Art Object Page

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Overview

This scene depicts a lively gathering of poets and artists at Petitpas', a French restaurant and boardinghouse in the Chelsea district of Manhattan. Shown from left to right around the table are literary critic Van Wyck Brooks; painter John Butler Yeats; poet Alan Seeger; the artist's wife, Dolly Sloan; Celestine Petipas (standing); fiction writer Robert Sneddon; miniature painter Eulabee Dix; John Sloan, the artist (corner); Fred King, the editor of Literary Digest; and, in the foreground, Vera Jelihovsky Johnston, wife of the Irish scholar Charles Johnston.

Associated with the Ashcan school—a group of urban realists who espoused the notion of "art for life's sake" instead of "art for art's sake"—John Sloan was well known for his scenes of everyday life. This lively representation of assembled artists and friends comes out of that context, as gatherings such as this were common at the time. John Butler Yeats, Irish painter and father of poet William Butler Yeats, lived at Petitpas' from 1909 until his death in 1922 and presided nightly at a table in the courtyard. By 1910, when Sloan began this painting, Yeats had become a significant mentor to the artist, especially in his detailed and methodical approach to portraiture. It is notable that Sloan chose to depict Yeats drawing a portrait rather than engaging in the lively conversation for which he was so well known. Sloan's rendering of his own likeness is also noteworthy as one of the most carefully executed and complete within the painting. These choices by Sloan invite a reading of this work as a tribute to the elder Yeats and his significant influence on the artist. The painting also functions as a commemoration of the year 1910 in general, a time of several professional accomplishments for Sloan, some of which were celebrated at this famed restaurant.

Entry

In August 1910 the realist painter John Sloan began this group portrait of regulars at Petitpas’, a French restaurant and boardinghouse in the Chelsea district of Manhattan. The work joined other Ashcan school artists’ depictions of casual dining experiences in urban eateries that focused on portraiture and narrative, such as At Mouquin’s by William Glackens (American, 1870 - 1938) [fig. 1].[1] The Ashcan school, informally led by Robert Henri (American, 1865 - 1929), generally focused on the everyday life of the working classes rather than idealized views of the city. George Luks (American, 1866 - 1933) and George Bellows (American, 1882 - 1925) completed a watercolor and a print, respectively, featuring Petitpas’ as well [fig. 2], but Sloan’s large image in oil is the most ambitious of the three.[2]

The scene takes place in the enclosed backyard of the restaurant, where the dining room was located in the hot summer months. The party gathers around a table placed under an awning decorated with a French flag.[3] At the head sits John Butler Yeats, smoking and sketching. Yeats, the Irish portrait painter and father of the poet William Butler Yeats, lived at Petitpas’ from 1909 until his death in 1922. While in residence, he attracted artists and literary figures to his table with his reputation as an excellent conversationalist. Those who dine with Yeats in Sloan’s depiction include (around the table from left to right) Van Wyck Brooks, the future literary critic, to the left of Yeats; Alan Seeger, a poet; Dolly Sloan, wife of the artist; Robert Sneddon, a Scottish writer of popular fiction; Eulabee Dix, a miniature painter; the artist; Frederick King, the editor of Literary Digest; and Vera Jelihovsky Johnston, the wife of the Irish scholar Charles Johnston.[4] Celestine Petitpas, the youngest of the three sisters who ran the establishment, stands behind Sneddon and offers him a piece of fruit.

While many 20th-century writers and critics characterized the painting as an illustration of the conversationalist Yeats’s nightly salons or as a representation of early New York bohemianism, recent scholars have interpreted the group portrait set at Petitpas’ as a tribute to the artist John Butler Yeats, who was a significant mentor to Sloan.[5] Sloan’s first influential adviser, Henri, had advocated depicting urban subjects quickly and succinctly in order to capture their vitality. According to Sloan’s biographer, Van Wyck Brooks, Sloan rejected Henri’s methods later in his career, because he believed Henri’s teaching had not adequately emphasized detailed study.[6] This bothered Sloan most when attempting portraits, with which he struggled his entire career. Unlike Henri, Yeats encouraged the younger man to “finish his work to the last degree . . . to give it importance and force.”[7] Yeats strongly believed that making likenesses was a vital learning tool for all artists, and that the practice of self-portraiture tested an artist’s skills most heavily, since it was especially hard to render one’s own likeness to one’s satisfaction.[8] Yeats himself constantly made self-portraits, including them in his letters to family and friends. In addition to his advice, Yeats’s regular practice of drawing his companions influenced Sloan and his work. Sloan owned several of Yeats’s sketches, including portraits of Dix [fig. 3], Celestine Petitpas [fig. 4], and Sneddon [fig. 5]. Sloan probably referred to these drawings when painting Yeats at Petitpas’, as his renderings of these individuals appear very similar to Yeats’s sketches.[9]

