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The Art of Reconciliation: the World's Industrial And THE ART OF RECONCILIATION: THE WORLD’S INDUSTRIAL AND COTTON CENTENNIAL EXPOSITION, NEW ORLEANS, 1884 by SANDRA PAULY (Under the Direction of Janice Simon) ABSTRACT An examination of the visual culture of the New Orleans’ World’s Industrial and Cotton Centennial Exposition is revelatory of the formation of American attitudes about race, ethnicity, aesthetics, and regional as well as national identity. Overlooked in the American art historical scholarship on world’s fairs, the New Orleans event was one of a number of regional and international expositions held in the United States between Philadelphia’s Centennial Exhibition of 1876 and Chicago’s World Columbian Exposition of 1893 that endeavored to promote regional reconciliation after the Civil War and establish a cohesive national identity. Although the relationship between developments in the fine arts in the United States and world’s fairs held there is an established part of American art historical scholarship, there has been no art historical scholarship on the fine arts exhibition at the New Orleans fair. This dissertation seeks to cast light on that fine arts exhibition in the context of the New Orleans world’s fair. To do this effectively the visual culture of the fair itself requires exploration. The buildings, fairgrounds, various displays created by the states and the United States government, and magazine illustrations created to cover the event, provide a broader socio-historical context in which to consider the art exhibited. This will, in turn, illuminate the national commercial and cultural agenda in which artistic production took place, as well as the role played by the New Orleans fair in the promotion of regional reconciliation during the postbellum era, the establishment of a singular national identity, and fair’s place in the development of American art. INDEX WORDS: World’s Industrial and Cotton Centennial Exposition, world’s fairs in the United States, postbellum United States, and nineteenth-century fine arts exhibitions in the United States THE ART OF RECONCILIATION: THE WORLD’S INDUSTRIAL AND COTTON CENTENNIAL EXPOSITION, NEW ORLEANS, 1884 by SANDRA PAULY B.A., The University of Missouri, St. Louis, 2003 M.A., The University of Georgia, 2005 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2014 © 2014 Sandra Pauly All Rights Reserved THE ART OF RECONCILIATION: THE WORLD’S INDUSTRIAL AND COTTON CENTENNIAL EXPOSITION, NEW ORLEANS, 1884 by SANDRA PAULY Major Professor: Janice Simon Committee: Alisa Luxenberg Nell Andrew Asen Kirin Isabelle Wallace Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2014 iv DEDICATION This dissertation is dedicated to my mother. v ACKNOWLEDGEMENTS This dissertation would not have been possible without the advice, encouragement, and support of Janice Simon, Associate Professor of Art History and Josiah Meigs Distinguished Teacher at the University of Georgia, Athens. I owe her a debt of thanks. I am grateful for her keen-eyed observations and probing questions throughout the process, as well as the editing of my text. Editing is often an unappreciated, tedious task, and once again I must thank her. In addition, her breadth of knowledge of American art is astonishing as well as inspirational. I have also been fortunate to have an insightful committee to provide me with guidance. Alisa Luxenberg’s comments on my initial proposal were helpful in shaping early drafts of the dissertation, and her observations on later drafts helped hone my thinking about the topic. Nell Andrew’s observations strengthened the structure of the dissertation, which helped to bring out brought my argument more effectively. Isabelle Wallace challenged me to think deeply about my topic. Asen Kirin’s precise observations on architecture and the construction of public space have greatly enhanced that section of the dissertation. Funding for this project has come from a variety of sources. The departmental teaching assistantships at the University of Georgia’s Lamar Dodd School of Art provided support during all phases of research and writing. The University of Georgia’s Graduate School Dean’s Award for Dissertation Research provided funds for a research trip to New Orleans to conduct archival research at Tulane’s Louisiana Research Collection, as well as the Historic New Orleans Collection. I appreciate the efforts of the archivists and librarians at both institutions in locating research materials. I am also much indebted to the University of Georgia’s Graduate School’s vi Summer Doctoral Fellowship. This funding came at a critical time in the writing process. The stipend provided by the Graduate School gave me a summer semester