddyville oil on canvas 43.2 x 61 cm

    1920 Elinor, Jean and Anna oil on canvas 150 x 168 cm

    1920 Emma at the Window oil on canvas

    1920 Gramercy Park oil on canvas 86.4 x 111.8 cm

    1920 Hudson at Saugerties oil on canvas 40.7 x 59.8 cm

    1920 Hunter and Mountains oil on wood 45.7 x 55.9 cm

    1920 Little Bridge, Woodstock oil on panel 45.7 x 55.9 cm

    1920 Mountain House oil on canvas 50.8 x 61 cm

    1920 Nude with Fan oil on canvas 86.4 x 111.8 cm

    1920 Old Barn in Shady Valley oil on canvas 41.9 x 61 cm

    1920 Old Canal, Eddyville oil on board 45.7 x 55.8 cm

    1920 Portrait of My Mother oil on canvas 198.8 x 122.6 cm

    1920 Snow Capped Mountains oil on canvas 41.9 x 61 cm

    1920 Tennis at Newport oil on canvas 109.2 x 137.2 cm

    1920 The White Fence oil on canvas 50.8 x 63.5 cm

    1920 Trout Stream and Mountains oil on canvas 50.8 x 61 cm

    1920 Waldo Pierce oil on canvas 134.6 x 109.2 cm

    c1920-3 Emma in a Purple Dress

    1921 Anne in Purple Wrap oil on panel 102.9 x 82.5 cm

    1921 Bathing Beach lithograph

    1921 Indoor Athlete No. 2  lithograph 17 x 27 cm

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    George Bellows (1882 – 1925) was an American painter and lithographer. He studied with Robert Henri at the New York School of Art and became associated with the artists of the Ashcan School. Best known for his boxing scenes, he achieved notoriety with his painting Stag at Sharkey's (1909), which depicts an illegal boxing match. He was one of the organizers of the Armory Show.

    For biographical notes on Bellows see part 1. For earlier works see parts 1 - 5 also. This is part 6 of a 6-part post on the works of George Bellows.

    After a break the next artist associated with the Ashcan School featured here will be John French Sloan.

    1921 Jean in a Pink Dress oil on canvas 81 x 66 cm

    1921 Katherine Rosen oil on canvas 135 x 110 cm

    1921 Morning, Nude Sketch lithograph 22.3 x 18.4 cm (image)

    1921 My Mother oil on canvas 210.8 x 124.5 cm

    1921 Old Billiard Player lithograph 23 x 19 cm (image)

    1921 Portrait of a Boy oil on canvas 34 x 30 in

    1921 The Black Hat (Emma in a Black Hat) lithograph 33 x 23.2 cm (image)

    1922 Autumn Brook oil on panel 41.9 x 61 cm

    1922 Fisherman and Stream oil on canvas 43.2 x 51.3 cm

    1922 Mountain Farm oil on panel 50.8 x 61 cm

    1922 Mountain Orchard oil on panel 50.8 x 61 cm

    1922 Mrs. Walter H. Richter oil on canvas 101.6 x 81.3 cm

    1922 Old Farmyard, Toodleums oil on canvas 91.4 x 147 .3 cm

    1922 Portrait of Laura oil on panel 101.6 x 81.3 cm

    1922 Portrait of Mary McKinnon oil on canvas 111.8 x 87 cm

    1922 The White Horse oil on canvas 86.7 x 111.9 cm

    1923 Emma and Her Children oil on canvas 150.5 x 166 cm

    1923 Study for Emma and the Children graphite on paper with stumping & erasure 45.4 x 30.2 cm

    1923 Fisherman's Family oil on canvas 97.8 x 123.8 cm

    1923 The Crucifixion oil on canvas 151.1 x 166.4 cm

    c1923-24 Study for Dempsey and Firpo, Arm of Firpo lithographic crayon on paper 44.8 x 46.2 cm

    c1923-24 Study for Dempsey and Firpo, Figure of Dempsey lithographic crayon on paper 50.8 x 43.8 cm

    c1923-24 Study for Dempsey and Firpo, Figure of Referee lithographic crayon on paper 51.4 x 43.8 cm

    c1923-24 Study for Dempsey and Firpo, Head and Shoulders of Dempsey lithographic crayon on paper 51.4 x 43.8 cm

