Index

aestheticism: and Anglomania, 101–103; and degeneration, 99–100; and disease, 79–80, 82; and homosexuality, 99–100; neutralization of, 109–111. See also “art for art’s sake”

Agnew, David Hayes: and surgical profession, 179–180

Ahrens, Ellen: Sewing—A Portrait, 305–306, 305

Alexander, John White: The Piano, 145, 146; style of, 39; and virility, 118

American type: nervousness of, 136–138; as outdoorsman, 206–207

Anglo-Saxon elite, 86, 99, 106, 116, 135

art: as commodity, 59–60, 62, 68; and cultural uplift, 9, 69, 70–71, 312–313, 324–326; and mental recreation, 140–141; therapeutic value of, 141–153

art and commerce. See commerce

art collectors, 153–154, 189, 198–199, 203–205, 213–216. See also Clarke, Thomas B.; Freer, Charles Lang

art colonies, 34, 124, 251, 262

art critics: as authorities, 10–12, 14–16; and cultural hierarchy, 8–9; goals of, 8–10; professionalization of, 6; relations with artists of, 14–16; social backgrounds of, 7

art dealers, 46–47, 57–58, 153, 232

art, decorative: social influence of, 69; and spiritual elevation, 70–72

“art for art’s sake,” 110, 290; and Chase, 281; and Whistler, 122. See also aestheticism

art organizations, 27–30

Art Students League, 27, 28, 33, 69, 163

art teaching, 27–28

art training: opposition to, 41–42

artistic identity, marks of: beret, 21, 23, 24, 38, 58, 113; cigarette, 37, 335 n27; facial hair, 21, 35, 163, 222, 249, 270, 277, 289, 293, 294; long hair, 23, 34, 37, 38, 92, 94, 103, 115, 270; monocle, 101, 102, 103, 223, 290, 344 n34; necktie, 21, 23, 163, 291; velvet jacket, 23–24, 34, 35, 92, 94, 113, 162, 289, 290

artistic temperament, 242

artists: as Anglo-Saxons, 19; and businessmen, contrasted, 24–26, 160–161; as children, 267; as cosmopolitans, 34; and critics, 14–16; feminization of, 157–161; and incorporation, 32–34, 38–40, 333 n10; and individualism, 41–45; life styles of, 28–30, 34, 252–254, 262–263, 272; physiognomy of, 25–26; population of, 27; and power, 161; as professionals, 35–38, 333 n4 as saints, 65; as salesmen, 57–59; and scientists, contrasted, 26; as seeing experts, 123–124, 125–129; territoriality of, 124–125. See also bohemia; illustrators; painters; women artists

artists in fiction. See Burnett, Frances H.; de Kay, Charles; McPherson, Ewan; Norris, Frank; Smith, F. Hopkinson; Trilby; van Dyke, Henry; Warner, Charles Dudley; Wharton, Edith; Zola, Emile. See also society painter; women artists

artists’ studios. See studios

audience for art: conservative values in, 290–291; elite, 146–153; elite vs. popular, 71, 142–143, 154–156; and illustration, 321–322; satirized, 291–298. See also taste, popular

Barnum, Phineas T., 98, 231, 237

Baum, L. Frank: Art of Decorating Dry Goods Windows and Interiors, 54–55, 56–57

Beard, George M.: American Nervousness, 135–136; on eyestrain, 140

Beardsley, Aubrey, 98

Beaux, Cecilia: and Bellows, 185; career of, 172–173; on Homer, 191; reputation of, 3; and Sargent, compared, 173–176, 180–181; and Tanner, compared, 184; as woman artist, 173, 176, 180, 183, 184, 186; womanliness of, 181, 183, 185; works mentioned: Emesta, 180, 180; Mrs. Larz Anderson, 173–174, 174; Mrs. Theodore Roosevelt and Daughter, 174–175, 176

Beckwith, James Carroll: life style of, 34, 262–263; at Pie Girl Dinner, 87; Portrait of William Walton, 35–37, 36; on sales, 59; and Sargent, 263, 365 n23; on teaching, 27; on Wilde, 100, 101; on Zola, 263–264

