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
John Sloan (1871–1951) was an early twentieth-century realist painter who embraced the principles of socialism and placed his artistic talents at the service of those beliefs. Hence, his graphic contributions to the radical, socialist monthly The Masses, and his work as art editor, made it one of the most extraordinary publications of the pre-World War I period. But as a painter Sloan shied from political or social comment. Instead, the paintings celebrate the leisure moments of the working classes, particularly women, in such paintings as his Picnic Grounds of 1906–7 (Whitney Museum of American Art) and Sunday, Women Drying Their Hair of 1912 (Addison Gallery of American Art). Sloan himself later insisted that these paintings were done 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.”