Sloan’s admiration of, and even deference to, Yeats as a portraitist reveals itself in Yeats at Petitpas’. Most New Yorkers, even his intimates, saw the older man primarily as a superb conversationalist and a direct link to the Irish literary revival, led in part by Yeats’s famous son.[10] Bellows’s lithograph of Petitpas’ features Yeats standing in discussion with Henri and Bellows while Henri’s wife draws at a table in the background. But in Sloan’s painting, Yeats is silent, a cigar in his mouth, and the red-haired Frederick King holds forth. Importantly, Sloan shows Yeats making a portrait, likely of Mrs. Johnston, who poses opposite him on the near side of the table, while Sloan himself sits quietly at the far corner of the table, nearly removed from the scene altogether. By picturing Yeats sketching one of the group, Sloan refers to the fact that Yeats helped supply the likenesses of these people. Sloan’s careful rendering of himself also functions as a tribute to Yeats, the perpetual self-portraitist. Sloan’s head is the most finished of the group. His bust-length pose and detached gaze, which make him seem distanced from the interactions of the table, are more in line with formal portraits than with the quickly sketched, animated likenesses of his friends. Sloan has taken the advice of his mentor and worked hard on his own visage, an exercise he must have hoped would aid him in the future.

The painting’s title pays tribute to one man, but Yeats at Petitpas’ can also be interpreted as a commemoration by Sloan of an important period in his own life. Sloan’s diaries reveal that as his friendship with Yeats gathered momentum during late 1909 and 1910, Yeats introduced the Sloans to his coterie of friends who frequented Petitpas’, including many of those featured in this painting. Soon the couple were regular, welcomed members of an exclusive circle. In addition to warm social connections, Sloan must have associated Petitpas’ with several professional accomplishments of that year. In April a party was held there after a viewing of the Exhibition of Independent Artists, a project Sloan had worked ceaselessly to realize and which enjoyed great popular success.[11] Then, on June 10 at Petitpas’, Yeats paid Sloan an important compliment, which the artist eagerly recorded in his diary: “of all the contemporary painting and etching in America mine was most likely to last!”[12] Sloan decided to begin Yeats at Petitpas’ on his birthday, August 2, further attesting to the painting’s function as a commemoration of a year of new friends and artistic self-confidence.[13]

Laura Napolitano

August 17, 2018

Inscription

lower right: John Sloan

Provenance

(C.W. Kraushaar Galleries, New York); purchased 1932 by the Corcoran Gallery of Art, Washington; acquired 2014 by the National Gallery of Art.

Associated Names

Corcoran Gallery of Art
Grand Central Art Galleries

Exhibition History

1916: Robert Henri, George Bellows, John Sloan, Arts Club of Chicago, November 1916.

1917: Exhibition of Paintings, Drawings and Etchings by John Sloan, C.W. Kraushaar Art Galleries, New York, 19 March - 7 April 1917, no. 8.

1918: 113th Annual Exhibition, Pennsylvania Academy of Fine Arts, Philadelphia, 3 February - 24 March 1918, no. 462.

1921: John Sloan, George Luks and Augustus Vincent Tack, City Club, New York, March-April 1921.

1927: 26th Annual International Exhibition of Paintings, Carnegie Institute, Pittsburgh, 13 October - 4 December 1927, no. 77, repro.

1927: Exhibition of Paintings, Drawings, Etchings and Lithographs by John Sloan, C.W. Kraushaar Art Galleries, New York, 15 February - 5 March 1927, no. 4.

1928: The Twenty-Sixth Annual International Exhibition of Paintings Organized by the Carnegie Institute, Pittsburgh, Brooklyn Museum, 9 January - 19 February 1928, no. 77.

1932: John Sloan, Van Deering Perrine and Helen M. Turner, Grand Central Art Galleries, New York, October 1932.

1932: Thirteenth Exhibition of Contemporary American Oils, Corcoran Gallery of Art, Washington, 4 December 1932 - 15 January 1933, no. 133.

1934: A Survey of American Painting, Baltimore Museum of Art, 10 January - 28 February 1934, no. 54.

