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745:, Glackens usually got the reportorial assignments because he was more adept than Sloan in making quick sketches.) His methodical approach towards sketching carried over to his painting. "Sloan's approach to making urban realist art was based on images seen and remembered (and sometimes written down) rather than sketched in the street, even though his autographic handling of paint and print media conveys the look of a rapid drawing. The effect is conceptual rather than perceptual, which Sloan denigrated as "eyesight painting." This was a major characteristic of his style, consistent with the Ashcan School's goal of presenting a subject to the viewer with all the immediacy of a snapshot.
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540:, where for the next eighteen years he became a charismatic if eccentric teacher. Sloan also taught briefly at the George Luks Art School. His students respected him for his practical knowledge and integrity, but feared his caustic tongue; as a well-known painter who had nonetheless sold very few paintings, he advised his students, "I have nothing to teach you that will help you to make a living." He disdained careerism among artists and urged his pupils to find joy in the creative process alone.
736:. Yet it was a term Sloan despised. He came to feel that it homogenized too many different painters, concentrated viewers' attention on content rather than style, and presupposed a muckraking intent. His wariness was not misplaced: exhibitions of Ashcan art in recent decades often stress its documentary quality and importance as part of an historical record, whereas Sloan felt that any artist worth anything had to be appreciated for his skilled brushwork, color, and composition.
415:. The group was afterward collectively known as "The Eight." The Macbeth Galleries exhibition was intended as a rebuke to the restrictive exhibition practices of the powerful, conservative National Academy of Design. Sloan organized a touring exhibition of the paintings from that show that traveled to several cities from Newark to Chicago and elicited considerable discussion in the press about less academic approaches to art and new definitions of acceptable subject matter.
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269:, a talented painter and charismatic advocate of artistic independence who became his mentor and closest friend. Henri encouraged Sloan in his graphic work and eventually convinced him to turn to painting. They shared a common artistic outlook and in the coming years promoted a new form of realism, known as the "Ashcan school" of American art. In 1893, Sloan and Henri founded the short-lived Charcoal Club together, whose members would also include Glackens,
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625:. The experience Sloan gathered from his various press jobs provided him with a certain amount of knowledge and allowed room for him to explore and expand in his free time. Henri's mentorship was significant in Sloan's training because he encouraged him to paint more, and introduced him to the work of various artists, whose techniques, composition, and style Sloan studied. He sought additional guidance from
318:; although Dolly worked in a department store by day, Sloan had, in fact, met her in a brothel. They were married on August 5, 1901, providing Sloan with an affectionate partner who believed in him absolutely, but whose lapses and mental instability led to frequent crises. A particularly close friend in their New York years, who helped the couple to weather many of these crises, was the artist
770:, he said that his paintings were made with "sympathy, but no social consciousness ... I was never interested in putting propaganda into my paintings, so it annoys me when art historians try to interpret my city life pictures as 'socially conscious.' I saw the everyday life of the people, and on the whole I picked out bits of joy in human life for my subject matter."
459:. As Sloan was never entirely comfortable with propaganda, his work for these magazines did not always contain overt political content. His belief that "The Masses" was becoming too doctrinaire led to a dispute with fellow editors Max Eastman and Floyd Dell, causing him to resign his position with that journal in 1916. He was never an ally of the
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Sloan tended to observe city dwellers interacting in an intimate setting. A student of his wrote, he "concerned himself with what we call genre: street scenes, restaurant life, paintings of saloons, ferry boats, roof tops, back yards, and so on through a whole catalogue of commonplace subjects." Like
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In the spring of 1888, his father experienced a mental breakdown that left him unable to work, and Sloan became responsible, at the age of sixteen, for the support of his parents and sisters. He dropped out of school in order to work full-time as an assistant cashier at Porter and Coates, a bookstore
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A doctor who was consulted in an effort to help Dolly overcome her drinking problem suggested a scheme to Sloan: he was to start a diary in which he would include his fondest thoughts of her, with the expectation that she would surreptitiously read it and be freed of her disabling fear that Sloan
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of human life I can see about my windows, but I do it so that I am not observed at it ... No insult to the people you are watching to do so unseen." Sloan's attention to isolated incidents within the urban environment recalls the narrative techniques used in the realist fiction and
Hollywood
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617:, and his work experience as an etcher and draughtsman. The high school that Sloan attended had a good art department, but it is not known whether he gained any training there. Sloan worked several jobs in draughtsmanship, etching, and commercial artwork before he attended the
403:. Sloan participated in the landmark 1908 exhibition at the Macbeth Galleries of a group that included four other artists from the Philadelphia Charcoal Club (Henri, Glackens, Luks and Shinn) as well as three artists who worked in a less realistic, more impressionistic style,
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In 1943, Dolly Sloan died of coronary heart disease. The next year, Sloan married Helen Farr, a former student forty years his junior with whom he had been romantically involved for a time in the 1930s. On
September 7, 1951, Sloan died of cancer while vacationing in
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Sloan was described as an "early twentieth-century realist painter who embraced the principles of
Socialism and placed his artistic talents at the service of those beliefs." Yet whenever Sloan was asked about the social context of his paintings or about his fervent
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would leave her. Spanning the period from 1906 to early 1913, the diary soon grew beyond its initial purpose, and its publication in 1965 supplied researchers with a detailed chronicle of Sloan's activities and interests and a portrait of the pre-war art world.
