Appendix A: Charlotte Gaillet, “Nostalgic Progression: Coping with the Fin de Siècle in America,” Visual Essay Exhibition Project for American Art of the Fin de Siècle, Fall 2018

1. Nostalgic Progression:
Coping with the Fin de Siècle in America
Charlotte Gaillet
ARHI 4420
Dr. Simon
9 December 2018

2. Floor Plan of the Pennsylvania Academy Of Fine Arts
Drawing Attributed to Cecilia Beaux.
Pennsylvania Academy Of Fine Arts

3. Cecilia Beaux, Self Portrait, 1894
“Not only the greatest living woman painter, but the best that has ever lived.”—William Merritt Chase, Yount p. 11

4. Typifying Women
Nostalgic Past Versus
Progressive Future
Exclusion Presented as
Inclusion
Masculinity
Science Versus
Spirituality
Spectacle
Absorption
Cosmopolitan Influences

5. Typifying Women(a) (b) (c) (d) (e) (f) (g) (h) (i) (j) (k)
(l)
(m)
(n)
(o)
(p)
(t) (s) (r) (q)(z) (y) (x) (w)
(aa)
(ab)
(ac)
(ad)
(ae)
(af)
(ag)
(ah)
(ai) (aj) (ak) (al) (am)
(an)
(ao)
(ap)
(v) (u)

6. (c) Cecilia Beaux, New
England Woman, 1895
(d) Frank Millet, The Tender Chord, 1888
(b) Thomas Eakins, In
Grandmother’s Time, 1876
(e) Cecilia
Beaux,
The
Dreamer,
1894
“It is natural to desire that the old life of
New England be enshrined in
permanent form.”—Wallace Nutting,
1913 (1)
New England Woman
(a) Beaux, Mrs. Frederick
Otis Barton, 1901
“They were neat as pins. ‘It was their nature to’; not
neat because it looked well, but clear because they liked
it; sweet as clover-beds, fresh as June roses; but badly
shod, badly corseted, badly coiffed. Their thoughts,
meantime, were keeping noble company; their hands
were doing useful work.”– Harrison, Spokesman for
Mrs. Sherwood, Writer for the Atlantic Monthly, 1878
(2)
We may condemn a lady's opinion on politics--criticize
her handwriting--correct her pronunciation of Latin,
and disparage her favourite author with a chance of
escaping displeasure. But if we venture to question her
taste-- in the most ordinary sense of the word, we are
sure to offend.”– Charles Eastlake, Hints on
Household Taste. (13)

7. New Woman (g) Frederick Stuart Church, Knowledge is Power, 1889
(k) Sargent, Miss Carey Thomas
President of Bryn Mawr College, 1899
(h) Charles Dana
Gibson, The Gibson
Girl
(f) Lydia Field Emmet, Art, Science,
and Literature
(j) Isabella Stewart Gardner
(i) Whistler,
Arrangement in
Black (The Lady in
the Yellow
Buskin), 1883
“I am the poet of the woman as same
as the man,
And I say it is as great to be a woman
as it is to be a man,
And I say there is nothing greater than
the mother of men.”—
Walt Whitman, Song of Myself, 1891-
92 Edition of Leaves of Grass
“there is something more than a joke in all
this curious turning upside-down of
traditions and theories in regard to women;
something more than a joke in the girl with
a latchkey; in the matron who givers her
time to civic affairs or to berating officers
of the law; in myself here on this platform
instead of being at home, as a good and
contemptuous man said to me once,
“making soup.”—Margaret Deland, 1910
(2)

8. (l) Sargent, Mrs. Marie Pallieron,
1879
(p) Sargent, The Sulphur Match, 1882
(m) Whistler, Arrangement in
Black No. 5: Lady Meux, 1881
“in the commonplace
work that looks down
at us from the walls of
almost all exhibitions,
delicate feminine
elements have
evidently so often been
sacrificed.” –Henry
James (4)
“know that in a person of this type everything
relates to the cult of self and the increasing
concern to captivate those around her... Her sole
purpose in life is to demonstrate her skills in
contriving incredible outfits which shape her and
exhibit her and which she can carry off with
bravado and even a touch of innocence, like
Diana sporting her loose tunic.”--Louis de
Fourcaud, 1884
(n) Cecilia Beaux, After the
Meeting, 1914
(o) Whistler,
Harmony in Red: Lamplight, 1884-86
“Dear Mrs. Trixie, Do take your
courage with both hands and
come over to the studio at once—
by at once I mean when you have
had your comfortable
breakfast—Do be so nice and
good and kind—and we may run
right through with it this
morning!—We can darken the
place and turn the gaz.”—
Whistler in a letter to Beatrice,
Fall of 1886 (19)

9. (t) Cecilia Beaux, Sita and Sarita, 1893
“You ask about Sita and Sarita, please make no
mystery about it—it was only an idea to put
the black kitten on her cousin’s shoulder.
Nothing Deeper.”– Etta, Beaux’s Sister,
Responding to a Journalist’s query about the
meaning of Sita and Sarita. (8)
(s) Sargent, Mrs. Kate Moore, 1884
(q) Eakins, An Actress
(Portrait of Suzanne Santje)
1903
“…I alone am able to give
the final details, without
which it would have been
impossible to make the story
at once interesting and
complete.”—From Camille,
Alexandre Dumas, 1848
(r) Sargent,
Street in
Venice, 1882
“Tall, slender, straight, with
luminous, direct, dark grey eyes,
clear skin, a dazzling smile, and
gifts of illuminating and witty
speech and ready laughter, she is a
pre-eminently attractive
woman.”—Harper’s Bazar on
Beaux’s lineage and youthful
appearance. (19)