1937: New York Realists 1900-1914, Whitney Museum of American Art, New York, 9 February - 5 March 1937, no. 77.

1938: John Sloan: Retrospective Exhibition, Addison Gallery of American Art, Phillips Academy, Andover, 1938, no. 13.

1942: 20th Century Portraits, Museum of Modern Art, New York, 9 December 1942 - 24 January 1943, unnumbered checklist.

1945: Artists of the Philadelphia Press: William Glackens, George Luks, Everett Shinn, John Sloan, Philadelphia Museum of Art, 14 October - 18 November 1945, no. 58, repro.

1952: John Sloan, 1871-1951, Whitney Museum of American Art, New York; Corcoran Gallery of Art, Washington, Toledo (Ohio) Museum of Art, 1952, no. 26.

1956: Marsden Hartley, Edward Hopper, Walt Kuhn, John Sloan, Arts Club of Chicago, 8 May - 15 June 1956, no. 37.

1957: Portraiture: The 19th and 20th Centuries, Munson-Williams-Procter Institute, Utica; Baltimore Museum of Art; Dallas Museum of Fine Arts; Colorado Springs Fine Arts Center, 1957, no. 40.

1958: Retrospective Exhibition of Paintings from Previous Internationals, Carnegie Institute, Pittsburgh, 5 December 1958 - 8 February 1959, no. 43.

1962: The Art of John Sloan 1871-1951, Walker Art Museum, Bowdoin College, Brunswick, 20 January - 28 February 1962, no. 17, repro.

1966: Past and Present: 250 Years of American Art, Corcoran Gallery of Art, Washington, 15 April - 30 September 1966, unpublished checklist.

1971: John Sloan: 1871-1951, National Gallery of Art, Washington; Georgia Museum of Art, Athens; M.H. De Young Memorial Museum, San Francisco, 1971-1972, no. 71.

1972: Conservation in the Museum, Corcoran Gallery of Art, Washington, 15 September - 22 October 1972, unpublished checklist.

1976: The American Genius: W.W. Corcoran, Corcoran Gallery of Art, Washington, 24 January - 4 April 1976, unnumbered catalogue.

1982: Japanese Artists Who Studied in the USA and the American Scene, National Museum of Modern Art, Tokyo; National Museum of Modern Art, Kyoto, 1982, no. 71.

1985: Henri's Circle, Corcoran Gallery of Art, Washington, 20 April - 16 June 1985, unnumbered checklist.

1985: John Sloan: Painter of the American Scene, Queens Museum, Flushing, 5 October - 17 November 1985, no. 3.

1985: Strokes of Genius, Dulin Gallery of Art, Knoxville, 30 March - 28 April 1985, no. 35.

1988: John Sloan: Spectator of Life, IBM Gallery of Science and Art, New York; Delaware Art Museum, Wilmington; Columbus Museum of Art; Amon Carter Museum, Fort Worth, 1988, no. 51.

1996: Gaelic Gotham: A History of the Irish in New York, Museum of the City of New York, 13 March - 27 October 1996.

1998: The Forty-Fifth Biennial: The Corcoran Collects, Corcoran Gallery of Art, 17 July - 29 September 1998, unnumbered catalogue.

2003: The Impressionist Tradition in America, Corcoran Gallery of Art, 19 July 2003 - 18 October 2004, unpublished checklist.

2004: Figuratively Speaking: The Human Form in American Art, 1770-1950, Corcoran Gallery of Art, Washington, 20 November 2004 - 7 August 2005, unpublished checklist.

2005: Encouraging American Genius: Master Paintings from the Corcoran Gallery of Art, Corcoran Gallery of Art, Washington; Museum of Fine Arts, Houston; Parrish Art Museum, Southampton, New Yprl; Mint Museum of Art, Charlotte; John and Mable Ringling Museum of Art, Sarasota, 2005-2007, checklist no. 67.

2007: Life's Pleasures: The Ashcan Artists' Brush with Leisure, 1895-1925, Frist Center for the Visual Arts, Nashville; New-York Historical Society; Detroit Institute of Arts, 2007-2008, no. 11.

2009: American Paintings from the Collection, Corcoran Gallery of Art, Washington, 6 June - 18 October 2009, unpublished checklist.

2013: American Journeys: Visions of Place, Corcoran Gallery of Art, Washington, 21 September 2013 - 28 September 2014, unpublished checklist.