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and seller of fine prints. His duties were light, allowing him many hours to read the books and examine the works in the store's print department. It was there that Sloan created his earliest surviving works, among which are pen-and-ink copies after
192:, often observed through his Chelsea studio window. Sloan has been called the premier artist of the Ashcan School, and also a realist painter who embraced the principles of Socialism, though he himself disassociated his art from his politics.
240:, a former clerk for Porter and Coates who had opened his own stationery store. At Newton's, Sloan designed greeting cards and calendars and continued to work on his etchings. In that same year he also attended a night drawing class at the
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In the late 1920s, just as the market for his city pictures was finally reaching a point at which he might have made a comfortable living, Sloan changed his technique and abandoned his characteristic urban subject matter in favor of
547:, where the desert landscape inspired a new concentration on the rendering of form. Still, the majority of his works were completed in New York. As a result of his time in the Southwest, he and Dolly developed a strong interest in
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praised Sloan's art for "an honest humaneness, a frank sympathy, a refusal to flatten its figures into stereotypes of class misery ... He saw his people as part of larger totality, the carnal and cozy body of the city itself." In
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In 1898, the socially awkward Sloan was introduced to Anna Maria (Dolly) Wall (born July 28, 1876), and the two fell immediately in love. In entering into a relationship with her, Sloan accepted the challenges posed by her
208:, where he lived and worked until 1904, when he moved to New York City. He and his two sisters (Elizabeth and Marianna) were encouraged to draw and paint from an early age. In the fall of 1884 he enrolled at the prestigious
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and incorporated over 1,000 participants. 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".
204:, on August 2, 1871, to James Dixon Sloan, a man with artistic leanings who made an unsteady income in a succession of jobs, and Henrietta Ireland Sloan, a schoolteacher from an affluent family. Sloan grew up in
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He soon left Newton's business in quest of greater freedom as a freelance commercial artist in 1891, but this venture produced little income. In 1892, he began working as an illustrator in the art department of
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At a young age, Sloan had been exposed to numerous books and reproductions through his uncle, Alexander
Priestley, who held an extensive collection in his library. One major influence that he discovered was
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Rebecca Zurier, "Picturing the City: Urban Vision and the Ashcan School", Ahmanson-Murphy Fine Arts Books, Published 9/6/2006, United States – University
Presses of California, Columbia and Princeton, CA.
600:, Gift of Helen Farr Sloan, 1970. A young man teaching himself to oil paint from a book, Sloan painted on whatever was available—in this case a window shade—and from the only model available, himself.
753:, Sloan often used the perspective of the window in his painting, in order to gain a tight focus, but also to observe his subject undetected. He wrote in his diary, in 1911; "I am in the habit of
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Hills, Patricia, "John Sloan's Images of
Working-Class Women: A Case Study of the Roles and Interrelationships of Politics, Personality, and Patrons in the Development of Sloan's Art, 1905–16",
693:. In 1893, Sloan and Glackens became regulars at a weekly "open house" at Henri's studio, where he encouraged the young men to read Whitman and Emerson and led discussions of such books as
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purchased one of Sloan's paintings; this was only the fourth sale of a painting for Sloan (although it has often erroneously been counted as his first). For Sloan, exposure to the
European
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709:. Henri believed in the need to create a new, less genteel American art that spoke more immediately to the spirit of the age, an outlook that found ready adherents in Sloan and Glackens.
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Unlike Henri, Sloan was not a facile painter and labored over his work, leading Henri to remark that "Sloan" was "the past participle of 'slow.'" (When
Glackens and Sloan were at
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works on view in the Armory Show initiated a gradual move away from the realist urban themes he had been painting for the previous ten years. In 1914–15, during summers spent in
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As someone who painted city crowds and tenement rooms, shop girls and streetwalkers, charwomen and hairdressers, Sloan is one of the artists most closely identified with the
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would succeed in creating an egalitarian society. Throughout his life, he identified with left-wing political causes and expressed vehement disapproval of the inequities of
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367:, for which he continued to draw weekly puzzles until 1910. By 1905, he was supplementing this income by drawing illustrations for books (including Wilkie Collins'
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arts and ceremonies and, back in New York, became advocates of Indian artists. In 1922 he organized an exhibition of work by Native
American artists at the
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By 1903, Sloan had produced almost sixty oil paintings but had yet to establish a name for himself in the art world. In April 1904, he and Dolly moved to
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Notes From The Eight: Robert Henri, John Sloan, William
Glackens, Ernest Lawson, Maurice Pendergast, George B. Luks, Everett Shinn, and Arthur B. Davies,
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and portraits. This independence was entirely typical of him, to the dismay of his dealer, Charles Kraushaar. Rejecting as superficial the spontaneous
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with the December 1912 issue and contributed powerful anti-war and anti-capitalist drawings to other socialist publications as well, such as the
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movement; these works combine the influences of European artists of the late nineteenth and early twentieth century, including
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180:(August 2, 1871 – September 7, 1951) was an American painter and etcher. He is considered to be one of the founders of the
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The summer of 1918 was the last he spent in Gloucester. For the next thirty years, he spent four months each summer in
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Party in 1910. Dolly Sloan also became active in Socialist projects at this time. John Sloan became the art editor of
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575:. The following January the Whitney Museum of American Art presented a well-received retrospective of his career.