10. American Girl
(w) Sargent, Miss Helen Dunham
1892
(aa) Sargent, Lady Agnew,
1892
(x) Henry James, Daisy
Miller A Study, 1878
“Completely
uncultivated…but
wonderfully pretty.
And in short, she is
very nice.” (1)
(u) Beaux, Mrs. George W.
Childs Drexel, 1894 (v) Eakins, Kathrin, 1872
The American Girl who in her
many representations is
wonderfully pretty, independent,
candid, spontaneous, willful,
spoiled, and “nice.” Physically
alluring, the Charmer possesses
no strong sexual appetites.”—
Paul Bourget, Outre-Mer:
Impressions of America (2)
(y) Cecilia Beaux, Mrs. Clement
Buckley Newbold, 1896
(z) Sargent, Miss
Katherine Chase
Pratt, 1890
“too jealous of her own
perfection to allow that
innocence might be
reckless, and angels in
their ignorance of evil
might not behave as
discreetly as worse
people.”—The American
Code of Manners, 1880s
(2)

11. (ab) Whistler, Symphony in Flesh Color
and Pink: Mrs. Frederick Leyland, 1870
(ad) Whister, Rose and Silver: La
Princesse du Pays de la Porcelain
(ac) Sargent, Lamplight Study (Miss Flora Priestly) 1899
“She is already outnumbered in her own home by women of foreign
blood, an ampler physique, a totally different mixtures will follow and
racial lines will gradually fade, and in the end she will not persist. Her
unproductivity…has been her death.”—Kate Stephens on leaving the
New England Woman behind, 1870s. (2)
“The impressionable race found… the limits and definitions of each may
be clear to the Japanese critic, but to our casual Western eye they merge
or derive one from another, like some little-known streams which make
one river.”—John La Farge, An Artist’s Letters from Japan, 1897 (4)

12. Mothers and Children
(af) Cecilia Beaux, Last Days of Infancy, 1883 (ag) Sargent, Homer Saint-
Gaudens and His Mother, 1890
(ae) Sargent, Mrs. Carl Meyer and Her
Children, 1896
(ai) Homer, A Great Gale, 1883-1893
(ah) Cecilia Beaux, Mrs.
Beauveau Borie and Her Son,
1896
“The awkward love of a boy for his
mother, and the pride of a mother in
having reared a man, were the two finest
things in the universe.”—Cecilia Beaux,
1909 (17)
“Perhaps the choicest moments in life are those
when an emotion we have heard of, but never quite
believed in, becomes ours, and we know all at once
the reality of an eternal truth”—Cecilia Beaux (4)

13. (al) Frederck Bridgman, Fellahine and
Child—The Bath, Cairo, 1892(aj) Mary Cassatt, The Sun Bath, 1900, GMOA
Shine! Shine! Shine!
Pour down your warmth great sun!
While we bask, we two together.
—Whitman, Out of the Cradle
Endlessly Walking
from 1860 Leaves of Grass
(ak) Beaux, Olive Bagley, Mrs.
Stedman Buttrick and Son John,
1909
“What you feel most persuasively is
the tenderness, the imagination with
which the artist has grasped the spirit
of her subject…this fragile lovliness
which she imparts to her portraits. It is
very rare.”– critic of Cecilia Beaux on
the psychological dimensions of her
portraits. (19)

14. (ao) Homer, Beaver Mountain, Adirondacks Minerva, 1874-77
(ap) Gibson, The Disadvantages of an Athletic Girl
(an) Homer, Eagle Head, Manchester, MA, 1870
(am) Robert J. Wildhack, Collier’s
Weekly, December 17, 1910
“If there is one thing that pervades and characterizes
what is called the ‘woman’s movement,’ it is the spirit of
revolt against the home, and the determination to escape
from it into the outer spheres of activity.”—E.L. Youmans,
1883 (15)

15. Curing Masculinity
(a)(b)(c)(d)(e)(f)(g)(h)(i)(j)(k)
(l)(m)(n)(o)(p)(t)(s)(r)(q)
(z)(y)(x)(w)
(aa) (ab) (ac)

16. (a) Eakins, The Thinker– Louis
Kenton, 1900
(c) Eakins, The Paired Oar Shell, 1872
(e) Eugen Sandow
(b) Sargent,
Robert Louis
Stevenson
and His Wife,
1885
(d) Charles Dana Gibson, Stepped On
“Sandow is the most
wonderful specimen of man I
have ever seen. He is strong,
active, and graceful
combining the characteristics
of Apollo, Hercules, and the
Ideal athlete. There is not the
slightest evidence of sham
about him…I might add he
comes with his other qualities
that of a perfect
gentleman.”—Dr. Dudley
Sargent Professor of Physical
Education, Harvard. (1)

17. (j) Cecilia Beaux, Henry Sturgis Drinker,
1898
(h) Eakins, The
Writing
Master:
Portrait of the
Artist’s Father,
1882
(g) Eakins, The Art Student (James
Wright), 1890
(f) Whistler, Arrangement in Black:
Portrait of Frederick Leyland, 1870-73
(i) Sargent, Portrait of Carlous-Duran, 1879
“It became fashionable in cultured circles to be pensive and willowy.
Indeed the aesthetic cult of the eighties was largely derived from the pre-
Raphaelites, ladies drooped and were wilted, and clad themselves in
Liberty fabrics (useful also for the ties of similarly minded males) and let
fall over their eyes a tangle of hair, through which they miserably
peered. Punch, week by week, was full of them, but they were not an
invention of the comic papers, and scarcely an exaggeration: they
actually existed in considerable numbers.”—E.F. Benson assuring
readers that Aesthetic fashions had once really existed, 1930 (14)

