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©2012 Diana Bramham ALL RIGHTS RESERVED ©2012 Diana Bramham ALL RIGHTS RESERVED U.S. ARTISTS IMAGINING MEXICO, CENTRAL AMERICA AND CUBA, 1875-1910 By DIANA BRAMHAM 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 Dr. Susan Sidlaukas and approved by _________________________________ _________________________________ ________________________________ _______________________________ New Brunswick, New Jersey October 2012 ABSTRACT OF THE DISSERTATION U.S. Artists Imagining Mexico, Central America and Cuba, 1875-1910 by DIANA BRAMHAM Dissertation Director: Dr. Susan Sidlauskas This dissertation investigates representations of Mexico, Central America and Cuba produced by U.S. artists from 1875 to 1910. As the United States strengthened its political and economic ties with its closest southern neighbors, a desire for visual knowledge of the people and places just south of the border grew. Paintings, photographs, films and illustrations by artists such as Eadweard Muybridge, Winslow Homer and William Henry Jackson introduced an unfamiliar U.S. public to the ―Other‖ America. While some of these artists constructed a vision of Mexico, Central America and Cuba as picturesque places mired in the past and ripe for U.S. expansionist efforts, others portrayed these lands as sites of mounting tension that suggest anxiety surrounding the increasingly intimate relationship between the North and South. A careful analysis of these images, the contemporary responses to them and the socio-historical context in which they were created reveals another veiled subject—the United States and its struggle to define its own identity at a watershed moment in its history. A study of the visual manifestation of the United States' relationship with Mexico, Central America and Cuba is at the forefront of recent scholarship that seeks to extend the scope of American art beyond geographic borders, embracing a more global, non-Euro- centrist perspective. ii Table of Contents Abstract p. ii Table of Contents p. iii List of Illustrations p. iv Introduction p. 1 Chapter One An Intimate and Tumultuous Relationship: The Americas in the Nineteenth Century p. 20 Chapter Two Incidents of Travel in Central America and Mexico: Eadweard Muybridge's Southern Series p. 41 Chapter Three The ―Red Hot‖ Encounter: Winslow Homer in the ―Eden of the Gulf‖ p. 94 Chapter Four Picturing Empire: Winslow Homer's Gulf Stream and Searchlight on Harbor Entrance, Santiago de Cuba p. 140 Chapter Five Picturing the ―Spain of 300 Years Ago‖: Mexico in Photographs and Paintings p. 185 Conclusion Into the Twentieth Century: Enduring Narratives p. 214 Illustrations p. 221 Bibliography p. 282 Curriculum Vita p. 301 iii List of Illustrations Introduction Fig. A.1 Francisco Oller, Portrait of President William McKinley, 1898, oil on canvas. National Portrait Gallery, Smithsonian Institute, Washington D.C. Chapter One Fig. 1.1 Joaquín Torres-García, ―South America's Inverted Map,‖ Círculo y cuadrado (May 1,1936). Fig. 1.2 Richard Caton Woodville, War News from Mexico, 1848, oil on canvas, 27 x 34 ¾ inches, National Academy of Design, New York. Fig. 1.3 ―General Wool and Staff, Calle Real to South,‖ c.1847, daguerreotype. Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library. Fig. 1.4 Richard Caton Woodville, Old ’76 and Young ’48, 1849, oil on canvas, 21 x 26 7/8 inches, Walters Art Gallery, Baltimore, Maryland. Fig. 1.5 Edouard Manet, The Execution of Maximilian, 1867, oil on canvas, 77 1/8 x 102 ¼ inches, Museum of Fine Arts, Boston. Fig. 1.6 Edouard Manet, The Execution of Maximilian, 1867-1868, oil on canvas, 76 x 111 13/16 inches, National Gallery, London. Fig. 1.7 Edouard Manet, The Execution of Maximilian, 1868-1869, oil on canvas, 99 3/16 x 118 7/8 inches, Kunsthalle, Mannheim. Fig. 1.8 Handbill for the exhibition of Manet‘s The Execution of Maximilian, 1879, 24 x 19 ½ inches, Kunsthalle Mannheim. Reproduced in John Elderfield, Manet and the Execution of Maximilian (New York: Museum of Modern Art, 2006). Fig. 1.9 John Singleton Copley, Watson and the Shark, 1778, oil on canvas, 72 ¼ x 90 3/8 inches, Museum of Fine Arts, Boston. Fig. 1.10 Samuel Hazard, ―Fruit Seller,‖ published in Samuel Hazard, Cuba with Pen and Pencil, 1871, Schomburg, Manuscripts, Archives and Rare Books Division, New York Public Library, Image ID 1251601. iv Fig. 1.11 Samuel Hazard, ―Negro Dancers,‖ published in Samuel Hazard, Cuba with Pen and Pencil, 1871, Schomburg, Manuscripts, Archives and Rare Books Division, New York Public Library, Image ID 1251609. Fig. 1.12 Samuel A. Cohner, c. 1863-1869, photograph. Digital Collection, Archivos Estatales, Ministerio de Culture, Gobierno de España. Chapter Two Fig. 2.1 Eadweard Muybridge, title page for The Pacific Coast of Central America and Mexico; The Isthmus of Panama and the Cultivation and Shipment of Coffee, 1876, albumen print. Museum of Modern Art, New York, New York. Fig. 2.2 Frederick Catherwood, ―House of the Governor Uxmal,‖ as published in Catherwood's Views of Ancient Monuments