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Sloan's paintings are represented in almost all major American museums. Among his best-known works are
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Sloan's growing discontent with what he called "the Plutocracy's government" led him to join the
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Bergquist, Stephen A. (2020). "John Sloan and Angna Enters: Portraits of a Dance-Mime".
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Sloan's training consisted of his study and reproduction of works by painters such as
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Sullivan, Mark W. "The Darby School of Art" (Havertown, PA: Brookline Books, 2023)
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John Sloan's New York Scene: From the Diaries, Notes, and Correspondence, 1906-1913.
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868:(1927) in the collection of the Philadelphia Museum of Art. In 1971, his painting
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to define the forms, have never attained the popularity of his early Ashcan works.
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the Brooklyn Museum (exhibition catalogue), November 24, 1943-January 16, 1944.
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Revolutionaries of Realism: The Letters of John Sloan and Robert Henri
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Revolutionaries of Realism: The Letters of John Sloan and Robert Henri
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262:. Among his fellow students was his old schoolmate William Glackens.
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Art for "The Masses": A Radical Magazine and Its Graphics, 1911-1917
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New York State Office of Parks, Recreation and Historic Preservation
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254:. Later that same year, Sloan began taking evening classes at the
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1164:, American Art Journal, Vol. 15, No. 2. (Spring, 1983), pp. 4–20.
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911:. In 1939, he published a book of his teachings and aphorisms,
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Perlman, Bennard B (editor), introduction by Mrs. John Sloan.
864:(1922) in the collection of the National Gallery of Art, and
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in the United States, although he remained hopeful that the
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of American art. He was also a member of the group known as
1613:. Orlando, Florida: Mennello Museum of American Art, 2009.
1598:. Princeton, New Jersey: Princeton University Press, 1997.
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Bennard B. Perlman (ed.), introduction by Mrs. John Sloan,
860:(1912) in the collection of the Detroit Institute of Arts,
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In 1913, Sloan painted a two-hundred-foot backdrop for the
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Music in Art: International Journal for Music Iconography
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American Painting from the Armory Show to the Depression,
1072:, Princeton: Princeton University Press, 1997, p. xviii.
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where he painted some of his best-known works, including
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American Painting from the Armory Show to the Depression
613:, a few classes at various institutions, mentorship by
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American Visions: The Epic History of Art in America,
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Holcomb, Grant (May 1978). "John Sloan in Santa Fe".
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his newspaper drawings reflected the style of Leech,
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American Visions: The Epic History of Art in America
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Sloan's early paintings may have been influenced by
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The Women's Page, from the series New York City Life
244:, which provided him his first formal art training.
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Princeton: Princeton University Press, 1955, p. 20.
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The Arrival of the First Mail in Bronxville in 1846
1003:Columbus, OH: Columbus Museum of Art, 1988, p. 48.
856:in the collection of the Corcoran Gallery of Art,
567:their first showing in the United States in 1920.
494:Also in 1913, Sloan participated in the legendary
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596:, 1890, oil on window shade, 14 x 11 7/8 inches,
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280:Towards the end of 1895, Sloan decided to leave
1637:. Philadelphia: Temple University Press, 1988.
954:. The post office and mural were listed on the
212:in Philadelphia, where his classmates included
1555:. Newark: University of Delaware Press, 2004.
1553:John Sloan's Women: A Psychoanalysis of Vision
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1162:John Sloan and 'McSorley's Wonderful Saloon'
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728:political cartoon, 1914 (digitally restored)
641:experiences, to be his "college education."
555:in New York. He also championed the work of
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1591:Chicago: University of Chicago Press, 2009.
1506:(1980): 157–96. Cambridge University Press.
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1059:, Vol. 3, No. 2. (Autumn 1971), pp. 80–87.
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4022:Art Students League of New York faculty
1582:Modern American Painting and Sculpture.
1499:. New York: E.P. Dutton & Co, 1955.
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689:as a result of his time studying under
536:Beginning in 1914, Sloan taught at the
314:and her sexual history, which included
30:For other people named John Sloan, see
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1470:"National Register Information System"
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2017:
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1053:John Sloan in Philadelphia, 1888–1904
722:After the War a Medal and Maybe a Job
658:. When Sloan entered his position at
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256:Pennsylvania Academy of the Fine Arts
108:Pennsylvania Academy of the Fine Arts
4057:People from Lock Haven, Pennsylvania
1475:National Register of Historic Places
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956:National Register of Historic Places
1645:American impressionism and realism
1426:Larry E. Gobrecht (November 1986).
798:method used by old masters such as
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471:. A pacifist, he also opposed the
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4067:20th-century American male artists
3997:19th-century American male artists
1589:The Eight and American Modernisms.
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258:under the guidance of the realist
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4052:20th-century American printmakers
4017:Artists from Santa Fe, New Mexico
3760:Jean Henri Gaston Giraud (MĹ“bius)
1685:Seeing the City: Sloan's New York
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1627:New York: Harper & Row, 1965.
862:The 'City' from Greenwich Village
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284:to work in the art department of
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872:(1907) was reproduced on a U.S.
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473:American entry into World War I
4062:Society of Independent Artists
4007:20th-century American painters
3992:19th-century American painters
1704:John Sloan - Spectator Of Life
1513:. New York: Henry Holt, 1995.