18. (o) Wallpaper for a Bachelor's Flat
(m) Haberle, A Bachelor’s Drawer, 1890-94
(k) John Singer Sargent, Dr.
Pozzi at Home, 1881
(n) Cecilia Beaux with A. Piatt Andrew and Jack
Mabbett, Photo, 1908. Pennsylvania Academy
of the Fine Arts. Gloucester, Massachusetts.
(l) Cecilia Beaux, A. Piatt Andrew, 1903
“A man’s portrait was a
psychological document
subject to analysis and
moral evaluation.”—
Camille Mauclair, 1899 (3)
“whether he
would like to
marry the
woman he sees
pictured
before him”–
The man’s
reaction to the
New Woman,
New York
World, 1895 (2)
“I could watch his beautiful smooth black
head and white forehead and never tire.
He has the LOOK of thought in his
actually modeling of his face.”—Cecilia
Beaux on A. Piatt Andrew (6)

19. (r) Saint-Gaudens, Abraham
Lincoln: The Man, 1887
(t) Saint-Gaudens, Logan Monument, 1897
(q) John F Peto, Board with
Lincoln Photograph, 1899
(p) Sargent, President
Theodore Roosevelt, 1903
(o) Daniel Chester French,
The Minute Man, 1874-75
(s) Homer, The Undertow, 1886
“Shows that we are not indefinitely to remain a
nation of city-dyspeptics and weary
melanacholics”—Louis Sullivan (15)

20. (x)Alexander P. Proctor, Cowboy and Red Cloud, 1893
(w) Eakins, Head
of a Cowboy,
1892
“In personal daring and in skill as to
the horse, the knight and the cowboy
are nothing but the same Saxon of
different environments.”—Owen
Wister “The Evolution of the Cow
Puncher” Harper’s Monthly Sept 1895
(1)
(y)Frederic Remington, Prospectors
Making Frying-Pan Bread, 1893
(u) Remington, Coming Through the Rye, 1902
“Of all the fads, the most legitimate,
the most abiding, the most inherent—
so it would appear—is the “Nature
revival.”—Frank Norris, 1903 (15)
(v) Frederic Remington, Self Portrait on a Horse, 1890

21. (aa) Thomas Hovenden, Breaking Home Ties, 1890
(ac) Winslow Homer, The Two Guides, 1875
(ab) Gari Melchers, President
Theodore Roosevelt, 1908
“Younger type with an axe in his hand as an American
Type.” “He is finely masculine, the way his head is set
on his shoulders indicates will power. He grips his axe
like a man who knows how to wield it by ancestral
right as well as early training. There is something free
and audacious in his pose…something finer and
nobler than mere size and good health…they are
rough, tough, and will stand all kinds of weather.”—
William Downes, critic on exhibition at Union League,
NY, 1890 (1)

22. Exclusion Presented as Inclusion
(a) (b) (c) (d) (e)
(f)(g)(h)(i)(j)(k)
(l)(m)(n)(o)(p)
Exterior Glass Wall

23. (a) Homer, Dressing for the Carnival, 1877
(b) Eakins, Will Shuster and Blackman Going
Shooting for Rail, 1876
(c) Homer, Visit from an Old Mistress, Virginia, 1876
(d) Homer, The Gulf Stream, 1899
(e) Eakins, William Rush
Carving His Allegorical
Figure of the Schuykill
River, 1908
“Of course, in a community so organized,
what can a man of honorable and humane
feelings do, but shut his eyes all he can,
and harden his heart?”—Harriet Beecher
Stowe, Uncle Tom’s Cabin, 1850
“Beaten members of beaten
breeds, lacking the ancestral
foundation of American
character”—Edward Ross
(15)

24. (g)
Remington,
She Noticed
That All,
Even the
Children,
Gathered
up Stones
as They
Went, 1901
(f) Remington, Paleolithic Man, 1906
(h) Peristyle, 1893
(i) Four Nations, Agricultural Building, 1893
“What
would be
Columbus’s
landing
without and
Indian?”—
Chicago
Inter-Ocean
Magazine
(1)
“He is everywhere. With the tomahawk of history and the peace pipe of tradition he tops the
columns of the peristyle and flanks the ideal group of history. His canoes are on the south
pond and his bark lodges and totem poles rise beyond; he has a government school building
under the intramural loop and a concession for selling basket, blanket, and bead work. He
occupies the larger half of the Ethnological Building, forms a most important part of the
Smithsonian Institution exhibit in the Government Building, and the Navajo women have
an alcove in the Woman’s Building. All the western states give space to him.”—Chicago
Evening Post (1)

25. (n) Anthropological Building, World Columbian Exposition
(j) Paul Wayland Bartlett, The Ghost
Dance, 1888-89
(m) Eakins, Frank Hamilton Cushing, 1894-95
“Between a savage stage of society and a civilized
state it is easy to see the contrasts in the complexity
of life, in divisions of labor, in interdependence and
coherence of operations and of interests. The
difference resembles that between a vertebrate and a
worm.”—John Fiske (1)
(k) Remington, Shotgun Hospitality, 1908
“The three Indians for example are the true old-fashioned
Cooper “braves”, and the white men in the different
compositions are not only lifelike but like what we see in
imagination when we call to mind a western scene.”—”Gallery
Notes Remington Paintings on View” NY Times Dec. 2, 1908 (1)
(l)