    1924 Dempsey and Firpo oil on canvas 129.5 x 160.7 cm

    1923 Dempsey through the Ropes lithographic crayon on paper 54.6 x 49.8 cm

    1924 Barnyard and Chickens oil on panel 45.7 x 55.9 cm

    1924 Black House oil 41.9 x 61 cm

    1924 Lady Jean oil on canvas 182.9 x 91.4 cm

    1924 Lady in a Green Dress oil on canvas 102.8 x 82.5 cm

    1924 Mill Damn oil on canvas 41.9 x 61 cm

    1924 Mr. and Mrs. Phillip Wase oil on canvas 130.2 x 160 cm

    1924 My House, Woodstock oil on panel 45.1 x 55.9 cm

    1924 Nude with Hexagonal Quilt oil on canvas 129.5 x 160 cm

    1924 Portrait of Elizabeth Alexander oil on canvas 135.3 x 109.2 cm

    1924 Ringside Seats oil on canvas 150.5 x 165.5 cm

    1924 Summer Fantasy

    1924 The Picket Fence oil on canvas 66 x 97.2 cm

    1924 The Picnic oil on canvas 76.5 x 112.4 cm

    1924 The Violinist Leila Kalman oil on canvas

    1924 Two Women oil on canvas 145 x 168 cm

    A Day in June oil on canvas 106.7 x 121.9 cm

    n.d. Approach of Rain oil on panel 91.4 x 63.5 cm

    n.d. Dogs, Early Morning

    n.d. Agitators conté crayon 51 x 44 cm

     

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    Self-Portrait 1886
    Vincent van Gogh (1853 – 1890) painted Vase with Honesty in 1884, and would continue to paint flowers throughout his career. For an artist like van Gogh, who was struggling to sell work and earn a living, money was always an issue. Painting flowers was an inexpensive endeavor, and van Gogh wrote “And now for what regards what I myself have been doing, I have lacked money for paying models, else I had entirely given myself to figure painting but I have made a series of colour studies in painting simply flowers, red poppies, blue corn flowers and myosotys. White and red roses, yellow chrysanthemums.”

    In 1885 he was painting portraits of peasants and completed his first major work, The Potato Eaters.

    1885 The Potato Eaters oil on canvas 81.5 x 114.5 cm
    Having just moved to Paris Vincent was encouraged by his brother Theo to paint brighter, more colourful paintings, and his flower still lifes from this period, in 1886, reflect this. They are still predominantly dark, dominated by earth tones, but the flowers are becoming more vibrant and showing more colour. Paintings like Glass with Roses and Vase with Carnations show flowers set against a dark background, only the flowers with any sense of bright colour. Roses shine in yellow, carnations bloom bright white, red, and yellow, contrasting against the dark backdrop.

    Some paintings from this period show vases with a few small blooms, while others, like Vase with Gladioli and Lilac and Poppy Flowers show vases overflowing with arrangements. Van Gogh had been studying the still life paintings made famous by master Flemish painters. This period marks a turning point in his artistic career where he is moving away from the darker paintings he was producing in the Netherlands and becoming interested in the more colourful works of the Impressionists. He was developing his masterful use of colour theory “seeking oppositions of blue with orange, red and green, yellow and violet.”

    The next year (1887) saw him painting much brighter paintings. His self-portraits, landscapes, and flower paintings were showing softer tones, lighter backgrounds, and beginning to show his quick brush strokes. (More notes in part 2 about 1887 onwards) This is part 1 of a 2-part post on the flower paintings of Vincent van Gogh:

    1884 Vase with Honesty oil on canvas 42.5 x 31.5 cm

    1886 Bowl with Chrysanthemums oil on canvas 46 x 61 cm

    1886 Bowl with Peonies and Roses oil on canvas 59 x 71 cm

    1886 Bowl with Sunflowers, Roses and Other Flowers oil on canvas 50 x 61 cm

    1886 Cineraria in a Flowerpot oil on canvas 54.5 x 46 cm

    1886 Coleus Plant in a Flower Pot oil on canvas 42 x 22 cm

    1886 Geranium in a Flowerpot 46 x 38 cm

    1886 Ginger Jar Filled with Chrysanthemums oil on canvas 40 x 29.5 cm

    1886 Glass with Roses oil on cardboard 35 x 27 cm

    1886 Still Life with Meadow Flowers and Roses oil on canvas 100 x 80 cm

    1886 Still Life with Roses and Sunflowers oil on canvas 50 x 61 cm

    1886 Tambourine with Pansies oil on canvas 46 x 55.5 cm

    1886 Vase of Carnations and Zinnias oil on canvas 61 x 50.2 cm

    1886 Vase with Asters and Phlox oil on canvas 61 x 46 cm

    1886 Vase with Asters, Salvia and Other Flowers oil on canvas 70.5 x 34 cm

    1886 Vase with Carnations and Other Flowers oil on canvas 61 x 38 cm

    1886 Vase with Carnations and Roses and a Bottle oil on canvas 40 x 32 cm

    1886 Vase with Carnations oil on canvas 40 x 32.5 cm

    1886 Vase with Carnations oil on canvas 46 x 37.5 cm

    1886 Vase with Carnations oil on canvas 46 x 38 cm

    1886 Vase with Chinese Asters and Phlox oil on canvas 61 x 46 cm

    1886 Vase with Gladioli and Carnations 78.5 x 40.5 cm

    1886 Vase with Gladioli and Carnations oil on canvas 65.5 x 35 cm

    1886 Vase with Gladioli and Lilac 69 x 33.5 cm

    1886 Vase with Gladioli oil on canvas 47 x 39 cm

    1886 Vase with Hollyhocks oil on board 94 x 50.5 cm

    1886 Vase with Myosotis and Peonies oil on cardboard 34.5 x 27.5 cm

    1886 Vase with Peonies oil on canvas 54 x 45

    1886 Vase with Red Gladioli 50.5 x 39.5 cm

    1886 Vase with Red Gladioli oil on canvas 65 x 35 cm

    1886 Vase with Red Poppies oil on canvas 56 x 46.5 cm

    1886 Vase with Red and White Carnations on a Yellow Background oil on canvas 40 x 52 cm

    1886 Vase with Viscaria oil on canvas 65 x 54 cm

    1886 Vase with Zinnias and Geraniums oil on canvas 61 x 45.9 cm

    1886 Vase with Zinnias and Other Flowers oil on canvas 49.5 x 61 cm

    1886 Vase with Zinnias oil on canvas 46 x 38 cm

    1886c Vase with Flowers oil on canvas

    1887 Four Cut Sunflowers oil on canvas 60 x 100 cm

    1887 Fritillarias in a Copper Vase oil on canvas 73.5 x 60.5 cm

    1887 Lilacs oil on canvas 27.3 x 35.3 cm

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    Self-Portrait with Bandaged Ear 1889 oil on canvas 60 x 49 cm
    Van Gogh’s flowers from 1887, including Vase with Lilacs, Daisies and Anemones, show flowers in a blue vase set against a soft blue and purple background. This was a period where van Gogh consciously was trying to add colour to his painting. He wrote “I painted almost nothing but flowers to accustom myself to a colour other than grey, that’s to say pink, soft or bright green, light blue, violet, yellow, orange, fine red.”

    When he was painting in Arles, in the south of France, he was looking forward to his friend Gauguin coming to live and paint with him. In anticipation for his arrival Van Gogh painted Sunflowers to decorate the house. Sunflowers became a series with many canvases depicting the same subject matter. Painted in 1888 and 1889, van Gogh’s Sunflowersshow a yellow vase on a table containing yellow sunflowers in different stages of life. Gauguin appreciated the gesture, and displayed some of van Gogh’s Sunflowerpaintings in his bedroom.

    After traumatic episodes in Arles, van Gogh went to an asylum in Saint-Remy, France. In the first week he was there he painted the irises in the asylums garden. He painted Irises as a study, but when his brother Theo saw it he thought it was a marvellous painting showing Vincent’s talent for composition and use of colour and entered it in the Salon des Indépendants of 1889. Along with Sunflowers, Irises has become one of van Gogh’s most enduring and popular paintings.

    In the days before he left the asylum he felt that he would not be having and mental upsets easily and wrote “I tell you, as regards work, my mind feels absolutely serene and the brushstrokes come to me and follow each other very logically.” Before he left, in May of 1890, he painted  Still Life, Vase with Roses.
    The pink roses are shown contrasting against a green table and yellow green background. Just as Sunflowershas the emotion that van Gogh felt welcoming his friend Gauguin, Roseshas the optimism and hopefulness attached that Vincent felt as he was leaving the asylum. Unfortunately van Gogh died just a few months later in July of 1890 from self-inflicted gunshot wounds.