1511:John Sloan: Painter and Rebel
1394:New York: Knopf, 1994, p. 327.
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842:Whitney Museum of American Art
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553:Society of Independent Artists
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952:Treasury Section of Fine Arts
322:, the elderly father of poet
1723:Works by or about John Sloan
1641:Weinberg, H Barbara (2009).
1497:John Sloan: a Painter's Life
469:the American economic system
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27:American painter (1871–1951)
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4047:Federal Art Project artists
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713:Style and the Ashcan School
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373:) and for such journals as
32:John Sloan (disambiguation)
10:
4088:
4012:Painters from Philadelphia
2925:Alice and Martin Provensen
1489:
1452:"Accompanying five photos"
206:Philadelphia, Pennsylvania
29:
3948:Virginia Frances Sterrett
3915:
3869:
3824:
3783:
3742:
3738:
3727:
3678:
3622:
3576:
3530:
3480:
3434:
3393:
3352:
3316:
3280:
3276:
3265:
3221:
3185:
3149:
3103:
3072:
3041:
3010:
2979:
2938:
2897:
2893:
2882:
2828:
2787:
2741:
2705:
2674:
2648:
2622:
2596:
2570:
2544:
2540:
2529:
2495:
2469:
2448:
2427:
2401:
2375:
2349:
2323:
2297:
2271:
2267:
2256:
2222:
2196:
2170:
2144:
2118:
2092:
2076:
2060:
2044:
2028:
2024:
2013:
1989:
1973:
1957:
1941:
1925:
1909:
1893:
1877:
1861:
1845:
1841:
1830:
1801:
1785:
1781:
1770:
1587:Kennedy, Elizabeth (ed.)
1001:The American Collections,
940:United States Post Office
809:
742:The Philadelphia Inquirer
582:
508:Gloucester, Massachusetts
436:Detroit Institute of Arts
394:The Saturday Evening Post
282:The Philadelphia Inquirer
251:The Philadelphia Inquirer
165:
155:
127:
113:
103:
84:
58:
46:
39:
4027:American modern painters
1698:New Mexico Museum of Art
1242:The American Art Journal
978:
819:The Wake of the Ferry II
635:A Manual of Oil Painting
336:, etching on paper, 1905
202:Lock Haven, Pennsylvania
77:Lock Haven, Pennsylvania
4042:Taos Society of Artists
3861:Sarah S. Stilwell Weber
3765:Jeffrey Catherine Jones
3462:William Cameron Menzies
3288:Charles Edward Chambers
2915:Charles Livingston Bull
2661:Elizabeth Shippen Green
2279:Howard Chandler Christy
1763:Society of Illustrators
1623:St. John, Bruce (ed.).
1611:The World of John Sloan
1416:Loughery, pp. 149, 215.
823:The Phillips Collection
631:The Elements of Drawing
480:Paterson Strike Pageant
242:Spring Garden Institute
232:. He also began making
200:John Sloan was born in
4002:American male painters
2513:Arthur Ignatius Keller
2414:Charles Marion Russell
2284:James Montgomery Flagg
1209:Loughery, pp. 224–225.
1200:Loughery, pp. 202–205.
879:His students included
825:
729:
682:and Japanese prints.
660:The Philadelphia Press
601:
573:Hanover, New Hampshire
533:
438:
365:The Philadelphia Press
344:and found quarters in
337:
287:The Philadelphia Press
96:Hanover, New Hampshire
3686:Alice Barber Stephens
3249:Herbert Morton Stoops
3167:Edward Windsor Kemble
1584:New York: Dell, 1959.
1480:National Park Service
999:Norma Roberts (ed.),
817:
720:
590:
524:
488:Madison Square Garden
425:
355:Sixth Avenue Elevated
332:
139:Sixth Avenue Elevated
4072:Ashcan School people
3059:Robert Andrew Parker
2800:Robert M. Cunningham
2583:William Arthur Smith
2578:Jessie Willcox Smith
2409:Arthur Burdett Frost
1917:Arthur William Brown
1609:Leeds, Valerie Ann.
1304:Loughery, pp. 32–35.
1115:Loughery, pp. 94–95.
1088:Loughery, pp. 49–50.
1057:American Art Journal
950:commissioned by the
830:Hairdresser's Window
565:José Clemente Orozco
545:Santa Fe, New Mexico
324:William Butler Yeats
149:Hairdresser's Window
3493:Walter M. Baumhofer
3095:Albert Beck Wenzell
2692:Joseph Clement Coll
2100:Charles Dana Gibson
1714:Works by John Sloan
1689:Delaware Art Museum
1349:College Art Journal
1012:Loughery, pp. 9–10.
703:William Morris Hunt
633:and John Collier's
598:Delaware Art Museum
538:Art Students League
525:June 1914 cover of
426:John French Sloan,
405:Maurice Prendergast
265:In 1892, Sloan met
210:Central High School
3324:Kenneth Paul Block
3308:Chris Van Allsburg
2946:John James Audubon
2920:David Stone Martin
2795:Boris Artzybasheff
2713:Anton Otto Fischer
2687:McClelland Barclay
2315:Frederic R. Gruger
2230:Edwin Austin Abbey
2209:Frederic Remington
1814:Harold von Schmidt
1495:Brooks, Van Wyck.