Bellows, George: artistic vision of, 122; and Beaux, 185; masculinity of, 116, 117; River Rats, 122, 132

Bierstadt, Albert, 49, 131

Bigelow, Sturgis, 213–214

Bishop, W. H.: on bohemian life, 252–253

Blakelock, Ralph Albert, 115

Blashfield, Edwin H.: on decorative art, 69; on mural painting, 324

bohemia: and bachelorhood, 267; commercialization of, 269–270; costume in, 247–248; and difference, 261; ephemerality of, 266, 267; male fellowship in, 266–267; as pretense, 268–269; squalor in, 252; as theater, 254–255; as tourist zone, 252, 253, 260, 269–270; women in, 267. See also Trilby

Bok, Edward, 168–169; 353 n12

Bouguereau, Adolphe William, 42, 43, 117, 170, 287

Bonheur, Rosa, 170, 184

Brown, J. G., 50

Brownell, William Crary, 238–239, 241

Burnett, Frances H.: “Story of the Latin Quarter,” 65, 73

business: and adventure, 209–212; and economic cycles, 193–194; and natural law, 192–193

businessmen, 201–202

Caffin, Charles H.: on aestheticism, 80; background of, 7; on Beaux, 174–175; on Homer, 200–201; on Sargent, 175, 177, 179; on Tryon, 170–171; on Whistler, 134

Canaday, John, 300–302

canon formation, 4

Carleton, C., 292, 292

Carmencita, 254–255

Carnegie, Andrew, 31, 193

cartoons: audience for, 290–292; conservative values in, 286, 297–298; cultural function of, 286, 291

cartoonists. See illustrators

Cassatt, Mary, 3, 181

Cather, Willa: on adventurism, 210; on bohemia, 266; on popular taste, 154–156, 304–307; on Trilby, 264; on Whistler, 155–156

celebrity, 233–234

Century Club, 14, 28, 37, 262

Chase, William Merritt, 3; and art for art’s sake, 281; bohemian persona of, 21, 248, 254, 261, 266; and Central Park, 127; competency of, 162; fish still lifes, 127; as gentleman, 22–23; as human camera, 127; materialism of, 67–69; and nervousness, 137; professional image of, 34; as radical, 281, 290; sales of, 16; satirized, 21, 280–281, 289; as seeing specialist, 126–127, 130, 133; at Shinnecock, 28, 127; as teacher, 45; as typical American, 23, 43, 133; vitality of, 151; and Whistler, 69, 71, 72, 73, 74; works mentioned: In the Studio, 67–68, 67; Near the Beach, Shinnecock, 127, 127; Portrait of Gen. James Watson Webb, 136–137, 137; Portrait of James McNeill Whistler, 223, 226

Chase, William Merritt, studio of: described, 50–52; as masculine space, 168; receptions in, 58; sale of, 75

Christie, Howard Chandler, 319

Church, Frederic Edwin, 4, 49, 131, 132, 143; Sunset, 131, 143, 131

Clarke, Thomas B.: background of, 204–205; as collector, 16, 42, 115, 195, 211–212; 1899 sale, 153, 212

Cleveland Street scandal, 98

Cole, Thomas, 131

collectors. See art collectors

color: and emotions, 143–145; taste in, 142–143; as therapy, 142–146

Coman, Charlotte: Clearing Off, 171, 172; and feminine expression, 171

commerce: artistic resistance to, 65–66; and culture, 65–66; and degradation of art, 59–62

consumer culture, 60–61

Cook, Clarence, 7

Cortissoz, Royal: background of, 7, 331 n13; on Beaux, 180; club memberships of, 14; on egotism, 108; on La Farge, 239; on personality, 235; pessimism of, 86; on Sargent, 179; on Tryon, 149

cosmopolitanism: opposition to, 41–44, 313–315

“cosy corner,” 165, 166

Cottier, Daniel, 69, 153

Cox, Kenyon, 290; on color, 145; A Corner of the Studio, 32, 33; as critic, 7, 82; and professionalism, 33–34; on Whistler, 71