Technical Summary

The painting was executed on a plain-weave, medium-weight canvas and, using a wax adhesive, was lined with a linen of similar weight. The fabric has an ivory-colored ground that is smoothly applied, leaving the fabric texture still visible. The ground may have been commercially applied, but it is impossible to be certain because the tacking margins have been removed. The stretcher is a modern replacement. In general the paint is relatively opaque and thick with additions of a good amount of white. Evidence suggests that the artist first sketched the design with thin, dark paint, as can be seen in the figure of the young man with his head on his hand. Next Sloan used medium thick paint applied with vigorous brush strokes to largely complete the composition, often blending the paint wet into wet. After the paint had dried the artist made modifications, lightening some areas and darkening others, often with thinner, semitransparent paint. No major compositional changes have been noted. According to the conservation files of the Corcoran Gallery of Art, Washington, DC, the painting was “patched, filled, inpainted and varnished” in 1967. In 1971 an old glue lining was removed and replaced with a new lining with a wax/resin adhesive at which time the stretcher was replaced. The varnish and some old retouching were then removed, a new varnish was applied, and a small loss beneath the table was inpainted. At the time of this treatment a natural resin was applied. In 1982 the painting was revarnished with two more layers of synthetic resin.

Bibliography

1910: Sloan unpublished diary entries: 3, 10, and 12 August 1910, 19 April 1946, 31 March 1948, 2 and 29 January 1950; John Sloan Manuscript Collection, Helen Farr Sloan Library and Archives, Delaware Art Museum, Wilmington.

1917: "Art Notes [exh. review]." Touchstone 1, no. 1 (May 1917): 115.

1917: "Other Exhibitions [exh. review]." The New York Times (March 25, 1917): Magazine sec., 13.

1917: Yeats, John Butler. "John Sloan's Exhibition [exh. review]." Seven Arts 2, no. 2 (June 1917): 259.

1918: Pène du Bois, Guy. "At the Art Galleries [exh. review]." New York Evening Post (February 16, 1918): Magazine sec., 7.

1918: Pène du Bois, Guy. "Official American Painting [exh. review]." Arts and Decoration (March 1918): 203.

1921: "City Club [exh. review]." American Art News 19, no. 24 (March 26, 1921): 3.

1922: "A Reviewer's Notebook." Freeman 4, no. 103 (March 1, 1922): 598.

1922: "Art in Many Forms and Many Places: J. B. Yeats at Petitpas [exh. review]." The New York Times (February 12, 1922): Arts and Leisure sec., 8.

1922: Young, James C. "Years of Petitpas." The New York Times Book Review and Magazine (February 19, 1922): 14, repro.

1925: Gallatin, A. E., ed. John Sloan. New York, 1925: 13-14, repro.

1927: Bulletin of the Brooklyn Institute of Arts and Sciences 31 (March 12, 1927): 218, repro.

1927: Cortissoz, Royal. "Paintings by John Noble, John Sloan and Others [exh. review]." The New York Herald Tribune (February 20, 1927): sec. VI, 10.

1927: [Exh. review]. New York American (27 February 1927): newspaper clipping, John Sloan Vertical File, Smithsonian American Art and Portrait Gallery Library, Washington.

1927: Hopper, Edward. "John Sloan and the Philadelphians [exh. review]." Arts 11, no. 4 (April 1927): 174.

1927: Saint-Gaudens, Homer. "The Twenty-Sixth International Exhibition of Paintings at Carnegie Institute [exh. review]." American Magazine of Art 18, no. 12 (December 1927): 640, repro.

1928: "32 Paintings by John Sloan Sold in Group." New York Herald Tribune (29 March 1928): 23.

1928: "A Maecenas Begins with Sloan." Literary Digest 97, no. 3 (21 April 1928): 27, repro.

1928: "Group of 32 Sloans for New Collection." The New York Times (29 March 1928): 15.

1928: "High Spots in the New York Art Galleries." Arts and Decoration 28, no. 3 (January 1928): 44, repro.

1928: "Sale of Sloan Art to Benefit Public." Possibly New York Morning Telegraph (c. 29 March 1928): newspaper clipping, John Sloan Vertical File, Smithsonian American Art and Portrait Gallery Library, Washington.

1928: "Sloan Sale Sets American Record." Chicago Evening Post (3 April 1928): newspaper clipping, John Sloan Vertical File, Smithsonian American Art and Portrait Gallery Library, Washington.

1928: "Sold." Time 11, no. 15 (9 April 1928): 41.