834:Wadsworth Atheneum
826:
755:watching every bit
730:
602:
534:
439:
338:
3964:
3963:
3960:
3959:
3956:
3955:
3882:Anna Whelan Betts
3796:Margaret Brundage
3750:Thomas Blackshear
3723:
3722:
3719:
3718:
3568:Richard M. Powers
3421:Charles M. Schulz
3293:Earl Oliver Hurst
3261:
3260:
3257:
3256:
3172:Russell Patterson
3116:Bradshaw Crandell
2987:E. Simms Campbell
2966:Charles R. Knight
2930:J. Allen St. John
2878:
2877:
2874:
2873:
2749:Chesley Bonestell
2525:
2524:
2521:
2520:
2252:
2251:
2248:
2247:
2178:J. C. Leyendecker
2009:
2008:
2005:
2004:
1826:
1825:
1822:
1821:
1718:Project Gutenberg
1633:Zurier, Rebecca.
1619:978-0-9668799-2-6
1482:. March 13, 2009.
1381:Loughery, p. 296.
1286:Loughery, p. 328.
1191:Loughery, p. 192.
1182:Loughery, p. 191.
1173:Loughery, p. 186.
1151:Loughery, p. 281.
1142:Loughery, p. 177.
1133:Loughery, p. 146.
1051:St. John, Bruce.
938:The lobby of the
870:Wake of the Ferry
854:Yeats at Petitpas
838:The Picnic Ground
668:George du Maurier
382:Good Housekeeping
361:Wake of the Ferry
346:Greenwich Village
320:John Butler Yeats
178:John French Sloan
175:
174:
170:Gold Medal (1950)
145:Wake of the Ferry
88:September 7, 1951
63:John French Sloan
16:(Redirected from
4079:
3987:American etchers
3938:Gregory Manchess
3801:Walter Percy Day
3740:
3739:
3729:
3728:
3558:William Glackens
3538:Marshall Arisman
3488:Bernard D'Andrea
3426:Murray Tinkelman
3360:Ludwig Bemelmans
3278:
3277:
3267:
3266:
3239:Laurence Fellows
3177:George Stavrinos
3136:Alvin J. Pimsler
2971:Franklin McMahon
2895:
2894:
2884:
2883:
2851:Stanley Meltzoff
2697:Frank Schoonover
2542:
2541:
2531:
2530:
2487:Robert T. McCall
2393:James Williamson
2341:Henry P. Raleigh
2269:
2268:
2258:
2257:
2131:Maxfield Parrish
2026:
2025:
2015:
2014:
1885:Edward A. Wilson
1843:
1842:
1832:
1831:
1783:
1782:
1772:
1771:
1756:
1749:
1742:
1733:
1732:
1727:Internet Archive
1705:
1669:at Artcyclopedia
1650:
1551:Coco, Janice M.
1548:
1539:(1–2): 201–215.
1509:Loughery, John.
1484:
1483:
1466:
1460:
1459:
1454:. Archived from
1446:
1444:
1443:
1434:. Archived from
1423:
1417:
1414:
1408:
1401:
1395:
1388:
1382:
1379:
1373:
1370:
1361:
1358:
1352:
1341:
1335:
1332:
1323:
1320:
1314:
1311:
1305:
1302:
1296:
1295:Loughery, p. 30.
1293:
1287:
1284:
1278:
1275:
1266:
1265:
1237:
1231:
1228:
1222:
1216:
1210:
1207:
1201:
1198:
1192:
1189:
1183:
1180:
1174:
1171:
1165:
1158:
1152:
1149:
1143:
1140:
1134:
1131:
1125:
1122:
1116:
1113:
1107:
1106:Loughery, p. 84.
1104:
1098:
1095:
1089:
1086:
1080:
1066:
1060:
1049:
1036:
1035:Loughery, p. 14.
1033:
1027:
1024:
1013:
1010:
1004:
997:
991:
988:
968:American realism
920:American Visions
897:Xavier J. Barile
889:Alexander Calder
876:honoring Sloan.
645:Early influences
577:Helen Farr Sloan
500:Albert C. Barnes
413:Arthur B. Davies
376:Collier's Weekly
238:A. Edward Newton
218:Albert C. Barnes
214:William Glackens
130:
91:
72:
70:
51:
37:
36:
21:
4087:
4086:
4082:
4081:
4080:
4078:
4077:
4076:
3967:
3966:
3965:
3952:
3933:Robert Grossman
3911:
3865:
3856:Reynold Ruffins
3820:
3779:
3734:
3715:
3706:Vincent Di Fate
3674:
3618:
3614:Gustaf Tenggren
3572:
3526:
3476:
3430:
3406:George Herriman
3389:
3348:
3312:
3272:
3253:
3217:
3203:Kinuko Y. Craft
3181:
3145:
3131:Frank H. Netter
3099:
3068:
3037:
3006:
3002:Daniel Schwartz
2997:Jean-Leon Huens
2975:
2961:F. O. C. Darley
2951:Will H. Bradley
2934:
2889:
2870:
2866:Adolph Treidler
2824:
2815:Edward Penfield
2783:
2774:Harrison Fisher
2737:
2701:
2670:
2644:
2630:Robert McGinnis
2618:
2609:Edwin A. Georgi
2592:
2566:
2536:
2517:
2491:
2465:
2461:Haddon Sundblom
2444:
2423:
2397:
2371:
2345:
2319:
2293:
2263:
2244:
2218:
2192:
2166:
2140:
2114:
2088:
2072:
2056:
2040:
2020:
2001:
1985:
1969:
1953:
1937:
1921:
1905:
1889:
1873:
1857:
1837:
1818:
1797:
1793:Norman Rockwell
1777:
1766:
1760:
1703:
1658:
1527:
1525:Further reading
1492:
1487:
1468:
1467:
1463:
1450:
1441:
1439:
1424:
1420:
1415:
1411:
1402:
1398:
1390:Robert Hughes,
1389:
1385:
1380:
1376:
1371:
1364:
1359:
1355:
1345:"On John Sloan"
1342:
1338:
1333:
1326:
1321:
1317:
1312:
1308:
1303:
1299:
1294:
1290:
1285:
1281:
1277:Brooks, p. 170.
