Saturday, November 28, 2009

Drawn to Satire: John Sloan’s Illustrations for the Novels of Charles Paul de Kock

October 24, 2009 to March 29, 2010
The Huntington Library, Art Collections, and Botanical Gardens

Art History Association co-founder and current UCR grad student Tia Vasilou was involved in curating this amazing exhibition at The Hungtington. Go if you get a chance!

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From 1903 to 1905, American artist John Sloan created 53 etchings to illustrate comic novels by French author Charles Paul de Kock. The books—satires of French society in the first half of the 19th century, full of slapstick violence—were a perfect subject for Sloan’s lively etching style of short, expressive lines and loose cross-hatching.


The project also seemed to inspire Sloan to look at 20th-century New Yorkers with the same satirical eye that de Kock trained on Parisians of the previous century. In the years directly following his work on the illustrations, Sloan produced a number of etchings featuring humorous vignettes of life in the streets, parks, tenements, and taverns of the busy metropolis.

A selection of Sloan’s etchings as well as related prints, drawings, and books will be on view in “Drawn to Satire: John Sloan’s Illustrations for the Novels of Charles Paul de Kock.”


The exhibition opens Oct. 24 and continues through March 29, 2010, in the Susan and Stephen Chandler Wing of the Virginia Steele Scott Galleries of American Art. The works on view, part of a major promised gift of John Sloan material from Gary, Brenda, and Harrison Ruttenberg, shed light on an important but little known aspect of the artist’s career. The Ruttenbergs’ Sloan collection is rich in preliminary drawings and early versions of the de Kock illustrations, inviting close study of Sloan’s working methods as he was becoming a prominent member of the band of urban realist artists known as the Ashcan school.

Click here for official site.

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"It is bound to happen. You have been wandering in the Academia all day, you have seen a solid mile of painted canvas, it is the fourth, the sixth, or the eigth day and you feel as though you are swimming against a powerful current of gods, kings, prophets, martyrs, monks, virgins and monsters; that Ovid, Hesiod, the Old and New Testaments have accompanied you the whole way, that you are being pursued by the Lives of the Saints and Christian and heathen iconography, that Catherine’s wheel, Sebastian’s arrows, Hermes’s wingèd sandals, Mars’s helmet, and all lions of stone, gold, porphyry and marble are out to get you. Frescoes, tapestries, gravestones, everything is charged with meaning, refers to real or imaginary events, armies of sea-gods, putti, popes, sultans, condottieri, admirals all clamour for your attention. They whoosh by along the ceilings, look down at you with their painted, woven, sketched and sculpted eyes. Sometimes you see the same saint more than once in a day, in a Gothic, Byzantine, baroque or classical disguise, for myths are mighty and the heroes are adaptable, Renaissance or rococo, it does not bother them, as long as you keep looking, as long as their essence remains intact. So there they stand, a nation of Stone Guests, waving from the façades of churches, leaning out of the tromple-l’oeils of the palazzi, the ragazzi of Tiepolo and Fumiani race around up there, and once again St. Julian is beheaded, once again the Madonna cradles her baby, once again Perseus battles with Medusa, Alexander converses with Diogenes. The traveler draws back from all the tumult, for the moment he wants no more, just to sit on a stone seat on the embankment, and watch how a Slavonian grebe searches for its prey in the brackish, greenish, water, watch the movement of the water itself, pinch himself in the arm to reassure himself that he is not sculpted or painted." - Cees Nooteboom
 

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