in Central America, Chiapas and Yucatan, New York: Barlett & Welford, 1844. New York Public Library. Fig. 2.3 Eadweard Muybridge, ―Grizzly Giant,‖ 1867, stereograph. University of California at Berkeley, Bancroft Library, Lone Mountain College Collection of Stereographs by Eadweard Muybridge, 1867-1880. Fig. 2.4 Carleton Watkins, ―Grizzly Giant,‖ 1865, photograph, 20 ½ x 16 inches. Department of Special Collections, Stanford University Libraries. Fig. 2.5 Frederick Catherwood, ―Circular Building at Mayapán,‖ as published in John Lloyd Stephens' and Catherwood's Incidents of Travel in Yucatan, New York: Dover Publications, 1841. New York Public Library. Fig. 2.6 Frederick Catherwood, ―Interior of Eastern Building, Monjas, Uxmal,‖ as published in John Lloyd Stephens' and Catherwood's Incidents of Travel in Yucatan, New York: Dover Publications, 1841. New York Public Library. Fig. 2.7 Frederick Catherwood, ―Stele C at Copán,‖ as published in John Lloyd Stephens' and Catherwood's Incidents of Travel in Yucatan, New York: Dover Publications, 1841. New York Public Library. Fig. 2.8 Frederick Catherwood, ―Stele C at Copán,‖ as published in Catherwood's Views of Ancient Monuments in Central America, Chiapas and Yucatan, New York: Barlett & Welford, 1844. New York Public Library. Fig. 2.9 Eadweard Muybridge, ―Church of San Miguel,‖ 1876, albumen print, from his album The Pacific Coast of Central America and Mexico; The Isthmus of Panama and the Cultivation and Shipment of Coffee. Museum of v Modern Art, New York, New York. Fig. 2.10 Eadweard Muybridge, ―Church of San Miguel,‖ c. 1876, stereograph. University of California at Berkeley, Bancroft Library, Lone Mountain College Collection of Stereographs by Eadweard Muybridge 1867-1880. Fig. 2.11 Eadweard Muybridge, ―Public Laundry, City of Guatemala,‖ 1876, albumen print, from the album: The Pacific Coast of Central America and Mexico; The Isthmus of Panama and the Cultivation and Shipment of Coffee, Museum of Modern Art, New York, New York. Fig. 2.12 Anonymous illustration for ―A Trip to Central America,‖ Scribner's Monthly (March 1878). Fig. 2.13 Eadweard Muybridge, ―Church of San Domingo,‖ c. 1876, magic lantern slide. Eadweard Muybridge Collection, Royal Kingston, Kingston upon Thames, England. Fig. 2.14 Eadweard Muybridge, ―Lake Atitlán,‖ 1876, albumen print, from his album The Pacific Coast of Central America and Mexico; The Isthmus of Panama and the Cultivation and Shipment of Coffee. Museum of Modern Art, New York, New York. Fig. 2.15 Eadweard Muybridge, ―Sierra Nevada Mountain Range,‖ c. 1876, stereograph. University of California at Berkeley, Bancroft Library, Lone Mountain College Collection of Stereographs by Eadweard Muybridge 1867-1880. Fig. 2.16 Albert Bierstadt, Among the Sierra Nevada, California, 1868, oil on canvas, 72 x 120 1/8 inches. Smithsonian American Art Museum, Washington DC. Fig. 2.17 Eadweard Muybridge ―Lake Atitlán,‖ 1876, albumen print, from his album The Pacific Coast of Central America and Mexico; The Isthmus of Panama and the Cultivation and Shipment of Coffee. Museum of Modern Art, New York, New York. Fig. 2.18 Eadweard Muybridge, ―Volcano Zuneil,‖ 1876, albumen print, from his album The Pacific Coast of Central America and Mexico; The Isthmus of Panama and the Cultivation and Shipment of Coffee. Museum of Modern Art, New York, New York. Fig. 2.19 Eadweard Muybridge, ―Weeding and protecting the young coffee plant from the sun, Antigua,‖1876, albumen print, from his album The Pacific Coast of Central America and Mexico; The Isthmus of Panama and the Cultivation and Shipment of Coffee. Museum of Modern Art, New York, vi New York. Fig. 2.20 Eadweard Muybridge, ―Hacienda Serijiers,‖ 1876, albumen print, from his album The Pacific Coast of Central America and Mexico; The Isthmus of Panama and the Cultivation and Shipment of Coffee. Museum of Modern Art, New York, New York. Fig. 2.21 Eadweard Muybridge, ―Church of Las Monjas,‖ c. 1876, stereograph. University of California at Berkeley, Bancroft Library, Lone Mountain College Collection of Stereographs by Eadweard Muybridge 1867-1880. Fig. 2.22 William Henry Fox Talbot, ―The Tomb of Sir Walter Scott, in Dryburgh Abbey,‖ 1844, salted paper print from paper negative, 6 5/8 x 7 1/6 inches. Metropolitan Museum of Art, New York, New York. Fig. 2.23 J.M.W. Turner, ―Tintern Abbey,‖ 1794, watercolor on paper, 26 13/16 x 19 inches, British Museum, London. Fig. 2.24 Eadweard Muybridge, ―Ancient sacrificial stone, Naranjo, Guatemala,‖ c. 1876, stereograph. University of California at Berkeley, Bancroft Library, Lone Mountain College Collection of Stereographs by Eadweard Muybridge 1867-1880. Chapter Three Fig. 3.1 J.Keppler, untitled illustration for Puck (December 10, 1884). Fig. 3.2 Broadside for the Havana Lottery, 1857, Collection of Ephemera, American Antiquarian Society, Worcester, MA. Fig. 3.3 Broadside for Chappell‘s Great Kinetoscope of the Island of Cuba,1855, Collection of Ephemera, Kentucky Historical Society, Frankfort, KY.
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