John Sloan 1871 - 1951

Kraushaar Galleries, New York
Irving Poplack, Detroit, Michigan
Dr. Harold Rifkin, New York
Bernard Danenberg Galleries, New York
Mr. and Mrs. Murray Handwerker
Spanierman Gallery, New York
Acquired by the present owners from the above, 1988

Santa Fe, New Mexico, Museum of New Mexico, John Sloan, August 1924
New York, Montross Gallery; Columbus, Ohio, Columbus Gallery of Fine Arts, Santa Fe, New Mexico, 3rd Annual Exhibition of the New Mexico Painters, September 1925-1926, no. 46
Toronto, Canada, Art Gallery of Toronto, Paintings by Contemporary American Artists, November 1925, no. 115
New York, Kraushaar Galleries, Exhibition of Paintings by John Sloan, January-February 1925, no. 9
Pittsburgh, Pennsylvania, Carnegie Institute, The 1937 Annual Exhbition of Paintings, October-December 1937, no. 88
New York, Kraushaar Galleries, Selected Works by American Artists 1920-1940, September-October 1924, no. 7
Wilmington, Delaware, The Wilmington Society of the Fine Arts, The Life and Times of John Sloan, September-October 1961
Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, Oil Paintings by John Sloan, November-December 1961, no. 53
New York, Park-Bernet Galleries, Review of the Season 1962-1963, June-July 1963, no. 239
Flint, Michigan, Flint Institute of Art, Realism Revisited, April-May 1966, no. 47
New York, Bernard Danenberg Galleries, Our American Heritage, September-October 1968, no. 71, illustrated
Roslyn, New York, Nassau County Museum of Art, The Long Island Collections: A Century of Art, 1890-1980, April-July 1982, no. 69, illustrated
Roslyn, New York, Nassau County Museum of Art, Shock of Modernism, April-July 1984, no. 149, illustrated
Roslyn, New York, Nassau County Museum of Art, Long Island Collections, May-September 1993

Rowland Elzea, John Sloan's Oil Paintings: A Catalogue Raisonné, Part Two, Cranbury, New Jersey, 1991, no. 698,  illustrated p. 264, also illustrated in color

In 1919, after five summers in Gloucester, Sloan and his wife Dolly took their first trip to Santa Fe, New Mexico at the urging of Robert Henri, who had visited on two separate occasions in 1916 and 1917. By 1920, the Sloans had purchased a house in Santa Fe and with the exception of 1933 and 1951 they spent every summer there. Much like his famous New York City scenes which captured life on the streets, Sloan's Santa Fe works celebrated the simple pleasures of life in New Mexico. Bruce St. John writes, "The clear, dry atmosphere of the desert, the cloud formations, the mountain ranges and the foliage around Santa Fe – all so different from the New England scenery – provided a new source of excitement for him" (John Sloan, New York, 1971, p. 45). In Santa Fe, Sloan was deeply affected by the Indian and Spanish cultures of the American Southwest and soon focused on persuading other eastern artists to head West. He served as President of the Exposition of Indian Tribal Arts in the 1930s and lobbied the Society of Independent Artists to include work by Native Americans in their exhibitions.

Water and Light, Santa Fe focuses on the civic transition of Santa Fe in the 1920s and the abiding tension brought on by the encroachment of industry. As young boys innocently play in the pool, a looming factory, signaling the impending change, intrudes and creates an uncertainty that envelopes the scene. In his book, Gist of Art, Sloan wrote, "Some years ago the power and light for Santa Fe were home made, now wires bring the current from dynamos nearer the coal supply. In the old days, warm sprays from the condensers filled a pool where boys of the town had great fun. Water is a precious thing in New Mexico" (Rowland Elzea, John Sloan's Oil Painting, A Catalogue Raisonné, p. 264).