26. (r) The Woman’s Building
(q) Lucy Fairchild Fuller,
Women of Plymouth,
1893
(p) Walter McEwen, The Witches, 1892
“these men have asked many times whether the Board of Lady Managers thinks it well to promote a
sentiment which may tend to destroy the home by encouraging occupations for women which take them
out of it. We feel, therefore, obliged to state in our opinion every woman who is presiding over a happy
home is fulfilling her highest and trues function, and could not be lured from it by temptations offered by
factories or studios. Would that the eyes of the idealists could be thoroughly opened that they might see,
not the fortunate few of a favored class, with whom they possibly are in daily contact, but the general
status of the labor market throughout the world and the relations to it of women. They might be
astonished to learn that the conditions under which the vast majority of the ‘gentler sex’ are living are no
so ideal as they assume.”—Mrs. Bertha Palmer, on the deconstruction of the home, 1893 (20)
(s) Bertha Palmer

27. Science versus Spirituality
(a)(b)(c)(d)(e)(f)(g)(h)
(i) (j) (k) (l) (m) (n) (o)
(p)
(q)
(r)
(s)
(t)(w) (v) (u)
(z)
(y)
(x)
(aa)(ab)(ac)(ad)(ae)(af)

28. (a) Eakins, Crucifixion, 1880
(c) Eakins, The Gross Clinic, 1875
(b) Victor Dubreuil, The Cross of Gold, 1896
(d) Electricity Building, 1893
“It is wonderful that
Electricity, , that
great giant which in
a single moment
could destroy the
earth and its entire
population, can be
controlled and held
in the strictest
discipline by such a
machine (the giant
switchboard).”—
Shepp’s World Fair
(16)
“I always saw the structure under the
surface.”—Cecilia Beaux, Carter p. 38
Science has made to disappear
The three-floored house we used to fear!
Heaven above and hell below,
With Earth between to suffer woe.”—Poem
published in an 1892 issue of the Twentieth
Century. (18)

29. (e) Eakins, Professor Henry Rowland, 1891
(f) Cecilia Beaux, Dr. John Shaw Billings, 1895
(h) Beaux, Reverend Matthew Blackburne
Grier, 1892
(i) Augustus Saint
Gaudens, The
Puritan, 1887
(g) Eakins, The Agnew Clinic, 1889
“It is impossible to escaple from Mr. Eakin’s ghastly symphonies
in gore and bitumen. Delicate or sensitive women or children
suddenly confronted by the portrayal of these clinical horros might
receive a shock from which they would never recover.”—critic
about Eakins's “hospital class of pictures” (1)
(19)

30. (i) Sargent, Fumee d'Ambre Gris, 1880
(k) Saint-Gaudens, Adams Memorial, 1891
(l) Eakins, Arcadia, 1883
(j) Eakins, The Artist's Wife and Setter Dog, 1884-86
Meditation
“The acceptance,
intellectually, of the
inevitable.”—La Farge
recalling Adams request
to Saint-Guadens for the
Adams Memorial. (9)
“private regular meditation on a thought or
image that relaxed the hold of the conscious
mind over the self; as the quiet of subconscious
mind asserted itself and the ego dissolved, one
gained emotional release and simultaneous
merged with the universal spirit of the cosmos.
The Divine Mind and the individual mind were
one; one emerged spiritually refined as well as
emotionally and physically renewed.”—Mind
Cure Movement of William James (1)

31. (p)
Remington,
Ridden
Down,
1905-06
(m) Sargent, Isabella Stewart
Gardner, 1888
(n) Sargent, Boston Public Library Murals,
Oppression of the Israelites and Prophets,
1895 (q) Remington, Apache Medicine Song, 1908(0) John La Farge, Halt of the
Wise Men From the East, 1868
“It is a picture of an
energy at once delicate
and invincible
momentarily in repose,
and all the Byzantine
Madonna is that face,
with its wide-opened
eyes.”—French Critic not
knowing who it was of. (1)
“The doctrine that there is no enduring soul is a piece of
metaphysics, as Taylor long ago pointed out in his Primitive
Culture: it in no way conflicts with a very well-defined belief in a
future life.”—Edmunds appealing to the authority of one of the
founders of anthropology on an “other world” populated by
spirits. (18)

32. (q) Remington, An Argument
with the Town Marshall, 1905
(u) Whistler, Nocturne in Blue and Silver: the Lagoon, Venice, 1880
(t) Homer, The Fountains at Night, 1893
(s)
Remington,
Untitled
(possibly
The
Cigarette),
ca. 1908 -
1909
(r) Ryder, Toilers of the Sea, 1884
“To-night is a full moon, a cloudy sky to make it mysterious and a fog to
increase mystery. Just imagine how suggestive things are.”—John
Twachtman (1)
World’s Columbian Exposition at Night
“Hapless soul consigned to roam the
seas” and asked
“Or in the loneliness around
Is a strange joy found?
And wild ecstasy into another flow
As onward that fateful ship doth
go.”—Poet on Ryder’s work (1)

