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The Art of Thomas Hicks and Celebrity Culutre in Mid-Nineteenth-Century New York

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The Art of Thomas Hicks and Celebrity Culutre in Mid-Nineteenth-Century New York THE ART OF THOMAS HICKS AND CELEBRITY CULUTRE IN MID-NINETEENTH-CENTURY NEW YORK BY ©2010 Letha Clair Robertson Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Dr. Charles Eldredge, Chairperson Dr. David Cateforis Dr. Marni Kessler Dr. Chuck Berg Dr. Jonathan Earle Date Defended: 19 November 2010 The Dissertation Committee for Letha Clair Robertson certifies that this is the approved version of the following dissertation: THE ART OF THOMAS HICKS AND CELEBRITY CULTURE IN MID-NINETEENTH-CENTURY NEW YORK Dr. Charles Eldredge, Chairperson Date approved: 19 November 2010 ii ABSTRACT During the antebellum period, American audiences became fascinated, even obsessed, with celebrity. While celebrity was traditionally associated with fame and its classical ideals of virtue and honor, by the mid-nineteenth century these definitions began to shift as American audiences became enchanted by public personalities. The development of the mass media and the growth of the public relations industry fostered this new fascination. The invention of photography, and especially the inexpensive carte-de-visite, encouraged this interest as for the first time it allowed audiences to collect celebrity portraits cheaply. This posed a challenge for traditional portrait painters who wished to remain competitive in the new market of the celebrity image. This dissertation considers how mass media, photography, and celebrity culture affected traditional portraitists as exemplified through the career of Thomas Hicks (1816-90). Primarily active in New York City, Hicks integrated himself into artistic, political, and literary circles to acquire commissions. My exploration of Hicks‘s portraits provides insight into the ways in which Americans understood and fostered changing notions of fame and celebrity at mid- century. I argue that these portraits served as calculated constructions to promote and sell both the artist and his celebrated subjects. Chapter One introduces historical and theoretical concepts of fame and celebrity. Chapter Two examines Hicks‘s early training and how he used the popular press to establish his reputation. Chapter Three explores the dual functions of Hicks‘s political portraits at mid- century, specifically those of New York governor Hamilton Fish and presidential candidate Abraham Lincoln. Chapter Four investigates literary celebrity, nationalism, and gender constructs as represented by Hicks‘s Authors of the United States (1860). Chapter Five examines iii Hicks‘s multiple portraits of Arctic explorer Elisha Kent Kane within the context of America‘s new fascination with the Arctic regions; the creation of an American hero at a time of national distress; and the ways in which a celebrity image could be manufactured and manipulated in the popular press. Chapter Six discusses Hicks‘s multiple portraits of actor Edwin Booth in the role of Othello‟s Iago; the use of the paintings as advertisements; and the reciprocal nature of the actor-artist relationship. To conclude, I consider Hicks‘s critical reception and how he fell victim to the fickle nature of fame and was forgotten by the end of the century. iv ACKNOWLEDGEMENTS My dissertation about the life and work of Thomas Hicks began in the Deep South. As I began my initial research at the Montgomery Museum of Fine Arts in the summer of 2003, I never would have imagined how rewarding this journey would be. Over the course of the next seven years, I travelled across the country and met extraordinary people without whom this dissertation would not be possible. I am humbled by their guidance, support, and love. I want to begin by thanking my advisor, Charles Eldredge. It is almost impossible to express my gratitude as he provided unwavering support of my dedication to Hicks since I arrived at the University of Kansas in August 2004. He taught me never to stop questioning, to think beyond the conventional, and also provided much needed financial support throughout my tenure in Lawrence. I am especially grateful for last minute funding that enabled me to hop a flight to Florida and examine a previously undocumented Hicks family diary. I am thankful to Dr. David Cateforis and his expert editorial skills that made this dissertation consistent and readable. Dr. Cateforis also provided unwavering support professionally and personally—for that I am truly grateful. Dr. Marni Kessler consistently encouraged and pushed me to go beyond my comfort zones when analyzing works of art. Her high standards and tough critiques have made me a better art historian—thank you. Dr. Chuck Berg has been an absolute delight to