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©2015 Josephine White Rodgers All Rights Reserved ©2015 JOSEPHINE WHITE RODGERS ALL RIGHTS RESERVED PATRONAGE, POWER, AND AESTHETIC TASTE: THE MARKETING OF JAMES MCNEILL WHISTLER’S ART AND LEGACY by JOSEPHINE WHITE RODGERS A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Susan Sidlauskas And approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May, 2015 ABSTRACT OF THE DISSERTATION Patronage, Power, and Aesthetic Taste: The Marketing of James McNeill Whistler’s Art and Legacy By JOSEPHINE WHITE RODGERS Dissertation Director: Susan Sidlauskas This dissertation focuses on aspects of the work and reputation of James McNeill Whistler. I argue that by striving to control the dissemination of his artistic vision Whistler was able to reach an unprecedented vast international audience. Nationalism, as it appeared under various guises in art throughout the nineteenth century, here is understood as the driving force in the growth of a global art community, which began in the late eighteenth century, when the ideology of nation-states began to shape cultural production. I am particularly interested in how Whistler dissolved this notion of a national project. To accomplish this goal I will track modalities, or pathways of cultural transmission, by exploring different ways Whistler connected with international artist peer groups, implemented exhibition strategies, and communicated to his patrons when producing and selling his prints and drawings that depict the body. Throughout his career Whistler experimented with ways to capitalize on the new networks of communications, developed by the emerging progressive journals and art galleries, ultimately establishing a significant impact on the agency an artist retains when forming his or her reputation in the twentieth century. Within the international art market, ii Whistler revolutionized the role of the artist by experimenting with marketing devices. Managing the propagation of his work and aesthetic values through targeting groups of patrons, strategic exhibition programs, and establishing a network to support his work within specific art markets allowed the artist to secure his legacy with the canon of the history of art. Broader implications of my study offer new insights to the emerging art markets in the long nineteenth century begging the re-consideration of Whistler’s oeuvre based in a single country, arena, or media. Connecting the early success of Whistler's Thames Set etchings, the Venice Pastels exhibition at the Fine Art Society in London, and finally the late lithographs and pastel drawings, to the artist's devoted practice of drawing the figure emphasizes the importance of these works of art to understand how Whistler created an aesthetic dialogue with his audiences. iii Acknowledgements I am grateful to so many people whose help and guidance have brought this project to fruition. My advisor, Dr. Susan Sidlauskas, whose guidance helped shape the content of this dissertation and whose scholarship on the long nineteenth century is an enduring inspiration. Many thanks go to Dr. Anne Goodyear whose insightful comments influenced the final revisions of the dissertation and will continue to shape future iterations of this project. I am also grateful for Dr. Tatiana Flores and Dr. Joan Marter for their support and guidance during my time at Rutgers University. Much appreciation also goes to the faculty and staff the guided and supported the development of my coursework and scholarship over the last four years, including Dr. Tanya Sheehan, Dr. Archer St. Clair Harvey, Dr. Laura Weigert, Dr. John Kenfield, Dr. Jane Sharp, Dr. Carla Yani, Dr. Marilyn Kushner, Marilyn Symmes, Dr. Gwendolyn DuBois Shaw, Dr. Kathleen Foster, Dr. Michael Leja, Dr. Rachael Delue, Cathy Pizzi, and Geralyn Colvil. I am also thankful for the support of the Rutgers University Art History Department and Graduate School who provided generous support at various stages of research and writing. I have appreciated the help of staff at many libraries, archives and other institutions, including the New York Public Library, Princeton University Libraries, Smithsonian Institution Libraries, Freer Gallery of Art Archives, Library of Congress, National Gallery of Art Library, and the Special Collections at the University of Glasgow. iv This project began when I was a curatorial assistant at the Smithsonian Institution Freer Gallery of Art and Arthur M. Sackler Gallery. Dr. Julian Raby, Dr. Massumeh Farhad, Dr. Debra Diamond, and Dr. Kenneth Myers supported my efforts from the beginning and I will be forever grateful. After completing my Master of Arts degree from the Courtauld Institute of