33. “Hero-worship was reborn…The Hero
worship which ensued was bound up
with a fuller, deeper sense of national
life eager to express itself.”---Charles
Caffin (1)
(y) Saint-Gaudens, Robert Gould Shaw Memorial, 1884
Hero Worship
(v) Homer, The Life Line, 1884
(w) Frederick MacMonnies,
Columbian Fountain, 1893
(z) Cecilia Beaux, Richard
Wainwright, 1898
(x) Saint-Gaudens, Admiral
David Farragut Monument,
1876
“It is one man and one woman, the one helpless, the
other strong.”—New York Herald (1)
“Once we were softened, if not polished by religion,
but I suspect that the pulpit counts for much less
now in civilizing.”—Bromfield Corey, The Rise of
Silas Lapham (15)

34. (ac) Peto, Office Board for Robert B Davis, 1904
(af) Haberle, Time and Eternity, 1890 (ae) Harnett, Mortality and Immortality, 1876
Because I could not stop for Death—
He kindly stopped for me—
The Carriage held but just Ourselves—
And Immortality.
--Emily Dickinson, 712, Poems: Series One, 1890
(ab) Remington, Last March, 1906
(ad) Homer, The Fox Hunt, 1893
(aa) Ryder, The Racetrack (Death
on a Pale Horse) 1896
“a conscience
gasping in the void,
panting for
sensations, with
something of the
movement of the gills
of a landed fish.”—
Charles Eliot
Norton, 1907 (15)

35. Idea of Influences
(a) (b) (c) (d) (e)
(f)
(g)
(h)
(i)
(n) (m) (l) (k) (j)
(s)
(r)
(q)
(p)
(o)

36. Japonesme
(a) Whistler, Corte del
Paradiso, 1879-80
(d) Whistler, Caprice in Purple and
Gold: The Golden Screen, 1864
(b) Remington, The Old Stage-Coach of
the Plains, 1901
(e) Homer, Eight Bells, 1886
“The Nodule, the
Universalizer, the
Interpreter of East to West
and West to East.”—Ernest
Fenollosa, Art Historian,
1852-1908 (1)
(c) Ho-o-den, Wooded Isle, 1893
“Great beauty of color is apt to
obscure the structure upon which it
rests, and excellence is not seldom
unrecognized in the works of great
colorists. Little as this is felt in the
harmonious synthesis of Japanese
decoration, Japanese drawings, and
woodcuts in black ad white allow us
to gauge their abstract power of
design and their knowledge of
drawing.”—”An Essay on Japanese
Art”, John La Farge, 1869. (4)

37. Whistler, Sargent, and
the Aesthetic Movement
(i) Beaux, Ethel Page as Undine, 1885
(h) Beaux, Harriet Sears
Amory, 1903
(g) Frederick Carl Frieseke,
Girl Sewing (The Chinese
Robe), 1931, GMOA
“The concern for beauty, as
the highest end of work, and
as the noblest expression of
life.”—Charles Eliot Norton
(15)
(f) Whistler, Harmony in Blue and
Gold: the Peacock Room, 1867-77
“There is,” he said, “much more true art in this country than I supposed,
and true art, you know, is aestheticism. I have had a great many inquiries
from people who want to learn in art, and have seen a great many who
have our ideas almost perfectly. I am doing all I can to encourage the
spread of true taste. What I could like to see is a permanent standard of
taste among the people in their lives and all they do.”—Oscar Wilde,
“The Aesthetic Craze,” Louisville Courier-Journal, January 23, 1882 (4)

38. Velazquez
(k) Eakins, Street Scene in Seville, 1870 (l) Sargent, The Daughters of Edward Darley Boit, 1882
(m) Whistler, The Artist in His Studio, 1865-68
“it would be hard to say what
nationality he belongs”—Critic
Charles De Kay, 1880s (1)
“he combines much of his native
American openness and love of fair play
with the ease, grace, and finesse of a
Frenchman”—New York Times, 1879 (1)
(n) Sargent, Venetian Interior, 1882
(j) Velazquez, Las Meninas. 1656

39. (q) Whistler, Harmony in Grey and
Green: Miss Cicely Alexander, 1872-74
(p) Manet, Lola De Valence, 1862
(r) Sargent, Study for the Spanish Dance, 1879
The Skirt Dance
(s) Sargent, Javanese
Dancer, 1889
(o) Everett Shinn, The
Ballet Dancer, 1901,
GMOA
“The method of art is toilsome and slow, and the lack
of repose and patience in the American character ill
fits it to submit to the hard discipline of the many
years needed to lay a solid foundation of
knowledge”—The New York Times discussing the
learning of art (comparative to that of the skill of
dance), 1874. (15)
“Oh what satisfaction it gave me to see
the good Spanish work so good so strong
so reasonable so free from every
affectation. It stands out like nature
itself”—Eakins to his father (1)

40. Absorption
(a) (b) (c) (d) (e) (f)
(g)
(h)
(i)
(j)
(k)
(l)
(m)
Begins wall of Spectacle Gallery

41. (a) Eakins, Home Scene, Sisters
Margaret and Caroline, 1870
(f) Sargent, Robert Louis Stevenson, 1887
(d) Eakins, Elizabeth (Crowell) at the Piano, 1875
(c) Eakins, The
Cello Player,
1896
(b) Joseph De Camp,
Woman with a guitar, 1908
(e) Eakins, Swimming, 1885
“small, with medium brown hair, not a tomboy…enjoying
fun though not creating much fun, and rather exclusive,
not associating with many. She was not artistic; she played
the piano, but nothing special; just a good decent girl.”—
Sallie Shaw on Kathrin Crowell, died of meningitis 1879
(1)