Crary, Jonathan, 129–130

critics. See art critics

Cropsey, Jasper, 38

Crozier, W. Ray: on artistic personality, 19–20, 45

cultural transmitter, 8–9

culture. See incorporation; mass culture; modernism; social class, and aesthetic experience; taste, popular; race

dandyism, 101–102, 162–163. See also dudes

Darwin, Charles, 96, 132, 192; and degeneration theory, 80–81

Day, F. Holland, 101, 344 n32

degeneration in America, 85–88; antidotes to, 108–110; causes of, 86; denial of, 83, 85; effeminacy and, 101–105; perceptions of, 85–86

degeneration in Europe: American perceptions of, 82–83, 85, 109. See also Nordau, Max

de Kay, Charles: The Bohemian, 268; on Chase, 127–128; on Ryder, 146

department stores: displays, 53–57; growth of, 53; show windows, 54, 55, 56

Dewing, Thomas Wilmer, 72, 108; anticommercial stance of, 74; and Cortissoz, 14; decorations by, 70–71, 73; as decorator, 69; feminization of, 170; and originality, 42; The Recitation, 71, 73, 70; and the Ten, 168; as womanizer, 73

discipline, bodily, 106–110

Douglas, Mary, 105–106

Downes, William Howe, 14; authority of, 11–12; background of, 7; on Chase, 68–69; gifts from artists to, 15, 332 n16; on Inness, 114; on La Farge, 238; response to Homer, 152–153, 216

dudes, 37, 101, 102, 103, 344 n33

Du Maurier, George: and aestheticism, 89–92; artistic identity of, 283, 284; career of, 282–283; defends illustrators, 283; influence of, 282; satires on Whistler by, 228–231, 283–284, 90, 91, 92, 93, 229, 284. See also Trilby

Durand, Asher B., 129, 132

Eakins, Thomas, 3, 179

Elliott, Charles L.: Portrait of Jasper Cropsey, 38

Elwell, F. Edwin, 171–172, 173, 338 n20

Ewen, Stuart, 234

eyestrain, 139; art as therapy for, 139–142

fame: manufacture of, 4

feminization: and male artists, 157–161

Fenollosa, Ernest, 156, 243–244

Fitch, Clyde: Bohemia, 262; and Wilde, 100

Flower, B. O.: on commerce and art, 46, 60

Fowler, Nathaniel C, 5, 37, 54, 123, 196, 233, 285

Frederic, Harold: Damnation of Theron Ware, 166, 185

Freeman, Mary W., 306, 368 n5

Freer, Charles Lang: and Dewing, 70, 71, 74; and Whistler, 243–244

Frost, Arthur Burdett, 21, 307–309, 315; authenticity of, 318–319, 21, 308

Fry, Roger, 63

Fuller, Henry Blake, 4, 160

Gauguin, Paul, 240

gender roles, 89, 95, 97, 106, 159–160, 178

genius: and androgyny, 169–170, 354 n14; and degeneration, 81; and masculinity, 169–170; and neurosis, 81

Gibson, Charles Dana, 3, 288; on aestheticism, 103–104; on Anglomania, 101–102; decency of, 319; and Du Maurier, 293–295, 368 n12; income of, 320–321; masculinity of, 113, 294–295; in Paris, 113, 287; at Pie Girl Dinner, 319; power of images by, 12–13, 14; training of, 287; on Whistler, 294; on women artists, 181–182, 13, 102, 105, 106, 182, 288, 294

Gilded Age: and bigness, 187–188; defined, 325–326 n3

Gilder, Richard W., 146, 251

Goodrich, Lloyd, 272

Gould, Jay, 197, 201

green carnation, 98, 99

Greenwich Village: as art colony, 251; guidebooks to, 270; as tourist zone, 269–270

Gregory, Eliot: artistic dress of, 163–164; studio of, 163–166

Guyau, Jean-Marie, 141

Harnett, William M., 62

Harrison, Alexander: In Arcadia, 314, 314

Harrison, Birge: on artistic vision, 125; on color, 143, 144; tonalist style of, 150

