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Objectified Through an Implied Male Gaze Lehigh Preserve Institutional Repository “Dear Louie:” Louisine Waldron Elder Havemeyer, Impressionist Art Collector and Woman Suffrage Activist Ganus, Linda Carol 2017 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. “Dear Louie:” Louisine Waldron Elder Havemeyer, Impressionist Art Collector and Woman Suffrage Activist by Linda C. Ganus A Thesis Presented to the Graduate and Research Committee of Lehigh University in Candidacy for the Degree of Master of Arts In the Department of History Lehigh University August 4, 2017 © 2017 Copyright Linda C. Ganus ii Thesis is accepted and approved in partial fulfillment of the requirements for the Master of (Arts/Sciences) in (Department/Program). “Dear Louie:” Louisine Waldron Elder Havemeyer, Impressionist Art Collector and Woman Suffrage Activist Linda Ganus Date Approved Dr. John Pettegrew Dr. Roger Simon iii ACKNOWLEDGMENTS I would first like to thank my thesis advisor, Dr. John Pettegrew, Chair of the History Department at Lehigh University. In addition to being a formidable researcher and scholar, Prof. Pettegrew is also an unusually empathetic teacher and mentor; tireless, positive, encouraging, and always challenging his students to strive for the next level of excellence in their critical thinking and writing. The seeds for this project were sown in Prof. Pettegrew’s Intellectual U.S. History class, one of the most influential classes I have had the pleasure to take at Lehigh. I am also extremely grateful to Dr. Roger Simon, the second reader on my thesis; I have benefited immeasurably from his expertise, academic rigor, and kindness from the moment I entered the graduate program in History at Lehigh. In particular, Prof. Simon’s urban history class, “Gangs of New York,” piqued my interest even further about nineteenth and twentieth-century New York City and its citizens. Dr. John Savage’s classes provided a compelling window into trans-Atlantic history and culture since the French Revolution; I am so thankful for his help in gently guiding me toward a fascinating research project that would combine my various areas of interest. Dr. Michelle LeMaster’s patient and clear tutelage in negotiating the particular intricacies of historical scholarship and writing style have helped me more than I can say. The ebullient and generous Dr. Kim Carrell-Smith helped me discover congruences between the spheres of public history and museum curatorial studies; in that vein, I have also been fortunate enough to have had the experience of working with the amazing Dr. Ricardo Viera, researching the teaching collection in the Lehigh University Art Galleries. iv These professors all have the welcome gift of sparking intense curiosity in their students. They and the discussions they have led have helped me identify, organize and articulate my own personal historical research questions in addition to learning how to use the tools to begin to answer them. In addition to the excellent faculty in the Lehigh History department, I am grateful to all of the other Lehigh graduate students and teaching assistants I have met and befriended in the History and American Studies departments, as well as many Lehigh staff members who have been so helpful and supportive to me during my research: in particular, Janet Walter and Ashlee Copenhaver in History, as well as Mark Wonsidler, Jeffrey Ludwig, Denise Stangl and Patricia McAndrews in the Lehigh Art Galleries. I would also like to thank two institutions in particular that have provided their generous support, financial and otherwise, for researching this project: The Getty Research Institute in Los Angeles, CA, and the Metropolitan Museum of Art in New York City, NY. It has been a thrill and an honor to explore their resources. Finally, I would like to express profound gratitude to my parents, Walter and Louise Ganus. They have always unconditionally and lovingly supported and encouraged me in everything I have accomplished. I also would like to thank my amazing stepdaughters, Tasha and Elena; their creativity and energy are unbounded. Finally, I thank my husband, Eugene Albulescu, for his intelligence, humor and patience; for providing me with support and continuous encouragement; and for being the most inspiring life partner I could hope for. Thank you. –Linda Ganus v TABLE OF CONTENTS LIST OF FIGURES vii ABSTRACT 1 I. INTRODUCTION AND ARGUMENT 2 II. HISTORIOGRAPHY 9 III. EARLY YEARS WORKING FOR THE SUFFRAGE MOVEMENT 21 IV. HAVEMEYER, CASSATT, AND THE SUFFRAGE EXHIBITION 24 V. HAVEMEYER’S RADICAL SUFFRAGE ACTIVISM 31 VI. EPILOGUE 42 FIGURES 44 SOURCES 52 VITA 56 vi LIST OF FIGURES Figs. 1a, 1b: Exhibition rooms during the “Loan Exhibition 44 of Masterpieces by Old and Modern Painters”(April 6 – 24, 1915) at M. Knoedler and Co. Gallery, 556 Fifth Avenue, New