1276:
1269:
1254:10.2307/1594108
1238:
1234:
1230:Brooks, p. 160.
1229:
1225:
1217:
1213:
1208:
1204:
1199:
1195:
1190:
1186:
1181:
1177:
1172:
1168:
1160:Grant Holcomb,
1159:
1155:
1150:
1146:
1141:
1137:
1132:
1128:
1123:
1119:
1114:
1110:
1105:
1101:
1096:
1092:
1087:
1083:
1067:
1063:
1050:
1039:
1034:
1030:
1026:Roberts, p. 48.
1025:
1016:
1011:
1007:
998:
994:
989:
985:
981:
964:
850:Brooklyn Museum
812:
800:Andrea Mantegna
715:
699:Modern Painting
647:
607:
585:
549:Native American
531:Ludlow Massacre
461:Communist Party
388:Harper's Weekly
357:at Third Street
198:
141:at Third Street
128:
99:
93:
89:
80:
74:
68:
66:
65:
64:
54:
42:
35:
28:
23:
22:
15:
12:
11:
5:
4085:
4075:
4074:
4069:
4064:
4059:
4054:
4049:
4044:
4039:
4034:
4029:
4024:
4019:
4014:
4009:
4004:
3999:
3994:
3989:
3984:
3979:
3962:
3961:
3958:
3957:
3954:
3953:
3951:
3950:
3945:
3940:
3935:
3930:
3925:
3919:
3917:
3913:
3912:
3910:
3909:
3904:
3899:
3897:Helen Hokinson
3894:
3892:Seymour Chwast
3889:
3884:
3879:
3873:
3871:
3867:
3866:
3864:
3863:
3858:
3853:
3844:
3839:
3834:
3832:Charles Addams
3828:
3826:
3822:
3821:
3819:
3818:
3813:
3808:
3803:
3798:
3793:
3787:
3785:
3781:
3780:
3778:
3777:
3772:
3770:Barbara Nessim
3767:
3762:
3757:
3752:
3746:
3744:
3736:
3735:
3725:
3724:
3721:
3720:
3717:
3716:
3714:
3713:
3708:
3703:
3698:
3693:
3688:
3682:
3680:
3676:
3675:
3673:
3672:
3667:
3662:
3660:James McMullan
3657:
3652:
3647:
3642:
3637:
3635:Kate Greenaway
3632:
3626:
3624:
3620:
3619:
3617:
3616:
3611:
3606:
3601:
3599:Ralph Steadman
3596:
3591:
3586:
3580:
3578:
3574:
3573:
3571:
3570:
3565:
3563:Beatrix Potter
3560:
3555:
3550:
3545:
3543:Rolf Armstrong
3540:
3534:
3532:
3528:
3527:
3525:
3524:
3519:
3514:
3505:
3500:
3495:
3490:
3484:
3482:
3478:
3477:
3475:
3474:
3469:
3464:
3459:
3454:
3449:
3447:Walter Everett
3444:
3438:
3436:
3432:
3431:
3429:
3428:
3423:
3418:
3416:Arthur Rackham
3413:
3411:Sanford Kossin
3408:
3403:
3397:
3395:
3391:
3390:
3388:
3387:
3382:
3377:
3372:
3367:
3365:R. O. Blechman
3362:
3356:
3354:
3350:
3349:
3347:
3346:
3341:
3336:
3334:Robert Heindel
3331:
3326:
3320:
3318:
3314:
3313:
3311:
3310:
3305:
3300:
3295:
3290:
3284:
3282:
3274:
3273:
3263:
3262:
3259:
3258:
3255:
3254:
3252:
3251:
3246:
3241:
3236:
3231:
3225:
3223:
3219:
3218:
3216:
3215:
3210:
3205:
3200:
3195:
3189:
3187:
3183:
3182:
3180:
3179:
3174:
3169:
3164:
3159:
3153:
3151:
3147:
3146:
3144:
3143:
3138:
3133:
3128:
3123:
3118:
3113:
3107:
3105:
3101:
3100:
3098:
3097:
3092:
3087:
3082:
3076:
3074:
3070:
3069:
3067:
3066:
3064:Saul Steinberg
3061:
3056:
3051:
3045:
3043:
3039:
3038:
3036:
3035:
3030:
3025:
3020:
3014:
3012:
3008:
3007:
3005:
3004:
2999:
2994:
2989:
2983:
2981:
2977:
2976:
2974:
2973:
2968:
2963:
2958:
2953:
2948:
2942:
