SNOW SCENE O/B PAINTING SIGNED JOHN SLOAN REALLY A GORGEOUS WORK MUST SEE

Up for purchase is this quite nice and warm oil painting showing a tranquil Winter Country scene and signed and attributed to John Sloan. A couple walking thru a snow filled area having abundant trees and path leading into town. The painting is additionally dated 1934.  The work measures approx 20" by 24" unframed and the painting is in very nice condition throughout. I would now like to add a short bio thanks to the Altermann Galleries...As a teenager, John Sloan worked for a dealer in Old-Master prints and copied all the illustrations in a dictionary.  He studied at Spring Garden Institute in Philadelphia and in 1892 at the Philadelphia Academy of Fine Arts with Thomas Anshutz and Robert Henri whose studio was the social hub for his “black gang”---Sloan, William Glackens, George Luks, and Everett Shinn---the fellow artist-reporters on the Philadelphia Press. 

Sloan sketched news events on the spot, making the record a photograph now provides. Henri encouraged Sloan to paint the sketches, with spontaneity.  Henri and Sloan worked so long on his paintings, that his name was the past tense of slow.  By 1898, Sloan was working for a New York City newspaper, and by 1904, all five were in New York City. 

When the National Academy of Design slighted Henri in 1907, he with Sloan, Arthur Davies, Ernest Lawson, and Maurice Prendergast became part of The Eight in order to exhibit their work at the Macbeth Gallery.   Sloan did not sell a painting at that exhibit.

As a practicing Socialist looking for social disparities, he ranged the city, particularly the areas of Coney Island, Union Square, and the Bowery to capture slices of life with economy and candor.  

He was the only member of The Eight who had not studied in Europe, but he taught at the Art Students League 1914-26 and 1935-37.  His painting philosophy is set forth in his book Gist of Art published in 1939.

In 1919, Randall Davey persuaded Sloan to forsake Gloucester, Massachusetts for a summer in Santa Fe.  There Sloan bought an adobe in 1920 for occupancy most of his remaining summers.  In New Mexico, Sloan was a lion, not a radical.  His work was warm, “but he could never seem to take more than a visiting spectator’s viewpoint when painting the Indian.” 

Source:
Peggy and Harold Samuels, The Encyclopedia of Artists of the American West