Art, and with the guidance of Dr. Caroline Arscott and Dr. John House, I remained committed to pursuing my doctorate. I feel privileged to have received invaluable information from a long list of advisors and mentors. I am deeply grateful to Margaret MacDonald, Dr. Martha Tedeschi, Dr. Katherine Lochnan, and Ruth Fine for their initial enthusiasm and continued involvement. I will never be able to adequately thank all of the colleagues, teachers, and friends who have offered insights, corrected errors, or graciously opened storerooms. I am deeply grateful to my friends and colleagues at the National Gallery of Art whose endless support offered me the strength to return to my graduate work and helped to shape the focus of this project, especially Judith Brodie, Margaret Morgan Grasselli, Carlotta Owens, Charlie Ritchie, Jenny Ritchie, Amy Johnston, Angela M. LoRé, Daniella Berman, Caroline Weaver, and Giselle Obermeier. I have benefited enormously from conversations with paper conservators, most notably Martha Smith and Michelle Facini, who offered new ways of discussing James McNeill Whistler’s printing and drawing practice. I cannot fail to mention Dr. Nigel Thorp, David Park Curry, Eric Denker, Lee Glazer, Neil Greentree, David Hogge, Wendy Reaves, and Jessa Farquhar. Last but not least, I would also like to thank Gerrish Fine Art. v Many friends, colleagues, and family members have provided support during my studies at Rutgers University and I respectfully acknowledge the role they have played. I want to thank my closest friends whose immeasurable encouragement offered me the strength and persistence needed to complete all of my Doctor of Philosophy requirements. My parents, brother James Rodgers, and sister-in-law Melissa Rodgers provided material support and emotional aid throughout this entire process. I dedicate this dissertation to my parents, Dr. Kenneth White Rodgers and Nancy Josephine Rodgers, whose belief in my ability and determination allowed me to remain committed to this project over the years and through the longest of days. vi TABLE OF CONTENTS Abstract ii Acknowledgements iv List of Illustrations vii Introduction 1 Chapter 1: Early Training and Patronage 19 Chapter 2: Defending the Intrinsic Value of Art 44 Chapter 3: Strategies to Secure an Artistic Legacy 71 Chapter 4: James McNeill Whistler’s Return to Paris in the 1890s 103 Chapter 5: Partnership with Charles Lang Freer 140 Conclusion 169 Bibliography 173 vii List of Illustrations: Figure 1: James McNeill Whistler, New England States, 1851, Ink and watercolor, 3 x 6 inches, E. R. & J. Pennell Collection, Division of Prints and Photographs, Library of Congress, Washington D.C. Figure 2: James McNeill Whistler, Map of Western Hemisphere, 1851, Black ink and watercolor, 7 4/5 x 5 1/5 inches, Metropolitan Museum of Art Figure 3: Robert W. Weir, Interior of Church with Priest Administering the Sacrament of Holy Communion, c. 1840, Ink on paper, 6 1/4 x 10 inches Boscobel House and Gardens Figure 4: James McNeill Whistler, Sketches on the Coast Survey Plate, 1854-1855 Etching, 5 3/4 x 10 1/2 inches, Freer Gallery of Art, Smithsonian Institution Figure 5: James McNeill Whistler, Sketches on the Coast Survey Plate, 1854-1855 Cooper plate, 5 3/4 x 10 2/5 inches, Freer Gallery of Art, Smithsonian Institution Figure 6: Map of Wapping, Charles Booth's Labour and Life of the People. Volume 1: East London (London: Macmillan, 1889) Figure 7: Gustave Doré, The Docks—Night Scene, 1872, Engraving, 16.125 x 12.625 inches, National Gallery of Art, Washington Figure 8: Gustave Doré, A Waterman’s Family, 1872, Engraving, 16 1/8 x 12 5/8 inches, National Gallery of Art, Washington Figure 9: James McNeill Whistler, The Pool, Final State, 1859, Etching, 5 2/5 x 8 2/5 inches, Freer Gallery of Art, Smithsonian Institution Figure 10: James McNeill Whistler, The Pool, State: 1 of 6, 1859, Etching, 5 2/5 x 8 2/5 inches, Freer Gallery of Art, Smithsonian Institution Figure 11: James McNeill Whistler, The Pool, 1859, Cooper plate, 6 x 9 inches, Freer Gallery of Art, Smithsonian Institution viii Figure 12: James McNeill Whistler, 1859, Eagle Wharf, Etching, 5 1/2 x 8 1/2 inches, Freer Gallery of Art, Smithsonian Institution Figure 13: James McNeill Whistler, Black Lion Wharf, 1859, Etching, 5 2/5 x 8 2/5 inches, Freer Gallery of Art, Smithsonian Institution Figure 14: James McNeill Whistler, Harmony in Blue and Gold: The Peacock Room, 1876-1877, Oil paint and gold leaf on canvas, leather, and wood, 166 x 241 1/2 x 404 inches, Freer Gallery of Art, Smithsonian Institution Figure 15: James McNeill Whistler, The Princess from the Land of Porcelain (La Princesse
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