42. (j) Eakins, Amelia Van
Buren with Cat, 1891
(i) Beaux, Francesca with a Kitten, 1897
(h) Haberle, A Misunderstanding, 1892
(g) Eakins, Benjamin Howard Rand, 1874
"True happiness, we are told, consists
in getting out of one's self; but the point
is not only to get out — you must stay
out; and to stay out you must have
some absorbing errand.“—from
Roderick Hudson, 1875

43. (m) Beaux, Twilight Confidences, 1892, GMOA
(l) Elizabeth Jane Gardner, La Confidence, 1880, GMOA(k) Mary Fairchild Macmonnies, Tea al Fresco, 1891
“No sun and weather could have been more fortunate for a visit to the
specialist in light than we were blessed with. We found him in the very
center of “a Monet,” indeed: that is, in his garden at high noon.”—
Cecilia Beaux capturing the fleeting moment of Monet at work. (13)
“There are few hours in life more
agreeable than the hour dedicated to the
ceremony known as afternoon tea.”
― Henry James, The Portrait of a Lady

44. Spectacle
(a)(b)(c)(d)(e)(f)
(g) (h) (i)
(j)(k)(l)(m)(n)
(o) (p) (q) (r)

45. (a) Eakins, Biglin Brothers, Turning the Stake, 1873
(d) Buffalo Bill, Wild West Show, 1893
(c) Sargent, El Jaleo, 1882
(e) Sargent, Mrs. Ellen Terry as Lady Macbeth,
1889
(b) Eakins, The Concert
Singer: Miss Weda
Cook, 1890-92
(f) Houdini
It is a majestic figure
of a woman so
admirably
proportioned that the
mere size counts for
little in the observer's
mind.—Shepp’s on
the French’s Republic
(1)

46. (g) The Golden Portal, 1893
(h) Eugen Sandow
“Make no little plans. Make big plans; aim
high in hope and work…Let you watchwords
be order and your beacon beauty.”—Daniel
Burnham, 1893 (15)
“The art of architecture is not to
produce illusions or imitations, but
realities, organisms, like nature.”
--Montgomery Schuyler (15)
(i) The White City, 1893

47. (n) Sargent, Madame X
(Virginie Gautreau), 1884
(k) Little Egypt,
World Columbian
Exposition, 1893
(j) Sargent, Egyptian Girl,
1891
(l) Beaux, Mrs. Larz Anderson
(The Hostess), 1900-01
(m) Saint-Gaudens, Diana, 1892
“Don’t laugh at the spinsters,
dear girls, for often very tender,
tragic romances are hidden away
in the hearts that beat so quietly
under the sober gowns, and
many silent sacrifices of youth,
health, ambition, love itself,
make the faded faces beautiful
in God’s sight. Even the sad, sour
sisters should be kindly dealt
with because they have missed
the sweetest part of life, if for no
other reason.”—Louisa May
Alcott, Little Women, 1869
“A flashily painted,
shallow conception of a
woman.”—Harry
Quilter, 1888 (Bellow,
Doctor is in”
“are now part of the humanities, a true mirror on
life.”—Harper’s Weekly (15)

48. (p) Moran, The Grand Canyon of the Yellowstone, 1892
(o) Eakins, Cowboys in the Bad Lands, 1888
“a sort of cowboy bronco method:
he could not have got that wholly
or even mainly in the studios of
Paris– he needed the converting,
confirming, uncompromising
touch of the plains.” Walt
Whitman on Eakin’s art (1)
(r) William Keith, Grazing Cattle Mt.
Tamalpais California, 1879, GMOA(q) John Haberle, Torn in Transit, 1890-95
“And very wonderful indeed
are some of the colors which
Remington has seen visions
of in the West and dared to
paint on his canvases---
strange water green
moonlights that are
fundamental to our great
Western plains, vast spaces
of whirling glittering yellow
dust through which
horseman and horses glow in
red and gold tones, as though
caparisoned for some
gorgeous tournament.”—
The Craftsman, January
1909 (1)

49. Nostalgic Past versus Progressive Future
(a) (b) (c) (d) (e) (f) (g) (h) (i) (j) (k) (l)
(l)
(m)
(n)
(o)
(p)
(q)
(r)
(s)
(t)
(u)
(v)(ac)(ab)(aa)(z)(y)(x)(w)
(ad)(ae)(af)(ag)(ah)
(al)(am)(an)(ap)(ao)(aq)(ar)(as)(at)
(al)(ak)(aj)
(au)(av)(aw)(ax)
(ay)
(az)
(ba)

50. (a) Eakins, Miss Amelia Van Buren, 1891
(b) Victor Dubreuil, Money to Burn, 1893
(e) Cecilia Beaux, Mrs. Clement Acton
Griscom and Frances C. Griscom, 1898
“The present time of individual and
nation was not fully intelligible without
consciousness of the Past.”—John La
Farge, 1893 (1)
“In the so-called old and effete civilization wealth is
apt to be synonymous with culture, or , at any rate,
finds it convenient to pose as if it were; and when it
wants its portrait painted, seeks out the painters
who have a recognized standing in their own
community.”– Charles Caffin (1)
(c) Whistler, Harmony
in Pink and Grey:
Portrait of Lady Meux,
1881-82
(d) Robert Koehler, The Strike, 1886