1928: "Yeats at Pittpas [sic]." New York Evening Post (7 January 1928): Gravure sec., repro.

1931: Pène du Bois, Guy. John Sloan. American Artist Series. New York, 1931: 43, repro.

1932: "Around the Galleries [exh. review]." Art News 31, no. 4 (22 October 1932): 6.

1932: Art News 31, no. 13 (24 December 1932): cover, repro.

1932: Art News 31, no. 6 (5 November 1932): 2, repro.

1932: "Corcoran Biennial Will Open Today [exh. review]." Washington Star (4 December 1932): 2.

1932: Grafly, Dorothy. "National Flavor Lends Distinction to Corcoran Show: 13th Biennial Demonstrates Value of Jury System." Philadelphia Public Ledger (4 December 1932): Art sec., 7.

1932: Mechlin, Leila. "Contemporary Art Exhibit Opened [exh. review]." Washington Sunday Star (4 December 1932): 2.

1932: Mechlin, Leila. "Four Important Purchases by the Corcoran Gallery From Biennial Exhibition - Prize-Winning Pictures to Remain Permanently in Washington." Washington Star (11 December 1932): sec. 7, 12, repro.

1932: "The Corcoran Annual [exh. review}." Christian Science Monitor (10 December 1932): 12.

1933: "Corcoran Buys Three Works from Biennial." Art Digest 7, no. 7 (1 January 1933): 15, repro.

1933: "Field Notes: Corcoran Biennial [exh. review]." American Magazine of Art 26, no. 1 (January 1933): 47, repro.

1933: Gorman, Herbert. "The Bohemian Life in America: Its History from the 1850s Down to Greenwich Village Days [book review]." The New York Times Book Review (5 March 1933): sec. 5, 1, repro.

1933: Roberts, W. Adolph. "He Started Again After 70." New York Herald Tribune Magazine (19 February 1933): sec. XI., 9, repro.

1933: "The Corcoran Biennial [exh. review]." Creative Art 7, no. 2 (February 1933): 139.

1933: Wilson, Vylla Poe. "Capital Art and Artists." The Washington Post (1 January 1933): sec. A, 3, repro.

1934: Jewell, Edward Alden. "Art of John Sloan on Exhibition Here [exh. review]." The New York Times (4 January 1934): 17.

1937: Jewell, Edward Alden. "The New York Realists: Whitney Museum Opens a Stirring Show of Painting from the Years1900-1914 [exh. review]." The New York Times (14 February 1937): sec. 10, 9, repro.

1938: Pach, Walter. Queer Thing, Painting: Forty Years in the World of Art. New York, 1938: opposite 21, 55-56, 213, repro.

1939: Lewis, Elisabeth Ray. "Museum Treasure of the Week: The Corcoran Gallery Collection in Review." The Washington Post (3 September 1939): sec. A, 5.

1939: Mechlin, Leila. "Sloan Group in Corcoran, Eilshemius at Phillips Draw Local Attention [exh. review]." The Washington Star (19 November 1939): sec. F, 5.

1939: Mechlin, Leila. "Sloan Prints at Arts Club [exh. review]." The Washington Star (12 February 1939): sec. F, 4.

1939: Poore, Charles. "John Sloan and His America." The New York Times (16 September 1939): 21.

1939: Watson, Jane. "Corcoran Shows Work by John Sloan [exh. review]." The Washington Post (19 November 1939): Amusements sec., 6.

1940: Landgren, Marchal E. Years of Art: The Story of the Art Students League of New York. New York, 1940: pl. 16, repro.

1940: "Story of the Painting and Biography of the Artist." Washington Times-Herald (12 May 1940): sec. C, 11, repro.

1941: "Art Dinner Honors Sloan." New York Times (8 April 1941): 22.

1941: "Art Notes." The New York Times (13 March 1941): 26.

1941: "Footnotes on Headliners: Party at Petitpas." The New York Times (April 13, 1941): sec. 2, 4.

1941: Frankfurter, Alfred M. "Vernissage." Art News 40, no. 5 (April 15-30, 1941): 7.

1941: Saint-Gaudens, Homer. The American Artist and His Times. New York, 1941: 202, pl. 42, repro.

1941: "Sloan Honored by 200 Friends and Ex-Pupils." New York Herald Tribune (8 April 1941): 21, repro.

1942: "Art Exhibits." This Week in the Nation's Capital 20, no. 27 (June 28, 1942): 6, repro.