    This is part 2 of a 2-part post on the flower paintings of Vincent van Gogh. For more notes and for earlier works on Van Gogh’s flower paintings see part 1 also.

    1887 Two Cut Sunflowers oil on canvas 43.2 x 61 cm

    1887 Two Cut Sunflowers oil on canvas 50 x 60 cm

    1887 Vase with Cornflower and Poppies oil on canvas 80 x 67 cm

    1887 Vase with Daisies and Anemones oil on canvas 61 x 38 cm

    1887 Vase with Lilacs, Daisies and Anemones oil on canvas 46.5 x 37.5 cm

    1887 Vase with White and Red Carnations oil on canvas 58 x 45.5 cm

    1888 Blossoming Almond Branch in a Glass oil on canvas 24 x 19 cm

    1888 Blossoming Almond Branch in a Glass with a Book oil on canvas 24 x 19 cm

    1888 Bowl with Daisies oil on canvas 33 x 42 cm

    1888 Majolica Jug with Wildflowers oil on canvas 55 x 46 cm

    1888 Oleanders and Books oil on canvas 60.3 x 73.6 cm

    1888 Still Life with Zinnias oil on canvas 64 x 49.5 cm

    1888 Still Life, Vase with Fourteen Sunflowers oil on canvas 95 x 73 cm

    1888 Still Life, Vase with Oleanders and Books oil on canvas 60.3 x 73.6 cm

    1888 Sunflowers oil on canvas 91 x 71 cm

    1888 Three Sunflowers in a Vase oil on canvas 73 x 58 cm

    1888 Vase with Fifteen Sunflowers oil on canvas 92.1 x 73 cm

    1889 Irises oil on canvas 71 x 93 cm

    1889 Still Life, Vase with Twelve Sunflowers oil on canvas 92 x 72.5 cm

    1889 Still Life, Vase with Twelve Sunflowers oil on canvas

    1889 The Iris oil on canvas 55 x 65 cm

    1889 Vase with Fourteen Sunflowers oil on canvas 100.5 x 76.5 cm

    1890 Flowers in a Vase oil on canvas 40 x 31.1 cm

    1890 Irises oil on canvas 73.7 x 92.1 cm

    1890 Japanese Vase with Roses and Anemones oil on canvas 51 x 51 cm

    1890 Poppies and Butterflies oil on canvas 34.5 x 25.5 cm

    1890 Red Poppies and Daisies oil on canvas 65 x 50 cm

    1890 Roses and Beetle oil on canvas 33.5 x 24.5 cm

    1890 Still Life with Irises oil on canvas 92 x 73.5 cm

    1890 Still Life, Glass with Carnations oil on canvas 41 x 32 cm

    1890 Still Life, Pink Roses in a Vase oil on canvas 92.6 x 73.7  cm

    1890 Still Life, Vase with Flower and Thistles oil on canvas 41 x 34 cm

    1890 Still Life, Vase with Rose-Mallows oil on canvas 42 x 29 cm

    1890 Still Life, Vase with Roses oil on canvas 71 x 90 cm

    1890 Still Life, Pink Roses oil on canvas 32 x 40.5 cm

    1890 Wild Flowers and Thistles in a Vase oil on canvas 67 x 47 cm

    1890 Wild Roses oil on canvas 24.5 x 33 cm

    Still Life, Vase with Five Sunflowers oil on canvas 98 x 69 cm (destroyed by fire in WW2)

    Still Life, Vase with Twelve Sunflowers oil on canvas 91 x 72 cm


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    John Sloan c 1891
    Continuing the intermittent theme on the New York "Ashcan School" (see Introduction Oct 2012, William Glackens Oct 2012, Robert Henri Oct - Nov 2012, George Luks Nov 2012, Everett Shinn Nov 2012, George BellowsDec 2012) the next artist I'm featuring is John Sloan.

    John French Sloan (1871 – 1951) was born in 1871 in Lock Haven, Pa. After he finished high school, he worked for booksellers and dry-goods dealers. He studied briefly under Thomas Anshutz at the Pennsylvania Academy of Fine Arts and in 1892 was employed by the Philadelphia Inquirer as a newspaper artist. Robert Henri encouraged him as a painter, and he was influenced by Japanese prints. In 1895 he moved to the Philadelphia Press, for which he drew full-page colour pictures until 1902. His early paintings were street scenes, sombre in color, vivid and direct in execution. These were first exhibited in 1900 in Chicago and Pittsburgh, and he was included in a New York group show in 1901.