51. (h) George Boughton,
Pilgrims Going to
Church, 1867
“Memory is what we know have in
place of religion.” –Henry Adams
(1)
(g) Peto, Old Time Letter Rack, 1894
“The life of our fathers is worthy of more attention
than it has received. This book is only a beginning, and
it has not come too soon, as it is already very difficult
to find the old homes still filled with the old life.”---
Wallace Nutting, Introduction, 1913. (1).(f) Charles Turner, John Alden’s Letter, 1888
Wallace Nutting, Old
New England Pictures,
1913

52. (i) Sargent, Mr. and Mrs. Isaac & Edith
Newton Phelps Stokes, 1897
“’Treasures of art worth millions!’
Was it in sadness that a member of
the artists’ committee whispered
into one’s ear: ‘You must remember
that some of the pictures had to be
admitted,--Mrs. This and Mrs.
That—you understand?’” –Critic
(8)
“Truly, New Yorkers ought to
learn from these English
painters that they make great
mistakes if they go abroad to be
painted.”—New York World
(1)
(j) Beaux, Mr. and Mrs. Anson Phelps
Stokes, 1898
(k) Sargent, Portrait of Edouard and
Marie-Louise Pailleron, 1881
(l) Whistler, Arrangement in Flesh
Color and Black: Portrait of
Theodore Duret, 1883-84

53. (q) Saint-Gaudens, Violet Sargent, 1890
(o) Eakins, Homespun, 1881
(p) Frances Benjamin
Johnston, Miss
Apperson Playing the
Banjo Beside the
Statue of Flora, 1895
(n) Sargent, Venetian Bead Stringers, 1880-82
(m) Beaux, Mrs. John Wheeler Leavitt, 1885
“No one but the sculptor himself could have
told the psychological history of these
undertakings…But I do not think one would go
far wrong in regarding the entire groups as the
outcome of a broad sympathy for one capital
fact in our history, the War, with all that means
to a lover of his country.”—Royal Cortissoz on
Violent Sargent (9)
“We are divided of course between liking
to feel the past strange and liking to feel it
familiar; the difficulty is, for intensity, to
catch it at the moment when the scales of
the balance hang with the right evenness.”
(1)

54. (r) John Haberle, Grandma’s
Hearthstone, 1890-94
(u) Daniel Chester French,
Memory, 1886-1914Memory
(s) Beaux, Mrs. Richard Low Divine, 1907
(t) Eakins, Old Fashioned
Dress—Portrait of Miss
Helen Parker, 1908
(v) Eakins, Seventy Years
Ago, 1877
“The American landscape has no
foreground and the American mind no
background.”—Edith Wharton, 1911 (1)
“Sitting in my mother’s old armchair…I seem to lose
myself in the flood of memories and to feel that the
arms of the chair have loosed themselves to become my
very own mother’s arms around me again.”—John
Wanamaker, (1)

55. (ab) Peto, Lincoln and the
Star of David, 1904
(x) Whistler, Arrangement in Black and
Grey: Portrait of the Artist’s Mother, 1871
(w) Eakins, Mary Adeline Williams, 1899
(z) Eakins, Antiquated Music (Portrait of Sarah
Sagehorn Frishmutz), 1900
(y) Harnett, The Old Cupboard Door, 1889
(aa) Eakins, Portrait of Susan
Macdowell Eakins, 1899
“an emblem, a grotesque shape in hot black silk…with
her companionable ministers and reformers at heel...the
voice of the porch shaded by dusty maples along Grand
Avenue in a hundred towns…”—Beer, 1926 looking
upon the 1890s. (1)

56. (ae) Sargent, Vernon Lee (Violet
Paget), 1881
(ad) Mary Cassatt, Modern
Woman Mural , 1893
(af) Beaux, Sarah Elizabeth Doyle. 1902(ac) Beaux, Caroline B. Hazard, 1908
(ag) Theodore Robinson, Gathering Plums,
1891, GMOA
“Now to you I resign this young jewel,
And my words I would have you obey;
In six months return her dear madame,
Shining bright as an unclouded day.
She’s no aptness, I grant you, for learning
And her memory oft seems to halt;
But remember, if she’s not accomplished
It certainly will be your fault.”—
humorous poem in Godey’s Lady’s Book,
vol. LVI, no. 4, 1858 (3)
“But so far from it, we find the commands
of God invariably the same to man and
woman; and not the slightest intimation is
given in a single passage of the Bible, that
God designed to point woman to man as
her instructor.”—Letters on the Equality
of the Sexes, Sarah Grimke, 1837

57. (ah) George Washington Gale
Ferris Jr., The Ferris Wheel, 1893
“The Goddess of the Wheel, as
Gibson and many another artist now
drew her, was…a pretty American
girl speeding joyously along on a
bicycle. On that simple machine she
rode like a winged victory, women’s
rights perched on the handlebars
and cramping modes and manners
strewn on her track.”—Fairfax
Downey, 1893-1990. (2)
Charles Dana Gibson, Gibson Girl
Saint-Gaudens, Victory Figure, 1897-1902
(ai) “One of the most remarkable births of
completed ideas in the realm of
psychology.”—critic of the Ferris Wheel
(1)
(aj) “The winged Victory in
every fibre quivers with the
rhythm of oncoming resistless
force.”—Corristoz (15)

