Louis Sloan was an under-recognized painter who happened to be a “Black Artist” who didn’t do “black art.” His main focus was the beauty of the planet; landscapes were an example of his raison d’etre. This was not a body of work that curators or museums at that time wanted to know about. After all, it was the 1960s and 1970s, a time of flux and confusion, when searching for someone who could paint, period, was not “au courant.” Curatorial initiatives as well as artists of the time seemed to be in search of personal and racial identity in and via art. Louis Sloan knew who he was. He was well ahead of what the culture was trumpeting as relevant art for the time with the repetition of a sad message which should have sunk with many of the ships of the Middle Passage. (https://paintersonpaintings.com/barkley-hendricks-louis-sloan/) Louis B. Sloan (1932-2008) was a prominent figure in the Philadelphia art community. An alumnus of Fleisher Art School and PAFA, Sloan taught still life, landscape, portrait and figure painting classes at PAFA (1962-97), and he worked in the conservation department at the Philadelphia Museum of Art (1961-80). ...Early works include Backyards (1955), painted during Sloan's student days at PAFA. The painting captures a moment in his west Philadelphia neighborhood and "that glorious light that glows," indicative of Sloan's work, particularly his landscape paintings. While Sloan's cityscapes favor a more somber palette as seen in Early Streetscape and Gathering Storm over Philadelphia, Sloan's landscape paintings embrace brighter colors to emphasize the varying light and atmospheric conditions as seen in Moon Light (1978) and Lifting Fog in the Poconos (1980). Landscape painting was his true passion, and it is in paintings like Frost Valley in the Catskills (1995), that his great technical skills, unique artistic vision and masterful rendering of nature are brought together. (https://www.pafa.org/louis-b-sloan-particular-vision) undefined

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