Harrison, Frederic: anticommercialism of, 59–60; on art as religion, 65; on specialization, 123–124

Hartmann, Sadakichi: background, 331 n3; on Ryder, 74–75, 272–273; on Tryon, 149

Hassam, Childe: Church at Old Lyme, 122, 122; gift to Downes, 15; sensitive vision of, 122; and the Ten, 118

Helmholtz, Hermann von, 130

Henri, Robert: anticommercial stance of, 75–76; and publicity, 245; as revolutionary, 2; studio of, 75; virility of, 117

Hichens, Robert: The Green Carnation, 99

Higginson, Thomas W., 95

high society: and corruption of artists, 63–64, 65, 86–89

Holmes, Oliver W., 142

Homer, Charles S., Jr., 198

Homer, Winslow, 3, 108; and adventure, 207–211; Americanism of, 1, 42–43, 44, 45; American types in work of, 206–207; anticommercialism of, 48–49; artistic vision of, 126; audience for, 203, 212; authenticity of, 199–201; as bachelor, 113, 267; bigness of, 188–189; and Boston collectors, 213–216; business metaphors in paintings by, 191–192; and businessmen, compared, 201–203; canonization of, 4; and Clarke, 205, 216; in Clarke collection, 16, 42; in Clarke sale, 212; collectors of, 189, 198–199, 203–205, 213–216, 359 n23; as decorator, 69; and Downes, 216; economic metaphors in paintings by, 194, 198–199; fishing pictures, 194–195; individualism of, 42, 44, 203, 217; as manly artist, 113; and myth of self-made man, 203; mythic image of, 188–190, 191; and North Woods Club, 207–208; and power, 188–189, 191, 198, 199–201, 203; and Prout’s Neck, 190; and publicity, 5; reputation of, 199; sales, 195, 198–199, 204, 212, 320, 357 n11, n12; and Tile Club, 30; and Tourilli Club, 207–208; virility in paintings by, 206, 210, 212, 215, 216, 217; vitality of, 152; wilderness scenes by, 206–211, 214–215; and women, 203, 358 n21; wreck and rescue themes of, 195, 198–199; works mentioned: Below Zero, 199; Blue Boat, 213, 213; Canoe in the Rapids, 211, 211; Eastern Point, 190, 190; Eight Bells, 195, 212; End of the Portage, 208, 208; Fog Warning, 190, 194–195; Gulf Stream, 49; Herring Net, 195; Hudson River, 213; Hunter in the Adirondacks, 215; Hunting Dog Among Dead Trees, 213; Huntsman and Dogs, 215, 214; Life Line, 195; Lost on the Grand Banks, 194–195, 194; Maine Coast, 1; On a Lee Shore, 189; Ship’s Boat, 195; Signal of Distress, 195, 199; Summer Night, 1, 199; Sunlight on the Coast, 199, 204; Two Guides, 206, 207, 206; Undertow, 195, 198–199, 196; Weatherbeaten, 152, 199, 152; West Point, Prout’s Neck, 48; Winter Coast, 199, 204, 200; Woodsman and Fallen Tree, 213; Wreck of the Iron Crown, 195

homosexuality, 100–101

Hooper, Edward W., 214–216, 317

Hosmer, Harriet, 184

Hovenden, Thomas, 3, 129, 290; Americanism of, 313; bohemian persona of, 364 n4; and modernist canon, 324; populism of, 313; respectable image of, 317–318, 364 n4; works mentioned: Breaking Home Ties, 300, 302–303, 313–314, 320, 301; Bringing Home the Bride, 301, 302; In Hoc Signo Vinces, 313