58. (an) Whistler, The Chelsea Girl, 1884
(al) Beaux, Edmund
James Drifton Coxe,
1886
(aj) Beaux, Cecil Kent Drinker, 1891
(ao) Millet, Playing with Baby, 1880
(ak) Sargent, Carnation Lily
Lily Rose, 1885-86
“A rhapsody in raw child
and cobwebs.”—Critics
from the Lodon’s
Grovsenor Gallery, 1881
“The embodiment of childhood, flashed on
the canvas with inimitable knowledge and
skill.”—Critic of Cecilia Beaux, 1903 (17)
(am) Sargent, Alice Vanderbilt
Shepard of New York, 1888
It has all her character & intelligence & consistency & is a most
delightful painting.”—Rosina Emmet Sherwood, 1894 (19)

59. (ar) Harnett, After the Hunt, 1884
(as) Preston Powers, The
Closing Era, 1891-93
(ap) Alexander Pope, Emblems of Civil War, 1888
(aq) Homer, Return from the Hunt (Huntsman and Dogs), 1891
(at) Remington, The
Fallen Deer, 1892
“Be it enacted by the Senate and House of
Representatives of the United States of America
in Congress assembled, That the tract of land in
the Territories of Montana and Wyoming, lying
near the headwaters of the Yellowstone
River…That said public park shall be under the
exclusive control of the Secretary of the Interior,
whose duty it shall be, as soon as practicable, to
make and publish such rules and regulations as
he may deem necessary or proper for the care
and management of the same.”—Yellowstone
Act, 1872

60. (au) Sargent, Venice in Grey Weather, c.1880
(av) Eakins, The
Champion Single
Sculls, 1871
(aw) Moran, Entrance to the Grand Canal, 1906
(ax) Whistler, Nocturne in Blue and Gold: St. Mark’s
Venice, 1879-80
“If Venice, as I say has
become a great bazaar, this
exquisite edifice is now the
biggest booth. There are
moments, after all, when
the church is
comparatively empty, and
you may site there with an
easy consciousness of its
beauty.” (1)
“If the king is in the palace nobody
looks at the walls. It is when he is
gone, and te house is filled with
grooms and gazers, that we turn from
the people, to find relief in the
majestic men that are suggested
by…the architecture.”—Nature,
Ralph Waldo Emerson. (11)

61. (ba) Rodolfo Mogari, Columbia Presents the
World’s Columbian Exposition, 1893
Exceptionalism
(ay) The Republic
(az) Cecilia Beaux, The Banner Bearer, 1909
“I am doing a head of Ernesta which
I hope will mean something…Her
little classic head is bound with bay
and she holds the staff of a banner,
bending a little to it—her head bowed
a little like the Psyche in the Museo di
Napoli.”—Letter to Richard Watson
Gilder (17)
“The Mother with the ever open doors
The feet of many Nations on her floors,
And room for all the World about her
knees.”—Locksley Hall, Lord Tennyson
(16)
“Here the Englishman finds a greater England. He may
travel three thousand miles continuously to find his
language spoken and his law revered by happy millions.
Here the Irishman finds the Home Rule, for which he
craves, and the Scotchman has a better chance to exercise
the splendid qualities of his race than in his own noble but
sterile land. The German finds in this new fatherland all
and more than his own country could supply, and see on
the glory roll of Columbia’s history Teutonic names shining
with resplendent lustre. The Frenchman, always striving
after an ideal liberty, finds it here, and in the development
of this sister Republic fondly dreams he sees the future of
his own beloved land.”—Shepp’s World’s Fair
Photographed. (16)

62. Bibliography
1. Class Lectures
2. Banta, Martha. Imaging American Women: Idea and Ideals in Cultural History. New York: Columbia
University Press, 1987.
3. Bellow, Juliet. “The Doctor Is In: John Singer Sargent’s Dr Pozzi at Home.” American Art 26, no. 2
(2012): 42-67.
4. Burns, Sarah and John Davis. American Art to 1900: a Documentary History. Berkley: University of
California Press, 2009: 838-842.
5. Burns, Sarah. “The 'Earnest, Untiring Worker' and the Magician of the Brush: Gender Politics in the
Criticism of Cecilia Beaux and John Singer Sargent.” Oxford Art Journal 15, no. 1 (1992): 36-53.
6. Burns, “Under the Skin: Reconsidering Cecilia Beaux and John Singer Sargent.” The Pennsylvania
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7. Carr, Carolyn Kinder and Robert W. Rydell. Revisiting the White City: American Art at the 1893 World’s
Fair. Washington D.C.: National Museum of American Art and National Portrait Gallery, Smithsonian
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8. Carter, Alice Amanda. Cecilia Beaux: A Modern Painter in the Gilded Age. New York, NY: Rizzoli,
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9. Cortissoz, Royal. Augustus Saint-Gaudens. Boston and New York: Houghton Mifflin and Company,
1907.
10. Sarah Grimke, Letters on the Equality of the Sexes,1837.

63. 11.Lovell, Margaretta. M. A Visitable Past: Views of Venice by American Artists, 1860-1915, Chicago: University of Chicago Press, 1989.
12. Martin, J.F. Martin’s World’s Fair Album-Atlas and Family Souvenir. Chicago: C. Ropp and Sons, 1893.
13. Sellin, David. Americans in Brittany and Normandy 1860-1910. Arizona: Phoenix Art Museum, 1982.
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16. Shepp, James W. and Daniel B. Shepp. Shepp’s World’s Fair Photographed. Chicago and Philadelphia: Globe Bible Publishing Co., 1893.
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18. Tweed, The American Encounter with Buddhism, 1844-1912. Indiana University Press, 1992.
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21. Weitmann, Jeane, The Fair Women, Academy Chicago, 1981