1943: "Dolly, Wife of John Sloan, Dies at 66." Art Digest 17, no. 16 (May 15, 1943): 11.

1943: "Mrs. John Sloan Dies at 66, Wife of Noted Artist." New York Herald Tribune (May 5, 1943): 26, repro.

1944: Lydia Creighton to John Sloan, 12 January 1944. The John Sloan Manuscript Collection, Delaware Art Museum, Wilmington.

1945: "Artists of the Philadelphia Press." Philadelphia Museum Bulletin 41, no. 207 (November 1945): 30, repro.

1945: Mellquist, Jerome. "John Sloan Comes Home [exh. review]." Philadelphia Evening Bulletin (November 17, 1945): sec. 8, B, repro.

1945: Sloan, John. John Sloan. New York, 1945: n.p., repro.

1946: Colum, Padraic. "Good Conversation in the Form of Letters [book review]." New York Herald Tribune Weekly Book Review (October 3, 1946): sec. VII, 3, repro.

1946: Helen Sneddon to John Sloan, 16 November 1946. The John Sloan Manuscript Collection, Helen Farr Sloan Library and Archives, Delaware Art Museum, Wilmington.

1946: Hone, Joseph, ed. J. B. Yeats: Letters to His Son W. B. Yeats and Others, 1869-1922. New York, 1946: 39, repro.

1946: "News of Food: Petipas [sic] Restaurant Nearing Fiftieth Year." New York Times (January 14, 1946): 15.

1946: Owen Grundy to John Sloan, 24 February 1946. The John Sloan Manuscript Collection, Helen Farr Sloan Library and Archives, Delaware Art Museum, Wilmington.

1946: Owen Grundy to John Sloan, n.d. The John Sloan Manuscript Collection, Helen Farr Sloan Library and Archives, Delaware Art Museum, Wilmington.

1946: "Table Talk." Cue (9 February 1946): repro., newspaper clipping, Vertical Files, Smithsonian American Art and Portrait Gallery Library, Washington.

1947: Corcoran Gallery of Art. Handbook of the American Paintings in the Collection of the Corcoran Gallery of Art. Washington, 1947: 14, 76, repro.

1948: Walker, Danton. "Cafe Cavalcade." The News (4 December 1948): newspaper clipping, Vertical Files, Smithsonian American Art and Portrait Gallery Library, Washington.

1950: Lewis, Emory. "Rebel John Sloan Won't Grow Old." Cue (1 April 1950): newspaper clipping, Vertical Files, Smithsonian American Art and Portrait Gallery Library, Washington.

1950: "Old Chelsea's Most Famous Painting." Chelsea News (New York) (27 January 1950): repro., newspaper clipping, Vertical Files, Smithsonian American Art and Portrait Gallery Library, Washington.

1950: Poore, Charles. "Rebel with a Paintbrush." New York Times Magazine (May 21, 1950): sec. IV, 64.

1950: Shannon, Betty. "Chelsea was Never 'Arty' Says J. Sloan, Famous Painter." Chelsea News (New York) (9 February 1950): newspaper clipping, Vertical Files, Smithsonian American Art and Portrait Gallery Library, Washington.

1952: Breuning, Margaret. "Life Becomes Art in a John Sloan Retrospective [exh. review]." Art Digest 26, no. 8 (January 15, 1952): 8.

1952: Brown, Milton. "The Two John Sloans [exh. review]." Art News 50, no. 9 (January 1952): 56.

1952: Genauer, Emily. "Sloan Show at the Whitney Proves Him to Be More Than Mere Realist [exh. review]." New York Herald Tribune (January 13, 1952): sec. 4, 9, repro.

1954: Brooks, Van Wyck. Scenes and Portraits: Memories of Childhood and Youth. New York, 1954: 189.

1954: McKinney, Roland. The Eight. Metropolitan Museum of Art Miniatures, Album ME. New York, 1954: no. 6, repro.

1955: Brooks, Van Wyck. John Sloan: A Painter's Life. New York, 1955: 103, opposite 108, repro.

1956: Tourtelot, Madeline. "Longtime 'Prime' Artists in Show [exh. review]." Chicago American (May 13, 1956): 21.

1957: Trovato, Joseph S. "Foreword." In Portraiture: The 19th and 20th Centuries. Exh. cat. Munson-Williams-Proctor Institute, Utica, NY, 1957: 6, 18, 32, repro.

1964: Pershing, Minnie K. "Mary Fanton Roberts." Journal of the Archives of American Art 4, no. 1 (January 1964): 10, repro.

