Vintage Antique JOHN SLOAN Painting Mexico Santa Fe Taos Fremont Ellis WOW
Item History & Price
You are looking at a beautiful, large, antique oil painting signed, John Sloan.This beautifully framed NEW MEXICO painting, has exquisite beautiful details, and wonderful texture. The MUSEUM style painting would be a great add to any important collection. As per ebay rules, Item is sold without paperwork and in the style of the artist. Guaranteed Antique
Condition: very good! Size: 18"x24"without frame 22"x28" with frame.Provenance: Private... collectionFound in NEW MEXICOI have no further information on the art, and selling as is. Most of the art here, is found at estate sales.
JOHN SLOAN (1871–1951)New Mexico connection...When John Sloan—one of eight Eastern painters known as the Ashcan school—first came to Santa Fe in 1919, he was looking for new subjects to paint. He found a remote mountain town of about seven thousand citizens, two-thirds of whom were Spanish-speaking. Among the “Anglos” (persons neither Spanish nor Indian) was a sizable group of artists. To respect creative work is tradition in both Indian and Spanish society, and Sloan was delighted to find himself politely left alone. Above all, he was enchanted by the look of the place. That summer he wrote his friend Robert Henri, who had first suggested he try Santa Fe, “I have thirteen canvases under way …, ” adding that he was at work in one of the studios that the Fine Arts Museum made available to visiting artists. The next year, he and his wife bought property, and from then until 1950, Sloan spent all but one summer in Santa Fe.“I like the colors out there, ” he wrote in his book for students, The Gist of Art. “The ground is not covered with green mold as it is elsewhere. The pifion trees dot the surface of hills and mesas with exciting textures. When you see a green tree it is like a lettuce against the earth, a precious growing thing. Because the air is so clear you feel the reality of the things in the distance. ”But Santa Fe was not for every artist. Stuart Davis, after a few weeks of it, declared, “I don’t think you could do much work there. … Not sufficient intellectual stimulus.” And according to Edward Hopper’s biographer, Alfred Barr, Hopper “wandered among the Indians, adobe houses and gaudy mountains, but he could find nothing much to paint. One day he came home triumphant; the spell was broken; he had done the watercolor Locomotive D & R.G. [Denver and Rio Grande] ” This work now belongs to the Metropolitan—a splendid picture of a locomotive but not of Santa Fe.For Sloan, not only Santa Fe and its surroundings but also the life he led there was ideal. He could paint all day, either in the open air or in his quiet studio, with hollyhocks nodding at the window, and in the evenings find conviviality with his own sort. The Santa Fe artists, when in the mood, took part in community life. They helped revive the old Spanish-colonial fiesta, and Sloan designed costumes for the Historical Parade and the Hysterical Parade.He was also fascinated by the Pueblo Indians, their ceremonials, and their art, which he thought should be considered as art and not as ethnology. When a wealthy Santa Fe woman, Amelia Elizabeth White, founded the Gallery of American Indian Art in New York in the 1930’s, Sloan’s first wife, Dolly, became its manager.John Sloan, like William Glackens, Everett Shinn, Robert Henri, and other members of the Ashcan school, loved to paint everyday life. “Seek to express the deep-seated truths you find in the world around you, ” he said once. “Draw with human kindness.” Sloan never went abroad, believing that an artist should “put down roots in his own country.” Perhaps Santa Fe was quite foreign enough for him.
A leader of The Eight, John Sloan was born in Lock Haven, Pennsylvania. Sloan grew up in Philadelphia, where he studied briefly at the Pennsylvania Academy of the Fine Arts, and in 1892 joined the art staff of the Philadelphia Inquirer. That year he met Robert Henri, who would become his life-long friend and inspire him to become a painter. Among his fellow newspaper artists in Philadelphia were William Glackens, George Luks, and Everett Shinn. In 1904 Sloan and Dolly, his wife of three years, moved to New York, where he continued to work as an illustrator and became increasingly interested in depicting city life and city scenes. He participated in many major exhibitions such as "The Eight" in 1908, the Exhibition of Independent Artists in 1910, the 1913 Armory Show, and the first show of the Society of Independent Artists in 1917.
In 1910 Sloan joined the Socialist Party and contributed illustrations to its publications, notably the magazine The Masses. With the advent of World War I he resigned from the party. About the same time he began spending summers away from the city, first at Gloucester, Massachusetts (1914–1919), and then in Santa Fe (from 1919). In 1916 he had his first one-person exhibition (at the Whitney Studio), began his association with Kraushaar Galleries, and started teaching at the Art Students League. He became president of the Society of Independent Artists in 1918, a post he held until 1944.
It was probably due to Sloan’s paintings, which favored a dark palette and scenes of the gritty side of urban life in turn-of-the-century New York City, that the Eight was later dubbed the "Ashcan School." Sloan’s subjects are voyeuristic, a spectator of the human dramas he glimpsed in the streets and tenements of New York. Duncan Phillips further noted in A Collection in the Making, that Sloan was a “…sympathetic and understanding observer of class consciousness, crowd psychology and the bitter ironies of life.” One of America's most revered artists in his later years, Sloan continued to paint, etch, and experiment with new printing techniques, until his death in 1951. Please do your research, before bidding. This is being sold as artwork that is done in the style of the artist, after the artist. It has not been evaluated or appraised. Please do your research before buyingNo refunds. SHIPPING: 10 days, Will usually ship within 1 to 2 days, excluding weekends and vacation time etc. Tracking will be added to auction page when sent.Thank you for looking !
