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Palaces of Art Whistler and the Art Worlds of Aestheticism Whistler and the Art Worlds of Aestheticism Art of Palaces Glazer and Merrill Palaces of Art Whistler and the Art Worlds of Aestheticism of Aestheticism Whistler and the Art Worlds Palaces of Art Edited by Lee Glazer and Linda Merrill Scholarly Smithsonian Institutio Smithsonian Institution Scholarly Press Pr ess n Palaces of Art Whistler and the Art Worlds of Aestheticism Edited by Lee Glazer and Linda Merrill A Smithsonian Contribution to Knowledge Smithsonian Institution Scholarly Press Washington DC 2013 WhistlerBook.indb i 9/9/13 2:31 PM the smithsonian’s museums of asian art The “Palaces of Art: Whistler and the Art Worlds of Aestheticism” symposium was held at the Freer Gallery of Art and was made possible by the generosity of the Lunder Foundation. Published by SMITHSONIAN INSTITUTION SCHOLARLY PRESS P.O. Box 37012, MRC 957 Washington, D.C. 20013-7012 www.scholarlypress.si.edu Compilation copyright © 2013 Smithsonian Institution The acknowledgments, “The Whistler Etchings Project,” “The Artist as Muse,” “Interior Motives: Whis- tler’s Studio and Symbolist Mythmaking,” and “Networks of Modernism: A New Look at Whistler in Ja- pan,” are in the public domain. The rights to all other text and images in this publication, including cover and interior designs, are owned either by the Smithsonian Institution, by contributing authors, or by third parties. Fair use of materials is permitted for personal, educational, or noncommercial purposes. Users must cite author and source of content, must not alter or modify copyrighted content, and must comply with all other terms or restrictions that may be applicable. Users are responsible for securing permission from a rights holder for any other use. Cover image: James McNeill Whistler, Harmony in Blue and Gold: The Peacock Room, 1876–1877. Detail of ceiling. Oil paint and gold leaf on canvas, leather, and wood, 421.6 × 613.4 × 1026.2 cm. (overall). Freer Gallery of Art, Smithsonian Institution, Washington, DC. Gift of Charles Lang Freer, F1904.61. Library of Congress Cataloging-in-Publication Data Palaces of Art: Whistler and the Art Worlds of Aestheticism (Symposium) (2011 : Freer Gallery of Art) Palaces of art : Whistler and the art worlds of aestheticism / Edited by Lee Glazer and Linda Merrill. pages cm. -- (A Smithsonian contribution to knowledge) Includes index. ISBN 978-1-935623-29-8 (pbk. : alk. paper) -- ISBN 978-1-935623-31-1 (ebook) 1. Aesthetic movement (Art)--Congresses. 2. Whistler, James McNeill, 1834-1903--Congresses. I. Glazer, Lee (Lee Stephens), editor of compilation. II. Merrill, Linda, 1959- editor of compilation. III. Title. N6767.5.A3P35 2013 759.13--dc23 2013013749 ISBN-13 Print: 978-1-935623-29-8 ISBN-13 Online: 978-1-935623-31-1 Printed in the United States of America The paper used in this publication meets the minimum requirements of the American National Stan- dard for Permanence of Paper for Printed Library Materials Z39.48–1992. WhistlerBook.indb ii 9/9/13 2:31 PM Palaces of Art WhistlerBook.indb iii 9/9/13 2:31 PM Contents WhistlerBook.indb iv 9/9/13 2:31 PM Preface vii Lee Glazer Acknowledgments viii Abbreviations viii Introduction 1 Lee Glazer and Margaret R. Laster Whistler in the Art World of the Twenty-First Century 13 The Artist as Muse 15 Ruth Fine The Whistler Etchings Project 27 Margaret F. MacDonald Whistler and Art of the Americas 39 Erica E. Hirshler Inside the Palace of Art: Whistler’s Aesthetic Subjectivities 53 Subject and Object in Whistler: The Context of Physiological Aesthetics 55 Caroline Arscott Whistler’s Peacock Room and the Artist as Magus 67 Sally-Anne Huxtable Interior Motives: Whistler’s Studio and Symbolist Mythmaking 81 John Siewert Whistler’s Paris Studio: Place and Meaning 93 Anna Gruetzner Robins Other Voices, Other Rooms: Beyond Whistlerian Aestheticism 105 Aesthetes on Display: “Not Masculine and Progressive but Reclusive and Retrospective” 107 Susan P. Casteras Displaying Aestheticism’s Bric-a-Brac: Rossetti’s Material and Virtual Goods 121 Julie Codell Aestheticism Meets Arts and Crafts: Decorative Art on Display 135 Imogen Hart Outside the Palace of Art: Global Networks of Aestheticism 147 Whistler, Aestheticism, and the Networked World 149 Melody Barnett Deusner Networks of Modernism: A New Look at Whistler in Japan 165 Ayako Ono Enlisting Aestheticism: Beauty, Valor, and the Great War 173 Linda Merrill Bibliography 187 Contributors 199 Index 205 WhistlerBook.indb v 9/9/13 2:31 PM Preface WhistlerBook.indb vi 9/9/13 2:31 PM his volume brings together papers that were fi rst presented in October 2011 at an international symposium held at the Smithsonian’s Freer Gallery of Art. Made Tpossible by the generosity of the Lunder Foundation, “Palaces of Art: Whistler and the Art Worlds of Aestheticism” was the inaugural event of the Lunder Consor- tium for Whistler Studies, a scholarly partnership founded in 2010 by the Freer Gallery, the Colby College Museum of Art, and the University of Glasgow. The Art Institute of Chicago joined in 2012. As caretakers