1965: St. John, Bruce, ed. John Sloan's New York Scene, from the Diaries, Notes, and Correspondence, 1906-1913. New York, 1965: 445-447, 449-450, 464, repro.

1966: Green, Samuel M. American Art. New York, 1966: 522-523.

1966: Harithas, James. "250 Years of American Art [exh. review]." Apollo 84, no. 53 (July 1966): 70, repro.

1970: Fish, Caroline. "Rediscovered in Chestertown." Adirondack Life 1, no. 4 (Fall 1970): 31-32, 42, repro.

1971: Getlein, Frank. "Sloan, Old 'Revolutionary', Goes on Display at Gallery [exh. review]." Washington Star (September 19, 1971): sec. C, 7.

1971: St. John, Bruce. John Sloan. American Art & Artists. New York, 1971: 50, fig. 36, repro.

1972: Holcomb, Grant. "A Catalogue Raisonné of the Paintings of John Sloan, 1900-1913." Ph.D. diss., University of Delaware (1972): 440-444, repro.

1973: Gordon, Robert. "John Sloan and John Butler Yeats: Records of a Friendship." Art Journal 32, no. 3 (Spring 1973): 290-292, 296, repro.

1973: Phillips, Dorothy W. A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art, Vol. 2: Painters born from 1850 to 1910. Washington, 1973: 84-86, repro.

1973: Young, Mahonri Sharp. The Eight. New York, 1973: 53, repro.

1975: Getlein, Frank. "Bill Corcoran's Collection IS America." Art Gallery 18, no. 4 (January 1975): 21.

1975: Scott, David W. John Sloan. New York, 1975: 103, 111, repro.

1976: Edmiston, Susan and Linda D. Cirino. Literary New York. Boston, 1976: 176, repro.

1977: Sloan, John. Gist of Art: Principles and Practice Expounded in the Classroom and Studio. New York, (1939) 1977: XXIV, XXV, repro.

1978: Gordon, Robert. John Butler Yeats and John Sloan: The Records of a Friendship. New Yeats Papers 14. Dublin, 1978: 12-13, 24, 26 no. 1, 28 no. 18, pl. 1, repro.

1980: Getlein, Frank and Jo Ann Lewis. The Washington, D.C. Art Review: The Art Explorer's Guide to Washington. New York, 1980: 14.

1980: Monneret, Sophie. L'Impressionnisme et Son Epoque. Paris, 1980: 2: 275; 4: 129, repro.

1983: Himber, Alan, ed. The Letters of John Quinn to William Butler Yeats. Ann Arbor, MI, 1983: 272, 276 no. 7.

1983: Holcomb, Grant. "John Sloan and 'McSorley's Wonderful Saloon.'" American Art Journal 15, no. 2 (Spring 1983): 5.

1985: Love, Richard H. Theodore Earl Butler: Emergence from Monet's Shadow. Chicago, 1985: 332-333, repro.

1987: Cullen, Fintan. The Drawings of John Butler Yeats. Exh. cat. Albany Institute of History & Art and the Department of the Arts, and the Department of English of Union College, Albany, NY, 1987: William M. Murphy, "John Butler Yeats: The Artist and the Man," 15; Cullen, "'To So Paint That People Should, Perforce, See...'," 29, 30, repro; Cullen, "John Butler Yeats, Celestine Petitpas [cat. entry]," 92.

1988: Berman, Avis. "Artist as Rebel: John Sloan Versus the Status Quo [exh. review]." Smithsonian Magazine 19, no. 1 (April 1988): 81, repro.

1988: Gordon, Robert. "Letter to the Editor." Smithsonian Magazine 19, no. 3 (June 1988): 20, 21, repro.

1989: Tsuda, Margaret. "Master of the 'Ashcan School.'" Christian Science Monitor (August 28, 1989): 16-17, repro.

1990: Sullivan, Charles, ed. Ireland in Poetry: With Paintings, Drawings, Photographs, and Other Works of Art. New York, 1990: 152, repro.

1991: Elzea, Rowland. John Sloan's Oil Paintings: A Catalogue Raisonné. American Arts Series. Newark, DE, 1991: part 1, 106-107, repro.

1991: Wexler, Victor G. "Creating a Market in American Art: The Contribution of the Macbeth Gallery." Journal of American Studies 25, no. 2 (August 1991): 252, repro.

1992: Beck, Hubert. Edward Hopper. Hamburg, Germany, 1992: 20, repro.

