![]() Sloan’s etching’s monochromatic color, careful anatomical definition, placement of the figure on a stage, facial personalization, and lack of abstraction portrays Duncan as a worldly dancer who conveys the ethereality of the female figure. Walkowitz’s use of vibrant color, presentation of Duncan with simplified anatomy and in motion, and omittance of a setting within a fluid medium highlight Duncan as the boundless embodiment of transcendent dance and motion. The works of art are created within one year of each other, visually exhibiting the different artistic perspectives of Duncan’s figure and artistry occurring in the same period. Sloan depicts the dancer as “womanhood” itself and emphasizes the spirituality of Duncan’s figure from the position of a spectator Walkowitz depicts Duncan as abstracted movement and boundless artistry from the position of an intimate companion.Ībraham Walkowitz’s watercolor, crayon, and ink work on paper Isadora Duncan of 1916 and John Sloan’s etching Isadora Duncan of 1915 are discussed in tandem to explore the disparities of Duncan’s influence among the American Modernists, who were creatively influenced by her dancing. Despite working within the same artistic sphere, Sloan and Walkowitz approach their subject with varying interests and through differing lenses. ![]() Among the artists who depicted Duncan within their artwork were John Sloan and Abraham Walkowitz, active members of the Alfred Stieglitz’s circle. ![]() Isadora Duncan was a modern and unconventional dancer of the early to mid-twentieth century, working during the same period as the American Modernist artists who became enamored with her dancing. Isadora Duncan as Spiritual Body and Revolutionary Motion in the Works of John Sloan and Abraham Walkowitzīy Lacy Hamilton Photo by Hulki Okan Tabak on Unsplash
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