to focus on my writing without distraction. Without this funding I am not sure I would have completed the dissertation by my deadline. Moreover, it was a huge boost to my spirits when I needed it most. Funding is important, but so is the support of your peers. Sandy McCain has leant an ear throughout the process and provided valuable feedback. I am most appreciative of Sandy’s passion for American art, particularly that of the South. I am also grateful to Sarah Crain, Mike Kemling, and Shannon Prichard for their encouragement over the years. vii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS .............................................................................................................v CHAPTER 1 INTRODUCTION .........................................................................................................1 2 ORIGINS, OBJECTIONS, PLANNING, AND OPENING DAY ..............................22 3 MEXICO’S COMMERCIAL AND CULTURAL AGENDA ....................................57 4 THE COMMERCIAL AGENDA OF THE UNITED STATES .................................89 5 THE CULTURAL AGENDA OF THE UNITED STATES .....................................113 6 CONCLUSION ..........................................................................................................174 REFERENCES ............................................................................................................................191 FIGURES .............................................................................................................................206 APPENDIX A LIST OF WORKS INCLUDED IN THE FINE ARTS GALLERY .........................276 1 CHAPTER 1 INTRODUCTION When we think of our large, widely scattered population, the wonder is that we do not differ more.1 Charles Dudley Warner, 1885 World’s fairs held in the United States during the late nineteenth century endeavored to promote regional reconciliation after the Civil War with the hope of creating a cohesive national identity.2 Moreover, these American expositions were a response to the world’s fair phenomenon that swept continental Europe after the success of England’s Crystal Palace Exhibition held in London in 1851, which historians have characterized as a combination of an industrial fair and a fine arts exhibition.3 Subsequent international exhibitions held in Paris (1855 and 1857), London (1862), and Vienna (1873) strove to promote the host nation’s technological prowess and cultural sophistication. In the aftermath of America’s Civil War, the United States was eager to present itself as a reunited country with a singular national identity that could take its place commercially and culturally in the international community. 1 Charles Dudley Warner, Studies in the South and West with Comments on Canada, vol. 8 of The Complete Writings of Charles Dudley Warner, ed. Thomas R. Lounsbury, (Hartford, CT: The American Publishing Company, 1904), 45. Warner was the editor of Harper’s Magazine from 1884-1892 and was a good friend of Mark Twain, with whom he co-authored The Gilded Age: A Tale of Today. Warner attended the New Orleans World’s Industrial and Cotton Centennial in 1885, although his thoughts on the event were not published until 1904. The above quotation was included in his comments on the fair. 2 Robert W. Rydell, John E. Findling, and Kimberly D. Pelle, Fair America: World’s Fairs in the United States (Washington, D. C.: Smithsonian Institution Press, 2000), 7-8. 3 Rydell, Findling and Pelle, Fair America, 8-14. 2 The relationship between the development of the fine arts in the United States and world’s fairs held there is an established part of American art historical scholarship. The visual arts were an important component of creating a cohesive national identity as well as establishing the country’s cultural credentials. One of the earliest treatments of this subject was the Detroit Institute of Arts’ exhibition of 1983, The Quest for Unity: American Art Between World’s Fairs, 1876-1893. In the catalogue accompanying the show, the art historians consistently refer to America’s “first” two world’s fairs, the Philadelphia Centennial of 1876 and Chicago’s World’s Columbian Exposition of 1893, as guideposts for their discussions.4 Nowhere is there any acknowledgement that there was in fact another federally-funded and officially sanctioned world’s fair held between those in Philadelphia and Chicago: the New Orleans World’s Industrial and Cotton Centennial Exposition of 1884.5 The oversight is perhaps understandable as world’s fairs held in the United States had only become the subject of scholarship in the 1980s. A year after the innovative Detroit Institute of Arts show, in 1984, historian Robert
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