2940:
2936:
2935:
2933:
2932:
2927:
2922:
2917:
2912:
2907:
2901:
2899:
2891:
2890:
2880:
2879:
2876:
2875:
2872:
2871:
2869:
2868:
2863:
2858:
2853:
2848:
2843:
2838:
2836:Mitchell Hooks
2832:
2830:
2826:
2825:
2823:
2822:
2820:Martha Sawyers
2817:
2812:
2810:Frank Frazetta
2807:
2802:
2797:
2791:
2789:
2785:
2784:
2782:
2781:
2779:Frank McCarthy
2776:
2771:
2766:
2761:
2756:
2751:
2745:
2743:
2739:
2738:
2736:
2735:
2730:
2728:Mead Schaeffer
2725:
2720:
2715:
2709:
2707:
2703:
2702:
2700:
2699:
2694:
2689:
2684:
2678:
2676:
2672:
2671:
2669:
2668:
2663:
2658:
2656:Harry Anderson
2652:
2650:
2646:
2645:
2643:
2642:
2640:Coles Phillips
2637:
2632:
2626:
2624:
2620:
2619:
2617:
2616:
2611:
2606:
2600:
2598:
2594:
2593:
2591:
2590:
2585:
2580:
2574:
2572:
2568:
2567:
2565:
2564:
2562:Burt Silverman
2559:
2557:Morton Roberts
2554:
2548:
2546:
2538:
2537:
2527:
2526:
2523:
2522:
2519:
2518:
2516:
2515:
2510:
2505:
2499:
2497:
2493:
2492:
2490:
2489:
2484:
2479:
2473:
2471:
2467:
2466:
2464:
2463:
2458:
2456:Maurice Sendak
2452:
2450:
2446:
2445:
2443:
2442:
2437:
2431:
2429:
2425:
2424:
2422:
2421:
2416:
2411:
2405:
2403:
2399:
2398:
2396:
2395:
2390:
2385:
2379:
2377:
2373:
2372:
2370:
2369:
2364:
2359:
2357:Franklin Booth
2353:
2351:
2347:
2346:
2344:
2343:
2338:
2333:
2327:
2325:
2321:
2320:
2318:
2317:
2312:
2307:
2301:
2299:
2295:
2294:
2292:
2291:
2286:
2281:
2275:
2273:
2265:
2264:
2254:
2253:
2250:
2249:
2246:
2245:
2243:
2242:
2237:
2232:
2226:
2224:
2220:
2219:
2217:
2216:
2211:
2206:
2200:
2198:
2194:
2193:
2191:
2190:
2185:
2183:Wallace Morgan
2180:
2174:
2172:
2168:
2167:
2165:
2164:
2159:
2154:
2148:
2146:
2142:
2141:
2139:
2138:
2133:
2128:
2122:
2120:
2116:
2115:
2113:
2112:
2107:
2102:
2096:
2094:
2090:
2089:
2087:
2086:
2080:
2078:
2074:
2073:
2071:
2070:
2064:
2062:
2058:
2057:
2055:
2054:
2052:Stevan Dohanos
2048:
2046:
2042:
2041:
2039:
2038:
2032:
2030:
2022:
2021:
2011:
2010:
2007:
2006:
2003:
2002:
2000:
1999:
1993:
1991:
1987:
1986:
1984:
1983:
1977:
1975:
1971:
1970:
1968:
1967:
1965:Robert Fawcett
1961:
1959:
1955:
1954:
1952:
1951:
1945:
1943:
1939:
1938:
1936:
1935:
1929:
1927:
1923:
1922:
1920:
1919:
1913:
1911:
1907:
1906:
1904:
1903:
1897:
1895:
1891:
1890:
1888:
1887:
1881:
1879:
1875:
1874:
1872:
1871:
1865:
1863:
1859:
1858:
1856:
1855:
1849:
1847:
1839:
1838:
1828:
1827:
1824:
1823:
1820:
1819:
1817:
1816:
1811:
1805:
1803:
1799:
1798:
1796:
1795:
1789:
1787:
1779:
1778:
1768:
1767:
1765:' Hall of Fame
1759:
1758:
1751:
1744:
1736:
1730:
1729:
1720:
1711:
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1691:
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1403:Milton Brown,
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1372:Hills, p. 157.
1362:
1360:Brooks, p. 63.