Howells, William Dean: Coast of Bohemia, 131, 183, 261, 262

Hyde, William Henry, 39, 286, 290; satirizes Chase, 280–281; training of, 287; 41, 280, 282

illustrators: audience for, 321–322; and authenticity, 318–319; and creative freedom, 321–322; income of, 320–321; masculinity of, 279, 283–284, 287, 294–295; professionalism of, 279, 283; satirize painters, 287–290; status of, 279, 283, 284, 290; studios of, 319; and work ethic, 318–319

imitation, 32, 39–40

incorporation: and art world, 31–34; in business, 30–31; resistance to, 41–45; and social change, 30–31; and World’s Columbian Exposition, 32, 331 n17

individualism, 41–45; excessive, 108, 109

Inness, George, 3, 108; in Clarke collection, 16, 42; as genius, 114–115; individualism of, 43–44, 45; as manly artist, 115; personality of, 114–15, 235; as seeing specialist, 130; subjective expression in, 132, 133; vitality of, 150–151; works mentioned: Gray, Lowery Day, 213; Sunset in the Old Orchard, Montclair, 150, 151

interior, domestic: as feminized space, 160, 162; and male control, 167–169; as man trap, 166–167

James, William, 82, 132

James, Henry, 4

Janvier, Thomas, 262

Knight, Daniel Ridgway: Hailing the Ferry, 314, 315

Knoedler Gallery, 48, 49, 188, 191

La Farge, Bancel, 239

La Farge, John, 108, 239, 241; on aesthetic sensation, 134; anticommercialism of, 65, 239–240; color sense of, 143; as critic, 7; as decorator, 69, 168; Entrance to the Tautira River, 143, 144; and Gauguin, compared, 240; and Whistler, compared, 237–239

Lanier, Sidney, 162–163

Lears, T. J. Jackson, 160, 233–234

Life: artists on staff of, 286–287; audience for, 285–286, 290–291; circulation of, 285, 291; ideology of, 284–286

Lombroso, Cesare: Man of Genius, 81

Low, Will H., 9, 252; anticommercialism of, 66; as critic, 7; as mural painter, 324–325; and originality, 42; as professional, 32–35; and Salmagundi Club, 28

Mabie, Hamilton Wright, 44, 110; “Sanity and Art,” 110

Macbeth Gallery, 153

McCarthy, Kathleen D., 159

McEntee, Jervis, 59

McPherson, Ewan: “Revelation in the Pennyrile,” 128

McSpadden, J. Walter: Famous Painters of America, 235

McVickar, Harry, 315, 367 n8; training of, 286; 316

Macy’s, 53, 54, 65, 239

magazines: audience for, 6; authority of, 11–12; circulation of, 6–7; publishing boom in, 5, 6; specialization in, 6. See also Life

man-milliner, 95–96, 109

market for art, 29, 57, 66, 69, 153; and collectors, 16; competition in, 27; European, 58; and tonalist painting, 153–154

Marshall, Henry R.: on aesthetic sensation, 134; on art training, 42; on color, 142–143

masculinity: in artists, 108–109, 112, 113, 115, 295; and bodily discipline, 106–110; and genius, 169–170; in illustrators, 279, 287–290; and scientific knowledge, 177–178; and surgery, 177–178. See also virility

mass culture: and American artists, 2, 4, 5; and art public, 2; and celebrity, 233–234; expansion of, 2, 4; modernism, 326–327; as national art, 326; and power of images in, 12–14

materialism, 60–62

Matthews, Brander, 15, 309, 332 n27

Maurer, Alfred: Arrangement, 306–307, 306

mental gymnastics, 140–141, 143

Metropolitan Museum of Art, New York, 9, 35, 286

Millet, Jean-François: Angelus, 10–11

Mind Cure, 140, 351 n31

Mitchell, John Ames: defense of illustrators by, 279; as Life editor, 284–285

Mitchell, S. Weir, 140

modal types, 234

modernism: authority of, 309, 322–324; and mass culture, 326–327; and popular painting, 322–323; values of, 301–302, 304, 324

modernity: Americanism and, 2; and artistic identity, 2; components of, 1; and eyesight, 131

modernization: author’s definition of, 2

Moore, Humphrey: studio of, 52, 52

morbidity, 107–108

Morgan, J. Pierpont, 198, 201–202

mural painting, 324–326

Murger, Henri: Scènes de la vie de bohème, 255, 266, 365 n11

National Academy of Design, 59, 116, 122

natural law, 192–193

nature: as antidote, 110–112

nervousness: and progress, 136; and social class, 136; symptoms of, 135–136, 137–139

