Made my first call on Howard Pyle, who is now Art Editor of McClure’s Magazine. Showed him my proofs, illustrations, etc. He treated me with courtesy. Said my work was good in “character” but just at present, you know - everything - not giving out much work - supplied ahead, etc., etc. Call again.The two men may have met before, perhaps during one art function or another in Philadelphia in the 1890s, though this is the only documented encounter I’ve been able to locate. And Sloan’s sister Marianna is rumored to have been one of Pyle’s students (at least according to the Syracuse Post-Standard of February 14, 1904). Even so, Sloan didn’t sound very encouraged. Two weeks after that meeting - and in the wake of a crisis at the McClure offices - Sloan noted that, despite the exodus of a large chunk of the staff, including muckraking superstars Lincoln Steffens and Ida Tarbell: “H. Pyle remains, I fear. Little chance for my work under the ‘boilermaker.’”
Ouch. Was Sloan reflecting on the steady stream of illustrators from Pyle’s “big art manufactory [sic]” (as Pyle student George Harding referred to it), who virtually flooded the market with what some artists no doubt deemed a clichéd way of making pictures? Maybe so.
The magazine did, however, publish a story, “The Debts of Antoine” by W. B. MacHarg, with Sloan’s pictures - dated ’06 - in the December 1906 issue. Whether Pyle commissioned these or not, I don’t yet know, but Sloan considered it “joyful news” when Pyle resigned from McClure’s that August.