Recent acquisitions by John Sloan, Robert Henri, Thomas Hart Benton, John Steuart Curry, and Romare Bearden

During the winter of 1892, John Sloan was working as an illustrator for The Philadelphia Inquirer. He began taking even classes at the Pennsylvania Academy of the Fine Arts. It was during this time that he met Robert Henri. Henri became a mentor to Sloan, and they remained lifelong friends.

Above left: John Sloan, Robert Henri, Painter, 1931, Etching, 13 7/8 x 10 7/8 inches.
Above right: Robert Henri, Achill Island, 1913, Graphite, 7 1/2 x 9 5/8 inches.

In his essay for the upcoming exhibition “John Steuart Curry: Between Fear and Faith,” Bill North writes that Curry “was particularly interested in dramatic scenes of confrontation between predator and prey, or animals of the same species vying for dominance.”

Above left: John Steuart Curry, Hounds Catching a Coyote, c. 1931, Double-sided watercolor, 16 1/2 x 23 inches
Above right: John Steuart Curry, Hounds and Coyote, 1931, Lithograph, 10 x 14 inches

Thomas Hart Benton’s Jesse James repeats the substance of his Missouri State Capitol mural panel. Benton writes in the Fath catalogue, “The foreground figure was posed by Dan James, an actual descendant of the James Clan. This picture shows actions that occurred at different times as if they were simultaneous.”

Above left: Thomas Hart Benton, Missouri Man (Jesse James), 1936, Graphite, 16 x 14 inches.
Above right: Thomas Hart Benton, Jesse James, 1936, Lithograph, 22 1/8 x 16 3/8 inches.

Romare Bearden, best known for his vibrant textured collages, was also a renowned print maker. These lithographs are representative of his distinct style, mixing abstract shapes, symbols, and rich textures to depict the experiences of the black south.

Above left: Romare Bearden, Three Women (Easter Sunday), 1979, Color lithograph, 20 1/4 x 15 inches
Above right: Romare Bearden, Conversation, 1979, Color lithograph, 18 x 25 inches

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