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Published online by Cambridge University Press: 08 November 2010
During the 1909 New York mayoral campaign, the Socialist newspaper, the New York Call, published a series of seven political cartoons signed by Josh Nolan. Analysis of the subject and style of these cartoons suggest that the signature on them was an anagrammatic pseudonym for painter John Sloan, a leading figure of the Ash Can School and later art director for the Masses. Sloan confirms this in his diary, which provides the reader with evidence of the painter's inclination to use anagrams and fictitious names. The cartoons document a forgotten aspect of the artist's career and reveal many of his political and aesthetic influences. The images also explicate Sloan's personal political commitments and the origins of his later unique imagery. This essay examines Sloan's early cartoons, while questioning why Sloan would choose to hide his identity when creating images for the New York Call.
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