of the world’s largest collections of the work of James McNeill Whistler (1834–1903), the consortium is not only dedicated to supporting and disseminating new research on the American expatriate artist but also encouraging scholarship that moves beyond monographic or biographical approaches to consider the various “art worlds” in which Whistler and his contemporaries operated. The diversity of topics and methodologies deployed at this landmark conference refl ected this ex- pansive, pluralizing approach. In addition to refl ecting on Whistler’s place in the history of art, speakers considered such diverse topics as the construction of aesthetic subjec- tivities, the relationship between Aestheticism and commodity culture, and the role of global networks in the transmission and reception of Whistlerian style. Gathered together, these conference proceedings challenge preconceptions about Aestheticism and Whistler’s place within the Aesthetic movement. This notoriously thin- skinned painter, who had a particular talent for “the gentle art of making enemies,” was also profoundly interconnected to a cosmopolitan array of artists, writers, collectors, and dealers. Here, authors convincingly overturn the long-held notion of Whistler as an eccentric loner who operated outside of conventional art historical narratives, whether American, British, or modernist. Networks, mutual infl uences, collaborative endeav- ors, and the enduring power of artistic creation and aesthetic attention are some of the themes that recur throughout this book. Far from being conclusive, these essays open up the fi eld of Whistler studies and will doubtless inspire new work on Whistler’s aesthetic vision and the complexity of his cultural contexts. Lee Glazer Associate Curator of American Art Freer Gallery of Art and Arthur M. Sackler Gallery WhistlerBook.indb vii 9/9/13 2:31 PM Acknowledgments The Lunder Consortium for Whistler Studies—comprising the Smithsonian’s Freer Gallery of Art, the Colby College Museum of Art, the University of Glasgow, and the Art Institute of Chicago—is dedicated to producing and disseminating innovative research on the art of James McNeill Whistler and his international circle of contemporaries. We are exceedingly grateful to the Lunder Foundation, whose generosity allowed for the creation of the consortium in 2010, and to Peter and Paula Lunder personally for their unstinting support of this important collaboration. This book and the 2011 symposium at the Freer Gallery of Art from which it developed demonstrate the Lunder Consortium’s commitment to broadening scholarship around the Aesthetic period, and we owe a huge debt of gratitude to our contributors as well as those who attended the conference for helping us realize our mission. We are also grateful to Julian Raby, The Dame Jillian Sackler Director of the Arthur M. Sackler Gallery and the Freer Gallery of Art, and Massumeh Farhad, chief curator, whose enthusiasm for Whistler and American art in a museum better known for its Asian collections was instrumental in making the conference the best attended scholarly symposium in the Freer’s history. Margaret R. Laster, the consortium’s fi rst doctoral fel- low, developed the conference theme and put together a top-notch program, and Tyler Boenecke, the Lunder Consortium program assistant, handled countless logistical and ad- ministrative details with poise and skill. Adina Brosnan-McGee created a fi ttingly elegant graphic identity for the consortium, and Jenna Vaccaro did the initial image research for the publication. Maya Foo, curatorial specialist at the Freer and Sackler, deserves special recognition for her deft management of conference and publication matters too numer- ous to list. All of this work would have been impossible without the guiding wisdom of the consortium’s founding partners, namely, Sharon Corwin, Elizabeth Finch, and Lauren Lessing at Colby and Pamela Robertson, Margaret F. MacDonald, and Patricia de Mont- fort at the University of Glasgow. Finally, we are grateful to Ginger Strader and Deborah Stultz at the Smithsonian Institution Scholarly Press, who ably guided us through the preparation of the manuscript and its production. Abbreviations C The Art Institute of Chicago. The Lithographs of James McNeill Whistler. Vol. 1, A Catalogue Raisonné, edited by Harriet K. Stratis and Martha Tedeschi; catalogue entries by Nesta R. Spink, Harriet K. Stratis, and Martha Tedeschi. Essays by Katharine Lochnan. Vol. 2, Corre- spondence and Technical Studies, edited by Martha Tedeschi; essays by Nicholas Smale and Harriet K. Stratis; contributions by David Kiehl and Kevin Sharp. Chicago: The Art Institute of Chicago in association with the Arie and Ida Crown Memorial, 1998. FGAA Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Washington, DC. Charles Lang Freer Papers. viii Palaces of Art WhistlerBook.indb viii 9/9/13 2:31 PM G Margaret F. MacDonald, Grischka Petri, Meg Haus- berg, and Joanna Meacock. James McNeill Whis- tler: The Etchings, a Catalogue Raisonné. Glasgow: University of Glasgow, 2011.
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