Condition: very good! Size: 18"x24"without frame 22"x28" with frame.Provenance: Private... collectionFound in NEW MEXICOI have no further information on the art, and selling as is. Most of the art here, is found at estate sales.
JOHN SLOAN (1871–1951)New Mexico connection...When John Sloan—one of eight Eastern painters known as the Ashcan school—first came to Santa Fe in 1919, he was looking for new subjects to paint. He found a remote mountain town of about seven thousand citizens, two-thirds of whom were Spanish-speaking. Among the “Anglos” (persons neither Spanish nor Indian) was a sizable group of artists. To respect creative work is tradition in both Indian and Spanish society, and Sloan was delighted to find himself politely left alone. Above all, he was enchanted by the look of the place. That summer he wrote his friend Robert Henri, who had first suggested he try Santa Fe, “I have thirteen canvases under way …, ” adding that he was at work in one of the studios that the Fine Arts Museum made available to visiting artists. The next year, he and his wife bought property, and from then until 1950, Sloan spent all but one summer in Santa Fe.“I like the colors out there, ” he wrote in his book for students, The Gist of Art. “The ground is not covered with green mold as it is elsewhere. The pifion trees dot the surface of hills and mesas with exciting textures. When you see a green tree it is like a lettuce against the earth, a precious growing thing. Because the air is so clear you feel the reality of the things in the distance. ”But Santa Fe was not for every artist. Stuart Davis, after a few weeks of it, declared, “I don’t think you could do much work there. … Not sufficient intellectual stimulus.” And according to Edward Hopper’s biographer, Alfred Barr, Hopper “wandered among the Indians, adobe houses and gaudy mountains, but he could find nothing much to paint. One day he came home triumphant; the spell was broken; he had done the watercolor Locomotive D & R.G. [Denver and Rio Grande] ” This work now belongs to the Metropolitan—a splendid picture of a locomotive but not of Santa Fe.For Sloan, not only Santa Fe and its surroundings but also the life he led there was ideal. He could paint all day, either in the open air or in his quiet studio, with hollyhocks nodding at the window, and in the evenings find conviviality with his own sort. The Santa Fe artists, when in the mood, took part in community life. They helped revive the old Spanish-colonial fiesta, and Sloan designed costumes for the Historical Parade and the Hysterical Parade.He was also fascinated by the Pueblo Indians, their ceremonials, and their art, which he thought should be considered as art and not as ethnology. When a wealthy Santa Fe woman, Amelia Elizabeth White, founded the Gallery of American Indian Art in New York in the 1930’s, Sloan’s first wife, Dolly, became its manager.John Sloan, like William Glackens, Everett Shinn, Robert Henri, and other members of the Ashcan school, loved to paint everyday life. “Seek to express the deep-seated truths you find in the world around you, ” he said once. “Draw with human kindness.” Sloan never went abroad, believing that an artist should “put down roots in his own country.” Perhaps Santa Fe was quite foreign enough for him.
A leader of The Eight, John Sloan was born in Lock Haven, Pennsylvania. Sloan grew up in Philadelphia, where he studied briefly at the Pennsylvania Academy of the Fine Arts, and in 1892 joined the art staff of the Philadelphia Inquirer. That year he met Robert Henri, who would become his life-long friend and inspire him to become a painter. Among his fellow newspaper artists in Philadelphia were William Glackens, George Luks, and Everett Shinn. In 1904 Sloan and Dolly, his wife of three years, moved to New York, where he continued to work as an illustrator and became increasingly interested in depicting city life and city scenes. He participated in many major exhibitions such as "The Eight" in 1908, the Exhibition of Independent Artists in 1910, the 1913 Armory Show, and the first show of the Society of Independent Artists in 1917.
In 1910 Sloan joined the Socialist Party and contributed illustrations to its publications, notably the magazine The Masses. With the advent of World War I he resigned from the party. About the same time he began spending summers away from the city, first at Gloucester, Massachusetts (1914–1919), and then in Santa Fe (from 1919). In 1916 he had his first one-person exhibition (at the Whitney Studio), began his association with Kraushaar Galleries, and started teaching at the Art Students League. He became president of the Society of Independent Artists in 1918, a post he held until 1944.
It was probably due to Sloan’s paintings, which favored a dark palette and scenes of the gritty side of urban life in turn-of-the-century New York City, that the Eight was later dubbed the "Ashcan School." Sloan’s subjects are voyeuristic, a spectator of the human dramas he glimpsed in the streets and tenements of New York. Duncan Phillips further noted in A Collection in the Making, that Sloan was a “…sympathetic and understanding observer of class consciousness, crowd psychology and the bitter ironies of life.” One of America's most revered artists in his later years, Sloan continued to paint, etch, and experiment with new printing techniques, until his death in 1951. Please do your research, before bidding. This is being sold as artwork that is done in the style of the artist, after the artist. It has not been evaluated or appraised. Please do your research before buyingNo refunds. SHIPPING: 10 days, Will usually ship within 1 to 2 days, excluding weekends and vacation time etc. Tracking will be added to auction page when sent.Thank you for looking !