1992: Beck, Hubert. "Urban Iconography in Nineteenth-Century American Painting." In American Icons: Transatlantic Perspectives on EIghteenth- and Nineteenth-Century American Art, ed. by Thomas W. Gaehtgens and Heinz Ickstadt. Santa Monica, CA, 1992: 340-341, repro.

1993: Sprague, Claire, ed. Van Wyck Brooks: The Early Years, rev. ed. Boston, 1993: cover of paperback edition, 62 fig. 2, repro.

1994: Hirshorn, Anne Sue. Eulabee Dix Portrait Miniatures: An American Renaissance. Exh. cat. National Museum of Women in the Arts, Washington, D.C. 1994: 15.

1995: Loughery, John. John Sloan: Painter and Rebel. New York, 1995: xxii, 161-162, 170, 290, 317, 323, 333, 384.

1997: Bradely, Anthony and Maryann Gialanella Valiulis, eds. Gender and Sexuality in Modern Ireland. Amherst, MA, 1997: cover, repro.

1997: Perlman, Bennard B., ed. Revolutionaries of Realism: The Letters of John Sloan and Robert Henri. Princeton, 1997: 203, 206, repro.

1997: Ridley, Jo Ann. Looking for Eulabee Dix: The Illustrated Biography of An American Miniaturist. Washington, DC, 1997: 122-126, 143, 165, repro.

1998: Kazin, Alfred. "The Art City Our Fathers Built." American Scholar 67, no. 2 (Spring 1998): 22.

1998: Lewis, Jo Ann. "The Corcoran Biennial: Delivery on Collection [exh. review]." Washington Post (July 19, 1998): sec. G, 1.

2000: Cash, Sarah, with Terrie Sultan. American Treasures of the Corcoran Gallery of Art. New York, 2000: 159, 169, repro.

2002: Moss, Dorothy. "Yeats at Petitpas." In A Capital Collection: Masterworks from the Corcoran Gallery of Art, by Eleanor Heartney et al. Washington, DC, 2002: 102-103, repro.

2003: Londraville, Janis, ed. Prodigal Father Revisited: Artists and Writers in the World of John Butler Yeats. West Cornwall, Connecticut, 2003: William M. Murphy, "The Letters of John Butler Yeats: A Sampler," 14; Paul Franklin, "Pilgrim Father, Native Son: John Butler Yeats, John Sloan, and the Making of a Friendship in New York City, 1909-1922," 289-293, 295-296, repro.; Nancy Cardozo, "Van Wyck Brooks and His Maestro, John Butler Yeats or, The American Literary Renaissance," 378.

2004: Meng, Sara F. "Peggy Bacon and John Sloan: Their Urban Scenes, 1910-1928." Woman's Art Journal 25, no. 1 (Spring/Summer 2004): 22.

2006: "Mint Museum to Host Master Paintings from the Corcoran Gallery." Antiques and the Arts Weekly (6 October 2006): 17.

2007: Manthorne, Katherine E. "John Sloan, Moving Pictures, and Celtic Spirits." In Heather Campbell Coyle and Joyce Karen Schiller, John Sloan's New York. Exh. cat. Delaware Art Museum, Wilmington, 2007: 169-170, repro.

2007: Morrone, Francis. "A Knock-Out Show [exh. review]." New York Sun (29 November 2007).

2009: Berman, Avis. "Yeats at Petitpas': The path to a picture." In Declan J. Foley, ed. The Only Art of Jack B. Yeats: Letters & Essays. Dublin, 2009: 118-119, 123-124, 126, repro.

2011: Lyons, Deborah. The World of William Glackens: The C. Richard Hilker Art Lectures. New York, 2011: 79, 98-100, repro.

2011: Napolitano, Laura Groves. "John Sloan, Yeats at Petitpas'." In Corcoran Gallery of Art: American Paintings to 1945. Edited by Sarah Cash. Washington, 2011: 200-201, 277, repro.

2011: Stuhlman, Jonathan. "Before Corrymore: Irish Images and Influences in New York." In Jonathan Stuhlman and Valerie Ann Leeds, From New York to Corrymore: Robert Henri and Ireland. Exh. cat. The Mint Museum, Charlotte, 2011: 31, repro.

2012: Berman, Avis. "The Catalyst: John Sloan's Yeats at Petitpas'." Antiques 179, no. 2 (March/April 2012): 125, 127-129, repro.

Yeats at Petitpas', 1910/c. 1914