    Sloan married in 1901 and in 1904 moved to New York. For many years he supported himself as a magazine illustrator and after 1906, as a teacher. A series of 10 etchings of city life in 1905-1906, rich in content, often with undercurrents of humor or irony, found no purchasers. Though his work was seen in these years in the Carnegie International Exhibition and the National Academy of Design, more often than not his pungent and un-idealized urban scenes were rejected by academic critics. It was in part his rejection by the academy in 1907 that caused Henri to withdraw from that organisation. Sloan was one of the group of painters called "The Eight," whose exhibition at the Macbeth Gallery in 1908 called attention to the radical subject matter and vigorous execution of five of the painters - Henri, Sloan, William Glackens, George Luks, and Everett Shinn.

    Sloan and his wife joined the Socialist party in 1910, and he became art editor of its magazine The Masses, to which he contributed some of his most compelling drawings. In 1910 and again in 1913 he was an unsuccessful candidate for the New York State Assembly. He withdrew from the party in 1914 but remained on the staff of The Masses for two more years. He sold his first painting in 1913 to Dr. Albert C. Barnes. He was well represented that same year in the celebrated Armory Show but was too completely a representational artist to have much sympathy for the new European movements exhibited there.

    Sloan was an active teacher at the Art Students League and served as its president in 1931. He was president of the Society of Independent Artists from 1918 until his death; this organization staged large, no-jury, no-prize shows from 1917 until 1944.

    From 1914 to 1918 Sloan spent the summers in Gloucester, Mass. where he painted landscapes as well as people. He travelled to the Southwest for the first time in 1919, and for the rest of his life spent long periods in Santa Fe, N. Mex. where he built a house in 1940. The life of the Indians, the ceremonial activities of the Spanish inhabitants, and the dramatic desert landscape provided powerful new subjects. In 1931 he was active in organizing a large exhibition of Indian tribal arts.

    After about 1930 Sloan painted no more city scenes but became increasingly concerned with studies of the nude. The late paintings are monumental and technically innovative. In contrast to the direct execution of his earlier work, these are carefully constructed with monochrome underpainting, upon which an elaborate surface of bold cross-hatchings in colour gives startling relief.

    The power of Sloan's personality is well conveyed in Gist of Art (1939), a compilation of statements made to his students which were recorded by Helen Farr, who became his second wife, in 1944. Sloan died on Sept. 7, 1951, in Hanover, N.H.

    This is part 1 of a 5-part post on the works of John Sloan:

    1890 George Eliot etching 14 x 10.1 cm

    1890 Self-portrait oil on 'window shade'

    1893 Professional Nurse watercolour 27.3 x 22.9 cm

    1894 Schuylkill River etching 26.7 x 21.9 cm

    1895 Moods commercial relief 51.4 x 32 cm

    1895 The Echo commercial relief & letterpress 24 x 14.4 cm

    1896 Cinder-Path Tales commercial lithography 9.4 x 34.5 cm

    1896 Head of a Boy 61 x 76.2 cm

    1900 Green's Cats oil on canvas 55.9 x 76.2 cm

    1900 Illustration for 26 August Philadelphia Press ink & watercolour

    1900 Independence Square, Philadelphia oil on canvas 68.6 x 55.9 cm

    1901 East Entrance, City Hall, Philadelphia oil on canvas 69.2 x 91.4 cm

    1901 Illustration for Philadelphia Press 5 May ink & watercolour 54.6 x 44.5 cm

    1902 Dupont's Ride etching 14.9 x 11.1 cm

    1902 George Sotter oil on canvas 76.2 x 61 cm

    1902 Young Woman in Black and White (Mary Kerr) oil on canvas 68.9 x 55.9 cm

    1903 Dock Street Market oil on canvas 61.6 x 92.1 cm

    1903 Girl Seated drypoint 26.4 x 22.4 cm

    1903 Little Savoyards etching 14.9 x 11.1 cm

    1903 Madame Mondigo etching 14.9 x 11.1 cm

    1903 Monsieur Bellequeue etching 14.9 x 11.1 cm

    1903 Will Bradner etching 32.1 x 23.5 cm

    c1903 The Day on the Roof crayon on paper 34.3 x 38.1 cm

    1904 Boy with Piccolo oil on canvas 68.5 x 56 cm

    1904 Charles Paul de Kock etching 54.3 x 43.5 cm

    1904 Madame de Grangeville etching 14.9 x 11.1 cm

    1904 Mademoiselle Violette etching 14.9 x 11.1 cm

    1904 Monsieur Dermilly, Benevolent Artist etching 14.9 x 11.1 cm

    1904 Monsieur Dermilly, Benevolent Artist etching 14.9 x 11.1 cm

    1904 Monsieur Mirotaine Waters the Wine etching 14.9 x 11.1

    1905 Robert Henri etching 48 x 38.2 cm

    1905 Stein in Profile oil on canvas 91.4 x 69.5 cm

    1905 Turning Out the Light etching 12.7 x 17.8 cm

    1905-06 Ferry Slip, Winter oil on canvas 55.1 x 80.5 cm

    1905-06 Sunset, West Twenty-Third Street oil on canvas 61 x 91.4 cm

    c1905-07 Daisy oil on canvas 68.6 x 55.9 cm

    1906 Dust Storm, Fifth Avenue oil on canvas 55.9 x 68.6 cm

    1906 Jewelry Store Window etching 27.8 x 21.6 cm

    1906 Mother etching 39.2 x 32.9 cm

    1906-07 The Picnic Grounds oil on canvas 61 x 91.4 cm

    1907 Easter Eve oil on canvas 81.3 x 66 cm

    1907 Election Night oil on canvas 67 x 82 cm

    1907 Gray and Brass oil on canvas 55.9 x 68.6 cm


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    John French Sloan (1871 – 1951) was an American artist. As a member of The Eight, 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 is part 2 of a 5-part post on the works of John Sloan. For biographical notes and earlier works see part 1.

