Eric Sloane, N.A., American (1905-1985)
"I hope I might be quoted someday as having said: 'The
only value of age is that it gave time for someone to have done something worthwhile".
Eric Sloane, The Second Barrel
Artist's Biographical Information
Information from Aware: A Retrospective
of the Life and Work of Eric Sloane
Born Everard Jean Hinrichs on February 27, 1905, Eric Sloane
spent the majority of his youth in New York City (until 1919) and Long Island,
New York. His father, George Hinrichs, Sr., grew prosperous as a meat and dairy
products distributor in the city. Eric’s younger sister Dorothy described
Eric as mischievous and often careless with possessions, but in the end always
lovable and eager to please. An early interest in art was sparked by neighbors
Herman Roundtree and Fred Goudy. Roundtree’s illustrations for magazines
like Field & Stream made Eric dream of becoming a nature artist
and Goudy’s printing and typesetting made Eric consider becoming a printer.
As Eric grew into adolescence, he dabbled in commercial art by designing and
selling signs and print advertising for local businesses. He enrolled in the
Art Students League of New York City for Saturday classes. Although no formal
record exists of his attendance, Eric did state on a subsequent application
to the New York School of Fine and Applied Art that he studied art through the
Art Students League for two months. It was during his tenure at the Art Students
League that Eric was party to a conversation between John Sloan and George Luks
in which the two teachers were discussing the merits of working under an assumed
name. Sloan and Luks agreed that it would be better for a young artist to assume
a name, then once he perfected his technique and talents revert to his given
name, eliminating his association with earlier (and therefore inferior) works.
Impressionable young Everard J. Hinrichs decided to borrow his teacher’s
last name and add an “e” to the end so as not to claim a familial
relationship. He did not assume his new moniker immediately and spent years
actually using both names-Eric Sloane to new friends and acquaintances
and Everard Hinrichs to family members and on legal documents. He later
stated that he chose “Eric” because the name formed the middle portion
of the word “America”, but his choice likely had more to do with
escaping the anti-German sentiment of the day by corrupting the name “Everard”.
Eric’s fragile world began to crumble in November of 1922 when his mother,
largely the most stable influence in the Hinrichs household, died from complications
related to a long illness. Eric stayed in the Long Island home until the summer
of 1925, but it is easy to believe that the home was less than peaceful. A number
of events an older Eric Sloane would attribute significance to flashed by in
rapid succession. The first was his enrollment in The New York School of Fine
and Applied Art on January 22, 1923. He was officially enrolled for a semester,
though he was often absent and seldom turned in any work. He ran away to Ohio
and Pennsylvania during the summer of 1923 (In later years Eric wrote and spoke
of running away from home to Taos, New Mexico and used the years 1923 and 1925
interchangeably as the year he made his journey westward), returning
to enroll in the fall semester at The New York School of Fine and Applied Art.
He officially left the school on May 24, 1924, receiving no letter grades as
a result of his absences. In September of 1924, Eric enrolled in Yale University’s
School of Art, yet he barely managed to complete the academic year.
By the summer of 1925, Eric had made up his mind to leave home for good. He
packed what amounted to a combination easel and sleeping bag, stole the family’s
model T Ford and headed west. His experiences during his travels made an indelible
impression on his mind, creating a visual palette he would return to repeatedly
throughout his career. He made it as far west as Taos, New Mexico, where he
rented a room from Russian painter Leon Gaspard. It was in Taos that Eric fell
in love with the sky and a new medium with which to try to depict the brilliant
colors of the southwestern sky - oil paints.
Eric returned to Long Island with his first wife Fredginia LeRouge in the summer
of 1927. The reason for his return is not clear, though it is known that his
father was quite ill at the time. In fact, Eric and his new wife accompanied
the elder Hinrichs to various spas in the Midwest in an attempt to help him
recover his health. When his father died on July 3, 1929, Eric was once again
took to the road. Although he inherited the Long Island home and a considerable
amount of money, creditors were able to secure most every dollar. Penniless,
Eric returned to Taos.
