A close look at early-20th-century New York City through the eyes of Ashcan artist John Sloan John Sloan (1871–1951) began his career as a commercial newspaper artist in Philadelphia where he studied with Robert Henri. Following Henri to New York, Sloan joined a small circle of eight talented artists whose dissatisfaction with the dominating National Academy led to a protest exhibit in 1908, the emergence of a powerful movement for change in American art, and ultimately to the famous Armory Show of 1913. It was in part Sloan’s dark palette and views of city streets and working-class life that gave rise to the epithet now used to describe the works of the “Ashcan School.” Sloan’s compelling images of New York City are the subject of this generously illustrated book. His paintings, drawings, and prints clearly reflect his own experience of the city as he walked its neighborhoods and observed human dramas played out in streets and apartments. The contributors to the volume investigate a variety of topics, including Sloan’s understanding of the urban experience in America, his interest in social reform, his fascination with moving pictures and cinema aesthetics, and his relationship with Henri. The authors also situate Sloan’s paintings within the geography and social fabric of New York. John Sloan’s New York presents a unique perspective on New York and its people and also on the artist himself, who was captivated by the soul of the city.

John Sloan's New York

Arts & Photography

Fillin-Yeh, Susan

Manthorne, Katherine E.

Boylan, Alexis L.

Schiller, Joyce K.

Coyle, Heather Campbell

Hutton, Molly S.

History & Criticism

Delaware Museum of Art

A gorgeous look at popular illustrators of the Jazz Age and their influential role in the dynamic culture of the 1920s and '30s &nbsp; The 1920s in the United States was characterized by economic prosperity and dramatic social change. Known as the Jazz Age, it was a time when Black music, art, and literature became a powerful cultural force. Shifting roles for women and trends in youth culture coalesced in the figure of the flapper, causing a moral panic chronicled in the expanding popular press. Exploring how the art of popular illustration helped shape this new consciousness and impacted publishing, politics, and daily life, this volume features works by artists such as Aaron Douglas, Nell Brinkley, John Held Jr., and Loïs Mailou Jones. Their striking images illustrated the New Yorker, Vanity Fair, The Crisis, Liberty, and the Saturday Evening Post, as well as newspapers, novels, and books for children. Essays foreground the contributions of women and Black artists; draw parallels between music, fashion, and the aesthetics of popular illustration; discuss the impact of the Harlem Renaissance and the national growth of the Black press; highlight the legacy of illustrator Howard Pyle and his students; and consider the appropriation of the subversive jazz culture by a white audience. &nbsp; Distributed for the Delaware Art Museum &nbsp; Exhibition Schedule: &nbsp; Delaware Art Museum, Wilmington (October 5, 2024-January 26, 2025) &nbsp; Biggs Museum of American Art, Dover, DE (Spring-Summer 2025) &nbsp; Norman Rockwell Museum, Stockbridge, MA (Fall 2025-Winter 2026)

Jazz Age Illustration

John Sloan (1871-1951) began his career as a commercial newspaper artist in Philadelphia where he studied with Robert Henri. Following Henri to New York, Sloan joined a small circle of eight talented artists whose dissatisfaction with the dominating National Academy led to a protest exhibit in 1908, the emergence of a powerful movement for change in American art, and ultimately to the famous Armory Show of 1913. It was in part Sloan?s dark palette and views of city streets and working-class life that gave rise to the epithet now used to describe the works of the “Ashcan School.? Sloan?s compelling images of New York City are the subject of this generously illustrated book. His paintings, drawings, and prints clearly reflect his own experience of the city as he walked its neighborhoods and observed human dramas played out in streets and apartments. The contributors to the volu

Sloan, John

Individual Artists

Delaware Art Museum

Wilmington-based painter Mary Page Evans works directly from nature, en plein air, seeking to capture a specific landscape, figure, tree, or sky. She is engaged by particularity, making an effort to establish the locale, the time of day, and the quality of light. Not surprisingly, her influences include the French impressionists and post-impressionists, as well as the abstract expressionist Joan Mitchell. Evans has worked at Claude Monet’s garden in Giverny and names Cézanne as an inspiration. The painter Gene Davis described Evans’s paintings as “hymns of unadulterated joy,” and her accompanying exhibition, Painted Poetry: The Art of Mary Page Evans, promises to be a gorgeous celebration of nature and the human form, as well as a retrospective covering more than forty years of the painter’s distinguished career. “Art history has always played an important role in my work,” explains Evans. “Having absorbed the structural lessons of Cézanne and the ‘push-pull’ principle of Hans Hofmann, I try to loosen the form and let color determine the structure and create the space. I strive for a visual back-and-forth in the space resulting from forms and colors reacting to each other—like music.” Evans is widely collected and has works in the Delaware Art Museum, Wilmington, DE; National Museum of Women in the Arts, Washington, DC; and the State Museum of Pennsylvania, Harrisburg, PA, among others. Bill Scott is a Philadelphia-based painter and critic. Danielle Rice is the executive director of Delaware Art Museum in Wilmington, Delaware.

Painted Poetry: The Art of Mary Page Evans

Scott, Bill

Hudson Hills

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Books by Coyle, Heather Campbell