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LT. CLAGGETT WILSON, QUEER MASCULINITY, AND THE FORMATION OF AMERICAN MODERNISM A Dissertation presented to the Faculty of the Graduate School at the University of Missouri—Columbia In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy (Art History) by NIKI D. CONLEY Dr. Kristin Schwain, Dissertation Supervisor MAY, 2017 © Copyright by Nicole D. Conley 2017 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled LT. CLAGGETT WILSON, QUEER MASCULINITY, AND THE FORMATION OF AMERICAN MODERNISM presented by Niki D. Conley, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________ Dr. Kristin Schwain, Adviser _________________________________ Dr. James A. van Dyke _________________________________ Dr. Michael Yonan _________________________________ Dr. Elisa Glick For Mary and Frances Conley, with all my love. ii ACKNOWLEDGEMENTS The completion of this dissertation has been possible thanks to the encouragement and assistance of many individuals and institutions. I am above all indebted to my advisor Kristin Schwain, whose keen editing eye, wisdom, kindness, and unwavering support were invaluable in the success of this project. I am also immensely grateful to my committee members, James van Dyke, Michael Yonan, and Elisa Glick, who challenged me, lent their expertise and guidance, and held my work to a high standard, inspiring me to do the same. My gratitude also extends to the entire faculty of the Department of Art History and Archaeology at the University of Missouri for partly funding this project with the Herbert Schooling Dissertation Fellowship and for providing me with the opportunity to talk about my research at the annual Schooling lecture. The department’s staff, including June Davis, Linda Garrison, and Nancy Alexander, has also generously given time and energies to ensure not only my academic success, but also that of my peers. Additionally, I am deeply grateful to David Lubin at Wake Forest University for sharing his thoughts about Claggett Wilson’s work and for extending his enthusiasm for my project. I was fortunate to receive a Dissertation Fellowship in American Art from the American Council of Learned Societies, with the funding of the Henry Luce Foundation, which enabled my travel research and gave me a year to focus. This manuscript is far better for it. Many institutions shared their holdings with me, including the Archives of American Art, the Brooklyn Museum and Archives, the Frick Museum, the Library of iii Congress, the Metropolitan Museum of Art, the National Museum of American Art, the National Portrait Gallery, the New York Performing Arts Library, Ten Chimneys Foundation Archives, Wisconsin State Historical Society, and the Yale Archives. Thank you, especially, to the Brooklyn Museum Archives for taking the extra time to scan materials while the facility was closed for renovations. This project is indebted to Claggett Wilson Read, the great nephew of Claggett Wilson, who generously welcomed me into his home to comb through his private collection of the artist’s art and ephemera, made me lunch to sustain my efforts, and shared his personal remembrances. This project would have been all but impossible without this opportunity and I am forever grateful. Thank you, too, to my friends Meghan McClellan, Laura Greeley, Donald Eugene Elder III, and Megan Peiser, who patiently endured out-loud brainstorming and gifted their thoughts over coffee and wine. My mother, Laura Geier, my father and step-mother, David and Linda Eaton, and my siblings, Kyle Eaton and Andrea Beaman, have financially and emotionally supported my study of art history through the years—they attended my public talks, listened to my joys and grievances, and surprised me with “art days,” filled with visits to art museums of my choosing. Finally, I could not have completed this project without my wife Mary Conley’s practical support, constant encouragement, and love. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS ii LIST OF ILLUSTRATIONS v ABSTRACT xiii Chapter 1. Introduction: “How the ‘Debs’ Shocked Society with ‘Solomon 1 Song’” 2. Chapter One: “A brute of a man in a tail coat”: Claggett Wilson’s 31 Life and Persona 3. Chapter Two: Painting the Vanguard Queerly: Wilson’s Watercolors 80 of the First World War 4. Chapter Three: A Portrait of Alfred Lunt as a “swarthy, long-jawed 133 Basque” 5. Chapter Four: Staging Interiors: Wilson’s Designs for Lunt and 182 Fontanne’s Ten Chimneys Estate 6. Conclusion 237 ILLUSTRATIONS 247 BIBLIOGRAPHY 288 VITA 313 v LIST OF ILLUSTRATIONS Figure Page 1. How the ‘Debs’ Shocked Society with ‘Solomon’s Song’: Artistic 2 but Very Scantily Clothed Biblical Ladies and the Trouble That Started When the Smart Set’s Girl Editors Dared to Put Them in Their New Magazine,” The Illustrated Buffalo Express (May 28, 1922). 