New Thought, 140

New Women, 104–105, 185

Nordau, Max, 111, 115; conservatism of, 82; Degeneration, 80–86, 256; on genius, 81; on Wilde, 99

Norris, Frank, 164; The Octopus, 192; The Pit, 160–161, 201, 210; on virility in art, 162

Norton, Charles Eliot, 60

nude figure painting, 315–318, 369 n17

Oakley, Violet, 66

orientalism, 165–167

Osier, William, 178

painters: emasculation of, 287–290; as frauds, 292–297; satirical names for, 287–288

painting: abstract values in, 133; as commodity, 67–68; elimination of narrative in, 133–135, 141; and revitalization, 150–152; and sensation, 133–135; as therapy, 141–142, 145–149

painting, popular: characteristics of, 303–304; and modernist canon, 323–324

painting, tonalist, 143–149, 150; market for, 153–154

Paris: American art training in, 34, 41, 113, 163, 172, 287, 313; immorality of, 263

Pène du Bois, 118–119

Pennell, Elizabeth, 241, 244

Pennell, Joseph, 222, 244

perception: and subjectivity, 131–133; theories of, 130–131

personality: in art, 235–236; artistic, 19–20, 45; as commodity, 5; cult of, 4; and modal type theory, 234–236; and morbid egotism, 108

Peters, Charles Rollo: and Clarke, 211; Nocturnal Landscape with Adobe Building, 125, 126; as specialist, 125

Phelps, Elizabeth S., 60

Philadelphia Sketch Club, 253

physiognomy: and artistic identity, 25–26

picture frames, 46–48

Pie Girl Dinner, 86–88, 112

populist aesthetics. See painting, popular; taste, popular

Populist Movement, 311–312

professionalism: in art world, 31–34; and modernization, 34; negative connotations of, 38–40

professional-managerial class, 8

progress, 83, 85

publicity: and rise of mass media, 4. See also advertising

Punch: ideology of, 282–283

Pyle, Howard: authenticity of, 319; and Salmagundi Club, 28; studio of, 319

race: and culture, 3, 349 n22

railroad companies: wrecking of, 196–198

realism: and materialism, 61; opposition to, 61–62; and popular painting, 312

Redfield, Edward: masculinity of, 117; The Riverbank, Lambertville, New Jersey, 118

Remington, Frederic: power of images in work of, 12, 13, 14; on sportsmen, 210–211

rest cure, 139–140, 350 n28

Richardson, Henry Hobson, 188

Riis, Jacob, 252

robbery-box, 48, 49, 59

Rockefeller, John D., 192, 201

Rockwell, Norman: artistic identity of, 370 n20; Breaking Home Ties, 322, 323; and modernist canon, 322, 324; popularity of, 322

Roosevelt, Theodore, 116; strenuous life doctrine of, 106; at Tuckernuck, 213; and Oscar Wilde, compared, 97, 102

Rossetti, Dante Gabriel, 24, 283

Ryder, Albert Pinkham, 3; anticommercialism of, 74–75; authenticity of, 272–273; Curfew Hour, 146, 147; as decorator, 69; eccentricity of, 271–272; and Whistler, 75

Sadler, William: Worry and Nervousness, 138–139

St.-Gaudens, Augustus: Portrait of William Merritt Chase, 20, 21,20

Salmagundi Club, 28–29, 252–253, 266

Santayana, George, 134

Sargent, John Singer, 1, 3, 16, 108, 125; analytical vision of, 177–181; criticized by Fry, 63; imitators of, 39–40; masculinity of, 173, 177–181; materialism of, 62–63; personality of, 235; as society painter, 62–63; surgical skills of, 179–180; works mentioned: Boston Public Library murals, 63, 325; Mrs. Carl Meyer and Her Children, 1, 175, 180–181, 177; Mrs. George Swinton, 173–174, 175