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3928:Gustave Doré
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3806:Dale Messick
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3755:Edmund Dulac
3701:Mark Summers
3696:Frank Godwin
3630:Robert Crumb
3609:George Petty
3584:Mort Drucker
3517:Pat Oliphant
3472:Edward Sorel
3467:Alex Raymond
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3375:Edward Gorey
3370:John Collier
3298:Orson Lowell
3229:Mario Cooper
3208:Naiad Einsel
3193:Benton Clark
3121:Keith Ferris
3090:Herbert Paus
3085:Brad Holland
3028:Bill Mauldin
3023:David Levine
2861:Rose O'Neill
2856:Thomas Moran
2759:Diane Dillon
2718:Winsor McCay
2614:Dorothy Hood
2552:Robert Riggs
2388:Neysa McMein
2367:Noel Sickles
2362:Mark English
2235:Lorraine Fox
2204:Norman Price
2126:Bernie Fuchs
2084:Jon Whitcomb
2068:Ray Prohaska
1949:Albert Dorne
1901:Walter Biggs
1662:Sloan's Cats
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1440:. Retrieved
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615:Robert Henri
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129:Notable work
90:(1951-09-07)
3982:1951 deaths
3977:1871 births
3851:Wendy Froud
3670:C. F. Payne
3665:Kay Nielsen
3589:Bart Forbes
3548:Guy Billout
3522:Arthur Szyk
3512:Betsy Lewin
3498:Will Eisner
3401:Ted CoConis
3385:Nancy Stahl
3244:Arnold Roth
3162:Gary Kelley
3157:David Grove
3049:John Berkey
3033:Jack Potter
2682:James Avati
2635:Thomas Nast
2477:René Bouché
2331:John Clymer
2310:John Gannam
2289:Saul Tepper
2188:Robert Peak
2157:John Falter
2152:Harvey Dunn
2136:Howard Pyle
2110:N. C. Wyeth
1981:Peter Helck
1869:Floyd Davis
1853:Fred Cooper
1651:(see index)
1578:Hunter, Sam
1504:Prospects 5
913:Gist of Art
881:Peggy Bacon
726:World War I
496:Armory Show
484:Mabel Dodge
271:George Luks
3971:Categories
3691:Mary Petty
3645:Jack Kirby
3640:René Gruau
3594:Anita Kunz
3442:Mary Blair
3380:John Sloan
3339:Fred Otnes
3234:Paul Davis
3198:Matt Clark
3141:Jack Unruh
3080:Jack Davis
3054:John Groth
2905:James Bama
2764:Leo Dillon
2754:Joe DeMers
2604:Joe Bowler
2305:Stan Galli
2105:Tom Lovell
1694:John Sloan
1679:John Sloan
1673:John Sloan
1667:John Sloan
1442:2010-10-01
944:Bronxville
680:Botticelli
652:John Leech
527:The Masses
448:The Masses
432:McSorley's
400:Scribner's
312:alcoholism
143:, (1928),
136:, (1912),
69:1871-08-02
41:John Sloan
3733:2020–2029
3711:Roz Chast
3508:Ted Lewin
3452:Al Jaffee
3271:2010–2019
2888:2000–2009
2666:Ben Shahn
2535:1990–1999
2262:1980–1989
2240:Ben Stahl
2019:1970–1979
1933:Al Parker
1836:1960–1969
1776:1958–1959
1545:1522-7464
1448:See also:
1248:(1): 52.
958:in 1988.
804:hatchings
780:painterly
768:Socialism
611:Rembrandt
504:modernist
443:Socialist
304:Velázquez
230:Rembrandt
196:Biography
186:The Eight
104:Education
3457:Syd Mead
2805:Kerr Eby
962:See also
821:(1907),
605:Training
514:and the
512:Van Gogh
234:etchings
156:Movement
151:, (1907)
118:Painting
1725:at the
1709:YouTube
1568:Excerpt
1490:Sources
1262:1594108
796:glazing
724:, anti-
691:Anshutz
122:Etching
1617:
1602:
1559:
1543:
1517:
1260:
1076:
907:, and
810:Legacy
672:poster
627:Ruskin
583:Career
516:Fauves
411:, and
397:, and
359:, and
273:, and
166:Awards
98:, U.S.
79:, U.S.
3847:Brian
1570:from
1258:JSTOR
979:Notes
784:Manet
776:nudes
760:films
292:Manet
226:DĂĽrer
3916:2024
3870:2023
3849:and
3825:2022
3784:2021
3743:2020
3679:2019
3623:2018
3577:2017
3531:2016
3510:and
3481:2015
3435:2014
3394:2013
3353:2012
3317:2011
3281:2010
3222:2009
3186:2008
3150:2007
3104:2006
3073:2005
3042:2004
3011:2003
2980:2002
2939:2001
2898:2000
2829:1999
2788:1998
2742:1997
2706:1996
2675:1995
2649:1994
2623:1993
2597:1992
2571:1991
2545:1990
2503:Erté
2496:1989
2470:1988
2449:1987
2428:1986
2402:1985
2376:1984
2350:1983
2324:1982
2298:1981
2272:1980
2223:1979
2197:1978
2171:1977
2145:1976
2119:1975
2093:1974
2077:1973
2061:1972
2045:1971
2029:1970
1990:1969
1974:1968
1958:1967
1942:1966
1926:1965
1910:1964
1894:1963
1878:1962
1862:1961
1846:1960
1802:1959
1786:1958
1615:ISBN
1600:ISBN
1557:ISBN
1541:ISSN
1515:ISBN
1074:ISBN
794:and
788:Hals
786:and
701:and
666:and
455:and
453:Call
302:and
300:Goya
296:Hals
228:and
216:and
85:Died
59:Born
1716:at
1707:on
1696:at
1250:doi
942:in
918:In
705:'s
697:'s
629:'s
3973::
1687:,
1580:.
1537:45
1535:.
1478:.
1472:.
1430:.
1365:^
1347:,
1327:^
1270:^
1256:.
1246:10
1244:.
1055:,
1040:^
1017:^
903:,
899:,
895:,
891:,
887:,
883:,
852:,
844:,
836:,
518:.
475:.
434:,
407:,
391:,
385:,
379:,
352:,
326:.
306:.
298:,
294:,
277:.
220:.
120:,
1755:e
1748:t
1741:v
1606:.
1574:.
1563:.
1547:.
1445:.
1264:.
1252::
71:)
67:(
34:.
20:)
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