have on my committee. His passion and enthusiasm for film, jazz, and American culture is contagious and we will talk about a screenplay soon! I also want to thank Dr. Jonathan Earle, who acted as the representative for the graduate school. I am pleased that he was able to participate and appreciate his insight to nineteenth-century American politics and culture. I am also grateful to the many members of the Kress Foundation Department of Art History faculty who provided professional and financial support over the last seven years: Dr. Linda-Stone Ferrier, department v chair; Dr. John Pultz; Dr. Sally Cornelison; Dr. Steve Goddard; Dr. Gitti Salami; Dr. Valija Evalds; Susan Craig, Chief Librarian, Art and Architecture Library; Katherine Greene, Wheat Law Library. I want to thank especially Maud Humphrey and Karen Brichoux who consistently and patiently answered questions about research and teaching—they kept me running through it all. In addition, there have been a number of teachers who impacted my decision to become an art historian and who guided me through the process: Mary Nell O‘Connell, my fifth grade social studies teacher who inspired my love for art history; Robin Preston, my seventh grade history teacher (and cheerleading sponsor!) who taught me to love Texas; Gerald Kramer and Stephen Seleny, my headmasters at Trinity Valley School in Fort Worth, Texas; Dr. James Clifton; Dr. Anne Helmreich; Patti Junker. From Texas Christian University, I want to thank Dr. Mark Thistlethwaite, who encouraged and supported my passion for American art. Dr. Thistlethwaite has provided invaluable advice since I first attended his classes in Fall 2001. I especially want to thank my advisor from the University of Texas at Arlington, Dr. Mary Vaccaro. Dr. Vaccaro cultivated my interest in art history through her own passion for Italian Renaissance art. At the earliest stage in my studies, she taught me how to research, how to be professional, and most of all provided unwavering personal support when I needed it most. To my fellow graduate students who relentlessly supported me and kept me sane: Lara Kuykendall Sherman; Brittany Lockard; Sean Barker; Mindy Besaw; Loren Whittaker; Debra Thimmesch; Ashley Elston; Jack Willson; Natalie Svacina; Chaz Kirchhoff; Elizabeth Williams; Denise Giannino; Halle O‘Neal; Ellen Raimond; Ellen Rife; Kate Meyer; Ai-lian Liu; Rob Fucci; Lindsey Waugh; Maureen Warren; Tera Lee Hedrick; Michelle Moseley-Christian; and Jennifer Talbott. vi I also want to thank a number of institutions and individuals without whom this dissertation on Thomas Hicks would not be possible. The National Portrait Gallery and the Smithsonian American Art Museum provided a pre-doctoral fellowship that lead to my discovery of Hicks‘s connection to celebrity culture. At the National Portrait Gallery: Dr. Ellen Miles, Curator and Chair of Painting and Sculpture; Dr. Brandon Fortune, Curator of Painting and Sculpture; David C. Ward, Historian; Dr. Wendy Wick Reaves, Curator of Prints and Drawings; Carolyn Carr, Deputy Director and Chief Curator; George Parlier, Curatorial Assistant; Linda Thrift, Coordinator, Catalogue of American Portraits; Liza Kirwin, Curator of Manuscripts, Archives of American Art; and Martin E. Sullivan, Director. At the Smithsonian American Art Museum: William Truettner, Curator; Eleanor J. Harvey, Chief Curator; Robin T. Dettre, Coordinator, Inventories of American Painting and Sculpture; Amy Baskette, Curatorial Assistant; Amelia Goerlitz, Fellowship Program Coordinator; Cynthia Mills, Academic Programs Coordinator; Colonel Merle Moore, Volunteer Extraordinaire; Doug Litts, Senior Reference Librarian; Lou Molnar, Conservator; Elizabeth Broun, Director; and my dear, old friend, Hugh Shockey, Objects Conservator. I am thankful to the Montgomery Museum of Fine Arts for awarding me the Kapelanski- Atkins Fellowship which led to my discovery of Thomas Hicks. At the MMFA, I want to thank Margaret Lynne Ausfeld, Chief Curator; Mark Johnson, Director; and Alice Carter, Librarian. I am appreciative of the many people that contributed to my research by answering questions, making copies, and generally assisting in whatever way they could: Laura Pass Parry, senior curator at the Abby Aldrich Rockefeller Folk Art Center; Marianne Martin, Visual Resources Librarian, Colonial Williamsburg Foundation; Constance Kimmerle, Curator of Collections, Michener Art Museum; Sara Buehler, Collections Registrar, Michener Art Museum; Friends vii Library, Swarthmore College; Cheryl Leibold, former archivist at the Pennsylvania Academy of the Fine Arts; Nantucket Historical Association; Beth Lander, former Director of Library Services at the Spruance Library at the Bucks County Historical Society; Amie Stryckland at Neal Auction Company in New Orleans; Dr. Kimberly
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