Sarony, Napoleon, 248–249

seeing: as artistic specialty, 123–124, 125–129. See also perception

self as commodity, 231, 232, 233–234

self-culture, 307–309

self-made man, myth of, 202–203

self-portraits, 35

sight. See perception

Simmons, Edward, 73, 87, 118

Sloan, John: anticommercial stance, 75; revolutionary image of, 2; as Twillbe, 256

Smedley, Walter T., 309, 308

Smith, F. Hopkinson: as artist-tourist, 125; bohemian persona of, 249; commercial success of, 64; Fortunes of Oliver Horn, 64, 167–168, 247–249; professional persona of, 249–250

social class: and aesthetic experience, 142–143, 147, 154–156; and nervousness, 135–136, 145–146; in wilderness clubs, 208–209. See also taste, popular

Society of American Artists, 27–28, 48, 59

society, high. See high society

Society of Illustrators, 287

society painter: corruption of, 63–64; in fiction, 63–64

specialization: and evolutionary progress, 123–124; and modernity, 124–125. See also professionalism

Spencer, Herbert: on aesthetic pleasure, 148; on evolutionary progress, 124, 136, 192; influence of, in America, 350 n28; Principles of Psychology, 134; Principles of Sociology, 124

Sterner, Albert, 293, 296–297; on illustration, 321; training of, 287 293, 296, 297

Stickley, Gustav, 168

Stieglitz, Alfred, 2, 261

strenuous life, 97, 106, 116

Stück, Franz: Saharet, 82,83

studio: of Dewing, 73; of Henri, 75; of Sarony, 248–249; of Whistler, 73. See also Chase, William Merritt, studio of

studio buildings: Benedick, 267; Fourth Avenue, 73; Sherwood, 262; Tenth Street, 58, 249, 251, 281; University, 267

studios: and cosmopolitanism, 49–50; and department store display, compared, 53, 55, 57–58; of illustrators, 319; as nondomestic space, 254; and orientalism, 52, 163, 165–166; receptions in, 58–59; as showrooms, 57, 58, 163–166; types of, 50, 52–53

summer schools of art, 28, 124

Susman, Warren, 234

Svengali, 24, 25, 32, 228, 229, 255, 264, 272

Taft, Lorado, 184–185

Tanner, Henry O., 3, 184

Tarbell, Edmund, 118; and the nude, 184

taste, elite. See modernism; social class, and aesthetic experience

taste, popular, 142–143, 154–156; class and region in, 303, 311–312; and nativism, 313–315; opposition to modernism in, 305–307, 314–315; and Populism, 311–313; and self-culture, 307–309; values of, 303–307. See also audience for art; painting, popular

Ten American Painters, 118–119, 189, 347 n54

Thanet, Octave: “The Provincials,” 307–309

Thayer, Abbott, 61; Caritas, 82, 84

Tile Club, 21, 29–30, 69, 247–248

Trachtenberg, Alan, 311–312

transvestism, 101, 104

Trilby (Du Maurier), 24, 283, 284; artists’ life styles in, 257–259; cleanliness in, 257, 263, 264; commercialism of, 260–261; critical responses to, 259–260; male fellowship in, 257, 258, 264–265; nostalgia of, 259; sex in, 264–266. See also Du Maurier; Svengali

Tryon, Dwight, 108; gender in work of, 170–171, 172, 176; and popular taste, 154; and spiritual elevation, 150; subjective expression in, 131; therapeutic effects in paintings by, 146–149; works mentioned: Early Spring, New England, 170–171, 171; May, 154, 154; Twilight: Early Spring, 146–149, 148

Twachtman, John, 108, 187, 351 n31

Universal Exposition, Paris, 1, 41

van Dyke, Henry: background of, 352 n39; on sportsmen, 208; “White Blot,” 149–150

Van Dyke, John, 141; Art for Art’s Sake, 110; on artistic vision, 125; background of, 354 n41; on Chase, 69; on color, 144

Van Rensselaer, Mariana: on artistic personality, 235; background, 7; on Beaux, 175; on Chase, 69

