Six men wearing ties and four women in long dresses are gathered around a long, rectangular table set near a corner of a room in this horizontal painting. This scene is loosely painted and brushstrokes are visible throughout, so some details are indistinct. One of the long sides of the table stretches across the composition, and angles a little away from us to our left.
   Closest to us and to our right, a woman wearing a white dress with a high, ruffled collar sits in a wooden chair facing our left in profile. A brick-red fan rests open in her lap. Two more women wearing straw-yellow hats sit among the men on the far side of the table, as the fourth woman stands behind the table, bringing a dish of fruit. That woman's dark hair is gathered loosely atop her head, and she smiles down at a man holding a pipe to his mouth. The men all have short hair and a few of them are cleanshaven. To our left, a man with a full, white beard and possibly wearing glasses sits smoking a dark cigarette or cigar as he looks down, head tipped back, at something he draws or writes in a notebook. At the other narrow end, to our right, a man with a red mustache and beard seems to speak, his mouth open. Many of the people smile, and their gazes travel across the table at all angles. Some lean back in their chairs and others lean toward or on the table. Their clothing is painted mostly in tones of gray, olive green, buttercup yellow, and brown with a few touches of rust red.
   The table is covered with a white cloth and set with four bottles, a wide-bottomed, glass carafe, and several wine glasses. Vines or another plant grows up the sky-blue, paneled wall to our right and in the corner opposite us, to the left of center. The wall to our left is draped with a red, white, and blue swag hanging from the ceiling. The beams of the ceiling and the underside of the planks there are painted pale teal green. The single light hanging from the ceiling resembles an open flower as the glass sides curve up around the light. The artist signed the painting in the lower right corner: “John Sloan.”

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   This scene depicts a lively gathering of poets and artists at Petitpas', a French restaurant and boardinghouse in the Chelsea district of Manhattan. Shown from left to right around the table are literary critic Van Wyck Brooks; painter John Butler Yeats; poet Alan Seeger; the artist's wife, Dolly Sloan; Celestine Petipas (standing); fiction writer Robert Sneddon; miniature painter Eulabee Dix; John Sloan, the artist (corner); Fred King, the editor of Literary Digest; and, in the foreground, Vera Jelihovsky Johnston, wife of the Irish scholar Charles Johnston.

   Associated with the Ashcan school—a group of urban realists who espoused the notion of "art for life's sake" instead of "art for art's sake"—John Sloan was well known for his scenes of everyday life. This lively representation of assembled artists and friends comes out of that context, as gatherings such as this were common at the time. John Butler Yeats, Irish painter and father of poet William Butler Yeats, lived at Petitpas' from 1909 until his death in 1922 and presided nightly at a table in the courtyard. By 1910, when Sloan began this painting, Yeats had become a significant mentor to the artist, especially in his detailed and methodical approach to portraiture. It is notable that Sloan chose to depict Yeats drawing a portrait rather than engaging in the lively conversation for which he was so well known. Sloan's rendering of his own likeness is also noteworthy as one of the most carefully executed and complete within the painting. These choices by Sloan invite a reading of this work as a tribute to the elder Yeats and his significant influence on the artist. The painting also functions as a commemoration of the year 1910 in general, a time of several professional accomplishments for Sloan, some of which were celebrated at this famed restaurant.

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