From 1929 until 1933, Eric worked in Taos, supplementing his
meager income as a tour guide with proceeds from the sale of sketches and drawings
rendered in colored chalk and pencils. As he developed artistically, Eric theorized
that a return to New York City might launch his artistic career. When he did
return, he found work through a friend at the Coney Island Amusement Park, painting
murals and designing the visual components of rides and amusements. He also
found work at the Half Moon Hotel, which had the distinction of being the hotel
nearest to Roosevelt Field. Since pilots and mechanics frequented the Half Moon’s
restaurant and lounge, Eric started painting aviation-related murals on the
restaurant walls. Soon, pilots who admired the young artist’s works invited
him to the airfield, eventually hiring Eric to paint fuselage art and aircraft
registration lettering. Not satisfied with just lettering aircraft, Eric began
painting them. He often sold them to the pilots who flew the airplanes depicted
in the work. Sometimes, Eric would exchange his art for rides. Once Eric was
in the clouds, his world changed. He began to paint larger and more detailed
paintings of aircraft and clouds. The airplanes got smaller as the clouds grew
larger. He reached a point where he was painting large “cloudscapes”
devoid of any aircraft at all, to which a friend asked, “Who is going
to buy a painting of just clouds?” Undaunted, Eric hung it for sale at
the Roosevelt Field Inn for what he termed an “exorbitant amount”.
Aviatrix Amelia Earhart purchased the painting.
By 1940, Eric gained a reputation as a skilled painter of the sky. He was asked
to draw several illustrations for two flying-related books, Your Wings
by Assen Jordanoff and Earnest Vetter’s Let’s Fly: An ABC of
Flying. His engaging style of illustration prompted the Devin-Adair Company
to contract him to write and illustrate his first book, Clouds, Air and
Wind (1941). The success of the book prompted the Army Air Corps to higher
Eric to write and illustrate several publications.
During the Second World War, Sloane took a brief hiatus from writing after an
acquaintance’s son was killed in a weather-related aviation accident.
The accident prompted Sloane to begin researching flying and weather. He began
by constructing several working models of weather phenomenon, models that became
permanent exhibits at the American Museum of Natural History of New York. A
deepening interest in weather caused Eric to enroll in the Massachusetts Institute
of Technology’s meteorology program, but he left that program after becoming
discouraged with the amount of mathematics needed to study meteorology. One
of his professors half-jokingly suggested that Eric was looking for “romance”
in the weather and would not find it at M.I.T.-he was far better off searching
for and reading the almanacs and weather diaries of the early American farmer.
It was a suggestion that would prove to be most pivotal in the artist’s
life and career, the suggestion that lead to a lifetime of research, writing
and painting, culminating in Eric Sloane’s philosophy
As he read page after page of early diaries and almanacs, he became completely
immersed in the mood and lore of early America. He gained an appreciation and
respect for the early American way of life. He found the early American to be
peculiarly aware: aware of the sky, nature, weather and of life itself. Eric
Sloane spent the next forty years writing and illustrating dozens of books and
creating thousands of paintings, all dedicated to the exploration and communication
of the awareness and spirit of the early American way of life.
Eric’s research interests and collection of early American tools was a
catalyst for the creation of the Eric Sloane Museum of Kent, Connecticut. The
museum opened on May 28, 1969 and was enlarged and expanded in 1986. In his
later years, Eric Sloane divided his time between Taos, New Mexico and Cornwall,
Connecticut. He died on the streets of New York City on March 6, 1985 on the
way to a luncheon engagement with his fifth wife Mimi, one week after his eightieth
birthday and two days after the opening of his Hammer Gallery exhibit entitled
In 2012, Eric Sloane biographer James W. Mauch founded
the Friends of the Eric Sloane Museum, a non-profit group dedicated to preserving
and promoting the Eric Sloane Museum. You can learn more about the Friends of
the Eric Sloane Museum by clicking the link below, or by contacting James at
Weather Hill Farm.
Images, from top: Eric Sloane c. 1925.
Courtesy of the Eric Sloane Museum; Eric Sloane, painter of cloudscapes, c.
1948. Courtesy of Dorothy Hinrichs; Closing Fast: Republic Guardsmans gouache,
pencil and chalk (16" x13") available through Weather
Hill Farm; Eric Sloane in early January of 1969, four months prior
to the opening of the Sloane-Stanley Museum. Courtesy of Dorothy Hinrichs. All
images under copyright restrictions and used by permission. Duplication or copying
of images in any form is prohibited. Images appear in Aware:
A Retrospective of the Life and Work of Eric Sloane.