Van Schaick, S. S., 289, 367 n8; 289

Veblen, Thorstein, 260

virility: as fad, 163; as marketing strategy, 162–163

Walton, William, 23, 35, 37, 173

Wanamaker, John, 161

Wanamaker’s, 53, 55

Warhol, Andy, 245–246

Warner, Charles Dudley: Golden House, 254; Little Journey in the World, 196

Weir, J. Alden, 189; individualism of, 108; and nature cure, 110–112; at Pie Girl Dinner, 87, 112; as professional, 37; works mentioned: In the Shade of a Tree, 111, 112; Self-Portrait, 37, 38

Welch, Mabel, 163

Wharton, Edith: Custom of the Country, 63

Wheeler, Candace, 262; as decorator, 353 n12

Whistler, James McNeill, 3, 108, 125; anticommercialism of, 74; antimaterialism of, 71–72, 73; and art for art’s sake, 120, 122; artistic temperament of, 242; artistic vision of, 126; asceticism of, 73; authority of, 120–122; and Barnum, compared, 231, 237; bibliography on, 244–245; bohemian persona of, 266; canonization of, 4, 243–245; in caricature, 223, 229, 230–231; color in works of, 71; combativeness of, 116, 346 n50; costume and grooming of, 222–223; and critics, 224–225; as decorator, 69, 168, 169; exhibitions, design of, 228; in Freer collection, 243–244; Gentle Art of Making Enemies, 224, 230–231; as graphic artist, 240–241; illegibility of nocturnes by, 156; imitators of, 39; masculinity of, 115–116; and nervousness, 137; as painter, 240, 241–242; personality of, 237, 242–244; and publicity, 15, 223–224, 227–232; self-advertising techniques of, 230–231; studio of, 73; subjective expression in, 132, 133; “Ten O’Clock,” 120–122; and Trilby, 228–231; and Velazquez, 282; and Warhol, compared, 245–246; Whistler vs. Ruskin. Art and Art Critics, 227; works mentioned: Arrangement in Black: Sarasate, 155, 155; Arrangement in Grey and Black No. 1: The Artist’s Mother, 223, 241–242; Harmony in Yellow and Gold, 240; Nocturne in Black and Gold: The Falling Rocket, 120, 121; Nocturne in Blue and Silver, 71, 73, 72; Peacock Room, 69, 227, 237; The White Girl, 224

Whistler v. Ruskin trial, 120, 156, 227, 241, 296–297

White, Stanford: as decorator, 168; double life of, 88, 112; murder of, 88; at Pie Girl Dinner, 87; as symbol of depravity, 88, 89; and Tile Club, 29; as womanizer, 73

Whitman, Walt, 163

Wilde, Oscar, 111, 231, 279; American lecture tour of, 92–97; attacks on, 94–95; and Barnum, compared, 98; in caricature, 89–96; conviction and jail term of, 99–100; costume and grooming of, 92, 94; criticism of works by, 98; as degenerate, 99, 100, 101; and effeminacy, 95–96, 99; femininity of, 94; and homophobia, 95–96, 98–100; Picture of Dorian Gray, 97–98, 266; and regression, 96; Salome, 98; Vera; or, The Nihilist, 97; and women, 92–94, 103

Wilde, Willie, 97

wilderness clubs: social aspects of, 208–209

window dressers, 54, 55

women: creativity and, 169

women artists: biases against, 170, 171–172; denigration of, 181–183; domination by men, 160; in fiction, 182–183; population of, 160; seen as mannish, 184

Wood, Henry, 192–193, 202

World’s Columbian Exposition, Chicago: and corporate culture, 32, 331 n17; decoration of, 34; elite culture and, 307; Hovenden’s Breaking Home Ties at, 300, 303, 313, 320

wreck: as business metaphor, 195

Wright, Frank Lloyd, 168

Wyant, Alexander: Eventide, 145, 145

Wyeth, N. C.: and artistic identity, 321

Yellow Book, 98, 260, 294, 343 n27

Yohn, Frederick C.: studio of, 319, 320

Zola, Emile: criticism of, 61; L’Oeuvre, 263–264

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