York, NY. Fig. 2: Pamphlet from the 1915 Knoedler exhibition 45 Fig. 3: Mary Cassatt’s painting “The Young Mother” 46 Fig. 4: Havemeyer and the “suffrage torch” 47 Fig. 5: Havemeyer brings the “suffrage torch” to New Jersey 47 Fig. 6: Watchfires on the White House lawn 48 Fig. 7: Cartoon effigy of Wilson speaking 48 Fig. 8: New York Tribune article 49 Fig. 9: “Prison Special” tour group 49 Fig. 10: Photo of Mrs. Havemeyer and policeman 50 Fig. 11: Havemeyer’s last letter from Cassatt 51 vii ABSTRACT Louisine Waldron Elder Havemeyer’s personal evolution from an elite, reserved, art-collecting wife of an American Gilded Age industrialist to an engaged, unapologetically outspoken activist on behalf of all women’s right to vote is emblematic of the myriad ways women moved out into the world from their domestic spheres in the early twentieth century, harnessing the increasing power of collective visual protest as a peaceful, non-violent tactic to demand justice and a voice. Her 1915 suffrage exhibit held at the Knoedler Gallery in New York City may be a modest moment of microhistory in the larger context of the histories of both art collecting and the American women’s suffrage movement, but it is an illuminating look at the evolution of a single wife and mother’s belief in the transformative and performative power of artistic and political sisterhood. 1 I. INTRODUCTION AND ARGUMENT “Go home and work for the suffrage. If the world is to be saved, it will be the women who save it…” —Mary Cassatt to Louisine Havemeyer, July, 19141 In the spring and summer of 1914, Louisine Havemeyer visited her lifelong friend and collecting advisor, artist Mary Cassatt, in Europe with the proposal to mount a New York art show featuring Cassatt’s work paired with that of their mutual friend Edgar Degas to benefit the woman suffrage cause in the United States. Cassatt agreed, on the condition that Louisine herself speak at the exhibition about the art and the suffrage cause. Havemeyer knew that her dear friend Cassatt was also aligned with the movement to gain the vote for women, and that the show would serve to reinforce their close friendship as well as to promote a cause in which they both believed.2 Havemeyer had grown up among women sympathetic to the suffrage movement; her mother had been friends with relatives of both Lucretia Mott and Elizabeth Cady Stanton. She fervently believed both Cassatt and Degas deserved equal respect as Impressionist masters, regardless of gender, and was eager to present their work together as examples of the best of modern painting. However, for Havemeyer herself, the show had another, more personal raison d’être: lending pieces from the rarely-seen Havemeyer collection served as an opportunity to mitigate some of the bad press her late husband had recently reaped at the end of his life as one of New York’s wealthiest so-called “robber barons.” 1 Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America (New York: Harry N. Abrams, Inc., 1986), 221. 2 Louisine Waldron Elder Havemeyer, Sixteen to Sixty: Memoirs of a Collector, edited by Susan Alyson Stein (New York: Ursus Press, 1993). 2 The show, which opened on April 6, 1915 at the M. Knoedler Gallery in New York, was a modest success. Receipts from the exhibition and Havemeyer’s lecture at the preview totaled $2,283.01, paid to the Woman Suffrage Campaign Fund.3 Several New York newspapers reported positively on it, specifically lauding Havemeyer’s talk. Cassatt was not able to attend, but congratulated her in frequent letters sent from France. However, the two women were chastened that so many of their well-to-do acquaintances had adamantly refused to lend works or even attend the exhibit at all solely because of the suffrage cause, despite entreaties from both Havemeyer and Cassatt.4 Havemeyer, ever pragmatic, began to grasp the direction her work for the suffrage cause must take. She did not retreat to the genteel world of writing checks in backrooms at suffrage teas. The well- received reception of her suffrage exhibit talk, in conjunction with the visual design she had masterminded for the exhibit, had helped her to realize that she had the potential to be a natural and persuasive public advocate for causes about which she felt strongly. With Cassatt’s support and that of other important female friends, including suffrage activists Harriot Stanton Blatch and Alice Paul, Havemeyer began in earnest to leverage the passion and shrewdness she had heretofore applied to the elite practice of art collecting towards learning how she could use similar visual and other strategies to best advocate for women’s suffrage. There is a gap in the historiography of the woman suffrage movement that can be filled by examining Havemeyer’s biographical microhistory during the years immediately following her husband’s death.
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