    1907 Hairdresser's Window oil on canvas 81 x 66 cm

    1907 Movies, Five Cents oil on canvas 59.7 x 80 cm

    1907 The Cot oil on canvas 92 x 76.2 cm

    1907 The Haymarket oil on canvas 66.7 x 81.6 cm

    1907 The Wake of the Ferry oil on canvas 66 x 81.3 cm

    1971 Issued 8 Cent United States Postage Stamp

    1907 The Wake of the Ferry oil on canvas 66 x 81.3 cm

    1907 Throbbing Fountain in Madison Square

    1907-8 Picture Shop Window

    c1907-8 South Beach Bathers oil on canvas 66 x 81 cm

    1908 Country Road oil on canvas 22.9 x 28.6 cm

    1908 Fishing for Lafayettes oil on linen 21.6 x 26.7 cm

    1908 Our Home in Fort Washington, Pennsylvania oil on canvas 33 x 40.6 cm

    1908 Sixth Avenue and Thirtieth Street lithograph 48.5 x 40.1 cm

    c1908-10 Copyist at the Metropolitan Museum etching 19 x 23 cm

    c1908 Family monotype in sepia ink

    1909 Chinese Restaurant oil on canvas 66 x 81.3 cm

    1909 Clown Making Up oil on canvas 81 x 66 cm

    1909 Spanish Girl (Fur Hat, Red Coat) oil on canvas 81.3 x 66 cm

    1909 Three A.M. oil on canvas 81.3 x 66.7 cm

    1909 Yolande in Gray Tippet oil on canvas 81.3 x 66 cm

    1909 Fifth Avenue etching 31.3 x 23.7 cm

    c1909-11 Fifth Avenue, New York oil on canvas 81 x 66 cm

    1910 Night Windows etching 13.3 x 17.8 cm

    1910 Pigeons oil on canvas 66 x 81 cm

    1910 Expecting a Turkey from Uncle etching 19.2 x 13.3 cm

    1910-11 Scrubwoman, Astor Library oil on canvas 81.3 x 66 cm

    c1910-14 Yeats at Petepas' oil on canvas 67 x 81.9 cm

    1911 Gray Day, Jersey Coast oil on canvas 55.9 x 66.7 cm

    1911 Isadora Duncan oil on canvas 81.9 x 66.7 cm

    1912 A Window on the Street oil on canvas 66 x 81.3 cm

    1912 A Woman's Work oil on canvas 80.3 x  65.4 cm

    1912 Carmine Theater oil on canvas 66 x 81 cm

    1912 McSorley's Back Room oil on canvas 66 x 81 cm

    1912 McSorley's Bar oil on canvas 66 x 81.3 cm

    1912 Rainbow, New York City oil on canvas 50.8 x 61 cm

    1912 Renganeschi's Saturday Night oil on canvas 66.7 x 81.3 cm

    1912 Six O'Clock, Winter oil on canvas 66 x 81 cm

    1912 Spring Rain, New York oil on canvas

    1912 Spring, Grammercy Park oil on canvas 61 x 51 cm

    1912 Sunday Afternoon in Union Square oil on canvas 66.7 x 81.9 cm

    1912 Sunday, Women Drying Their Hair oil on canvas 66 x 81.3 cm

    1912 The Serenade etching 20.5 x 14.4 cm

    1913 Carol with Red Curls oil on canvas 61 x 50.8 cm

    1913 Rain, Rooftops, West 4th Street oil on canvas 51 x 61 cm


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    John French Sloan (1871 – 1951) was an American artist. As a member of The Eight, 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 is part 3 of a 5-part post on the works of John Sloan. For biographical notes on Sloan see part 1. For earlier works see parts 1 - 2 also.

    1913 Rosette oil on canvas 66 x 81.3 cm

    1913 Spring Planting, Greenwich Village oil on canvas 66 x 81.3 cm

    1913 The New Blue Dress oil on canvas 61 x 51 cm

    1913-15 The Effect is Spoiled charcoal & watercolour on paper 35.6 x 26.7 cm

    c1913 Woman with Hand to Chin etching 16 x 8 cm

    1914 After the War a Medal and Maybe a Job charcoal & crayon

    1914 Backyards, Greenwich Village oil on canvas 66 x 81.3 cm

    1914 Cover of June issue of The Masses

    1914 Dunes at Annisquam oil on canvas 66 x 81.3 cm

    1914 Girls Running etching 18.6 x 9.5 cm

    1914 Grassy Dunes, Gloucester oil on canvas 50.8 x 61 cm

    1914 Love on the Roof etching 26.4 x 19.1 cm

    1914 Seated Woman black chalk on paper 32.4 x 24.1 cm

    c1914-18 Gloucester Landscape oil on canvas 66 x 81.3 cm

    c1914-18 Sally and Paul, Reds and Greens oil on canvas 51.1 x 61.6 cm

    c1914 Gloucester Inlet oil on canvas 50.8 x 61 cm

    1915 A Gloucester Day oil on canvas 50.8 x 61 cm

    1915 Greetings etching 21.7 x 12.1 cm

    1915 Humoresque oil on canvas 50.8 x 61 cm

    1915 Isadora Duncan etching twenty-ninth state 22.9 x 19.1 cm

    1915 Pink and Blue oil on canvas 61 x 51 cm

    1915 Poster and cover of The Echo black & red ink, relief linecut

    1915 Sun and Wind on the Roof oil on canvas 61 x 51 cm

    1915 Tittering Girls oil on canvas 51.3 x 61.9 cm

    1915 Wonson's Rocks and Ten Pound Island oil on canvas 50.8 x 61 cm

    1915 Yellow Rock, Gloucester oil on canvas 50.5 x 61 cm

    c1915 The Jitney oil on canvas 50.8 x 61 cm

    1916 Child and Thistle in Sun oil on canvas 50.8 x 61 cm

    1916 Deep Blue Sea oil on canvas

    1916 Dogtown Common oil on canvas 50.8 x 61 cm

    1916 Evening, Rocky Neck oil on canvas 66 x81 cm

    1916 Fishing Port, Gloucester oil on canvas 50.8 x 61 cm

    1916 Foggy Bank, Rocky Neck oil on canvas 50.8 x 61 cm

    1916 Gladys Carter 50.8 x 61 cm

    1916 Gloucester Harbor oil on canvas 66 x 81.3 cm

    1916 Growing up in Greenwich Village etching 16 x 8 cm

    1916 Helen Taylor Sketching oil on canvas 66 x 81.3 cm

    1916 Our Red Cottage, Gloucester oil on canvas 40.6 x 50.8 cm

    1916 Quaker Nell (Helen M. Taylor) oil on canvas 61 x 50.8 cm

    c1916 Lookout, Green and Orange Cliffs oil on canvas 56.5 x 68.6 cm

    1917 Gloucester Trolley

    1917 Main Street, Gloucester oil on canvas 66 x 82 cm

    1917 My Wife in Blue oil on canvas 114.3 x 91.4 cm

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