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Civil War Soldiers of the Boston Suburb of Roxbury

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Civil War Soldiers of the Boston Suburb of Roxbury SCULPTING THE CITIZEN SOLDIER: REPRODUCTION AND NATIONAL MEMORY, 1865-1917 by Sarah Denver Beetham A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Spring 2014 © 2014 Sarah Denver Beetham All Rights Reserved UMI Number: 3631153 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3631153 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 SCULPTING THE CITIZEN SOLDIER: REPRODUCTION AND NATIONAL MEMORY, 1865-1917 by Sarah Denver Beetham Approved: __________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Wendy Bellion, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Sandy Isenstadt, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ J. Ritchie Garrison, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Kirk Savage, Ph.D. Member of dissertation committee ACKNOWLEDGMENTS It is a pleasure to look back on the dissertation process and to reflect on the great debt I owe to the colleagues, friends, family and institutions who assisted me on this journey. I am deeply grateful to my advisor, Wendy Bellion, who over the years has been a mentor, advocate, and friend. She has given me both the freedom to find myself as a scholar and the intellectual and emotional support I have needed to grow, and for this I am in her debt. Thanks are also due to the members of my dissertation committee, Sandy Isenstadt, Ritchie Garrison, and Kirk Savage, whose feedback and suggestions have shaped this study. I have been fortunate to receive the support and encouragement of the faculty of the University of Delaware, and I am especially grateful to Camara Holloway, Lauren Petersen, Vimalin Rujivacharakul, and Bernard Herman for their guidance. Conversations with Alan Braddock, Jenny Carson, and Jennifer Wingate were also an enormous help to me. I could not have completed my dissertation without the generous support offered by the University of Delaware and several other institutions during the course of the project. In June 2010, with the support of a Dissertation Development Grant from the University of Delaware, I studied and documented soldier monuments in thirty-seven towns across New England. During that same summer, I spent six weeks in Italy with the assistance of an Ailsa Mellon Bruce Predoctoral Fellowship for iv Historians of American Art to Travel Abroad granted by the Center for Advanced Study in the Visual Arts. During the 2010-2011 academic year, a University Graduate Fellowship from the University of Delaware enabled me to develop my dissertation proposal, and to commence research. In summer 2011, I attended the Public Engagement in Material Culture Institute at the University of Delaware, where I spent two delightful weeks with Joyce Hill Stoner, Matthew Kinservik, and my fellow PEMCI-ites, learning how to engage the public in our scholarly projects. These grants and fellowships in the early stages of my dissertation research enabled me to lay the research foundations for the project, and I am deeply grateful for their support. Numerous fellowships supported me in the writing process. With the assistance of a Douglass Foundation Fellowship at the Smithsonian American Art Museum, I drafted the first two chapters of my dissertation. I would like to express my gratitude to Cynthia Mills, Eleanor Harvey, George Gurney, Amelia Goerlitz, Carol Grissom, and Robin Dettre for their assistance in teasing out and researching my project. My fellow fellows are too numerous to name, but I cherish the bonds we formed. After I left the Smithsonian, I received a Dissertation Fellowship at the Winterthur Museum, Garden, and Library, where I researched the soldier monuments of the Revolutionary War. I am deeply indebted to Rosemary Krill, Emily Guthrie, Ellen Avitts, Alena Buis, Ashli White, Chi-ming Yang, and Clay Zuba for their warmth and generosity during those months. As a Jay and Deborah Last Fellow at the American Antiquarian Society, I searched for visual material to support all four chapters of my dissertation in the company of a wonderful cohort of fellows exploring nineteenth-century topics. I v am especially grateful to Paul Erickson, Neil Kamil, and Chris Castiglia for their support and encouragement. In my last year of writing and editing, I have been supported by two fellowships that allowed me to write full-time from home. A Sewell C. Biggs Dissertation Writing Award from the Art History Department at the University of Delaware saw me through the summer months. And I have completed this dissertation process with the assistance of a Henry Luce Foundation Dissertation Fellowship in American Art from the American Council of Learned Societies. These last months of writing at home have helped me to bring this project to a close. Several archives and research collections have been indispensable to this project. I conducted research at the Wisconsin Historical Society, the University of Michigan, the Smithsonian Institution’s Inventory of American Sculpture, the Archives of American Art, the Library of Congress, the Winterthur Library, the American Antiquarian Society, the Cary Memorial Library of Lexington, Massachusetts, the Concord Free Public Library in Concord, Massachusetts, and the University of Delaware. I am deeply indebted to the librarians and staff of these institutions who assisted me with my research. Throughout the dissertation process, I have been fortunate to receive the support of many colleagues and friends. At the University of Delaware, I am especially grateful for the friendship and intellectual stimulation offered by La Tanya Autry, Sara Brown Bordeaux, Emily Casey, Dan and Lyndsey Claro, Katrina Greene, Catherine Holochwost, Nenette Luarca-Shoaf, Anna Marley, Ashley Rye, Amy Torbert, Ted Triandos, and Catherine Walsh. More recently, conversations with vi Amanda Douberley about American sculpture have kept my head in the game. And I am deeply indebted to Ann Fangmann, Katie Wood Kirchhoff, and Cara Zimmerman for their warmth, good humor, and sympathy over the years. I could not have completed this dissertation without the love and care of the Beetham and Mahoney families, especially John, Michael, Belinda, Erin, Judy, Rick, Teddy, and Jamie. Special thanks are due to Abby and Jelly for their careful supervision of late-stage dissertation edits and wordless emotional support. My parents, Donald Beetham and Mary Denver, have been a constant source of inspiration and guidance. Their love affair with each other and with the discipline of art history began at the University of Pennsylvania in the 1970s, and their passion for art and the built environment has greatly influenced my life. They were present at every stage of this dissertation, listening patiently to early explanations of my ideas and encouraging me to keep at it. For this, I thank them. My deepest affection belongs to Charlie Mahoney, who lived and breathed the American soldier monument along with me for the past four years. Through flashes of inspiration and weeks of writer’s block, through the roads of rural Georgia and the traffic of suburban Boston, he has remained a constant and steady presence. He has been a perpetual source of strength and hilarity, and his belief in me has kept me going. This dissertation is dedicated to him. vii TABLE OF CONTENTS LIST OF FIGURES ........................................................................................................ x ABSTRACT .............................................................................................................. xxiv Chapter 1 INTRODUCTION .............................................................................................
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