2. Claggett Wilson, Thy lips are a thread of scarlet, Songs of Solomon, 2 watercolor, 1922. 3. Claggett Wilson, He brought me into the banqueting-house and his 2 banner over me was love…stay me with flagons, comfort me with apples for I am sick with love, Songs of Solomon, watercolor, 1922. 4. Claggett Wilson, Behold thou art fair my love…thy hair is as a flock 2 of goats that appear from Mount Gilead~thy two breasts are like two young roes that are twins which feed among the lilies, Songs of Solomon, watercolor, 1922. 5. Peggy Bacon, The Whitney Studio Club (Frenzied Effort), drypoint, 5 1925. 6. Claggett Wilson, Look not upon me because I am black, because the 19 sun hath looked upon me; my mother’s children were angry with me; they made me the keeper of their vineyards, but mine own vineyards have I not kept, Songs of Solomon, watercolor, 1922. 7. Paul Thevenaz, Portrait of a Negro, pencil and watercolor, 1915. 20 8. “Dollar and scents,” Time (Oct. 22, 1928). 31 9. Claggett Wilson and Douglas Robbins with an unknown man in 38 Smyrna (now Izmir), Turkey, 1926. 10. Claggett Wilson, En Fiesta, printed in New York American (Apr. 13, 40 1914). 11. “Duke of Osuna, In the collection of Claggett Wilson, Esquire, of 42 Columbia University,” Helen Churchill Candee, “Certain Goyas in America: Francisco Goya Y Lucientes, 1746-1828,” Scribner’s Magazine (Oct. 1917). vi 12. Henry C. Wilson and Claggett Wilson, July, 1918. 45 13. Aline Fruhauf, caricature of Henry McBride, in Elisabeth Luther 48 Cary, “Henry McBride,” Creative Art: A Magazine of Fine & Applied Art (Dec. 1932). 14. R. Tebbs, Mr. Adolph Lewisohn’s Residence, 881 Fifth Ave., N.Y.C. 54 Library, c. 1915-1930. 15. Adolph Lewisohn’s estate in Ardsley, New York, in The American 54 Hebrew (Apr. 15, 1922). 16. Claggett Wilson’s mural for the music room in Solomon R. 55 Guggenheim’s Port Washington home, 1926. 17. Wilbur Underwood “appear[s] as Habitu[é] of the Opium Den,” The 57 Washington Times (Apr. 20, 1915). 18. Claggett Wilson at the Solomon R. Guggenheim Residence in Port 59 Washington, New York, c. 1926. 19. Henry Wilson with his son, Henry Jr. 64 20. Claggett Wilson, Maine Fisherman, c. 1929. 67 21. Claggett Wilson, Bullfighters in a Cafe, watercolor, c. 1921. 67 22. Claggett Wilson, Untitled, n.d. 67 23. Claggett Wilson, Untitled (bath scene), watercolor, n.d. 67 24. Claggett Wilson, Untitled (bath scene), watercolor, n.d. 67 25. Charles Demuth, Turkish Bath with Self-portrait, watercolor, 1918. 67 26. Florine Stettheimer, The Cathedrals of Wall Street, oil on canvas, 73 1939. 27. Carrie Stettheimer, Dollhouse, c. 1920s. 74 vii 28. Claggett Wilson, Basque Sailors for Carrie Stettheimer’s Dollhouse, 74 c. 1925. 29. Claggett Wilson, icon for Carrie Stettheimer’s Dollhouse, c. 1925, 74 gouche on gold ground. 30. “Claggett Wilson, Mural Painter, 64,” The New York Times (May 21, 78 1952). 31. Marsden Hartley, Portrait of a German Officer, oil on canvas, 1914. 81 32. Claggett Wilson, The Billet at Bouy (Self-Portrait), watercolor, c. 83 1919. 33. Claggett Wilson, Boudoir of Madame la Comtesse H….Black Death 83 lay heavy in the heart of this exquisite flower, watercolor, c. 1919. 34. Claggett Wilson, Bacchus Survivor: In the ruined garden of an old 83 chateau in the Champagne country, there remains triumphant, the statue of Bacchus, chipped and scarred, but still laughing as he squeezes the stone grapes into the stone cup, watercolor, c. 1919. 35. Claggett Wilson, Encounter in the Darkness, watercolor, c. 1919. 83 36. Claggett Wilson, sketch, c. 1918. 86 37. Claggett Wilson, sketch, c. 1918. 86 38. Claggett Wilson, Saviors of France—In the spirit, Jeanne d’Arc, St. 87 Louis Clovis; in the flesh, the raised hands of the common soldier, protecting the eternal flame that is France. Over the steaming battlefield there hovers, like a sea of pale lilies, a myriad of up- reaching hands, watercolor, c. 1919. 39. Claggett Wilson, Stragglers: French Wounded in the Retreat of 87 Château-Thierry, watercolor, c. 1919. 40. Claggett Wilson, Runner Through the Barrage: Bois de Belleau, 87 Château-Thierry Sector. His arm shot away, his mind gone, watercolor, c. 1919. 41. Claggett Wilson, Flower of Death: The bursting of a heavy shell—not 87 as it looks, but as it feels and sounds and smells, watercolor, c. 1919. 42. Harry Everett Townsend (AEF Eight), Soldiers of the Telephone, 91 charcoal, 1918. viii 43. George Matthews Harding (AEF Eight), American-French 95 Conference, charcoal and crayon, 1918. 44. Claggett Wilson, Salad—A Cleaned-Up Machine-Gun Nest, Bois de 99 Belleau, c. 1919. 45. Claggett Wilson, Belleau Woods Post, VFW (Nov. 28, 1920). 100 46. Mahonri Young, One of the Buffaloes, bronze, 1918. 102 47. Claggett Wilson, Dance of Death, watercolor, c.
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