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Rebecca Salsbury James, Folk Art, and Modernism in the United States

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Rebecca Salsbury James, Folk Art, and Modernism in the United States City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 Quality and Simplicity: Rebecca Salsbury James, Folk Art, and Modernism in the United States Caroline Seabolt CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/660 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Quality and Simplicity: Rebecca Salsbury James, Folk Art, and Modernism in the United States by Caroline Seabolt Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York November 9, 2020 Emily Braun Date Thesis Sponsor November 13, 2020 Katherine Manthorne Date Second Reader TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................................................................. II LIST OF ILLUSTRATIONS ........................................................................................................ III INTRODUCTION .......................................................................................................................... 1 CHAPTER ONE: BEAUTIFUL AND DIFFERENT: REVERSE PAINTING ON GLASS AND THE EARLY STILL LIFES, 1929-1933...................................................................................... 32 CHAPTER TWO: SPANISH SOUTHWESTERN FOLK ART AND REVERSE PAINTING ON GLASS, 1930-1940....................................................................................................................... 56 CHAPTER THREE: WALKING WOMAN AND SOUTHWESTERN LANDSCAPES, 1940- 1953............................................................................................................................................... 80 CHAPTER FOUR: JAMES AND THE COLCHA STICH, 1940-60 .......................................... 95 CONCLUSION ........................................................................................................................... 105 BIBLIOGRAPHY ....................................................................................................................... 110 ABBREVIATIONS: ................................................................................................................... 117 ILLUSTRATIONS ..................................................................................................................... 118 i ACKNOWLEDGMENTS This thesis would not be possible without the unwavering support of Professor Emily Braun. Challenging but encouraging, she echoed my enthusiasm for James’s work while providing consistent guidance and the tools to express my own thoughts on this under-recognized artist. I will be forever grateful to her for making me a stronger writer and art historian. I would also like to thank Professor Katherine Manthorne, whose guidance throughout my time at Hunter has meant a great deal to me. In June of 2019, I traveled to New Mexico, where various institutions graciously opened their doors to me for special viewings of James’s works. I want to thank the following individuals who made this visit possible and worthwhile: Stephen Lockwood and Mary Statzer of the University of New Mexico Art Museum, Albuquerque; Erica Prater and Christian Waguespack of the New Mexico Museum of Art, Santa Fe; and Christopher Albert of the Harwood Museum of Art, Taos. I am equally grateful to Nita Murphy of the Southwest Research Center and Leslie Squyres of the Center for Creative Photography, who allowed me to view James’s extensive scrapbooks and letters. My Christie’s colleagues have been consistently encouraging, patient, and flexible as I completed this project while working full-time. To this effect, my sincerest thanks go to Tylee Abbott, Eileen Brankovic, Quincie Dixon, William Haydock, Paige Kestenman, and Kelly Roberts. Lastly, I want to thank Sarah Baker, my parents Robin and Bob, and sister Meredith, who have been a steadfast and loving support system for me throughout this endeavor. ii LIST OF ILLUSTRATIONS1 Figure 1: Alfred Stieglitz, Rebecca and Paul Strand, circa 1922. Paul Strand Archive/Aperture Foundation, New York................................................................................................................ 118 Figure 2: Paul Strand, Rebecca, 1923, platinum print, 7 5/8 x 9 ½ inches. J. Paul Getty Museum. Los Angeles, California, 86.XM.683.55. .................................................................................... 119 Figure 3: Alfred Stieglitz, Rebecca Salsbury Strand, 1922, palladium print, 9 2/3 x 7 ¾ inches. Art Institute of Chicago, Chicago, Illinois: Alfred Stieglitz Collection, 1949.718. ................... 120 Figure 4: Elizabeth McCausland, “Paintings on Glass Reveal Spirit of New Mexico,” April 10, 1932, Springfield Sunday Union and Republican, 6E, 56. Featuring (clockwise): Santo: New Mexico, Horse in the Night: New Mexico, Devout Woman: New Mexico and White Vase and Lily: New England. ..................................................................................................................... 121 Figure 5: Photographer unknown, Rebecca and Bill James, Taos, 1940. RSJ/SRC .................. 122 Figure 6: Photographer unknown, Rebecca Salsbury James and former Wild West members during the renovation of James’s house, Casa Feliz, 1938, RSJ/SRC ....................................... 123 Figure 7: Song Without Words (For Bill), 1929, reverse painting on glass, 19 13/16 x 12 inches. Harwood Museum of Art, University of New Mexico, Taos, New Mexico: Gift of the Artist, 1980.0273.0000........................................................................................................................... 124 Figure 8: Echo of New England, circa 1930, reverse painting on glass, 15 5/8 x 11 5/8 inches. University of New Mexico Art Museum, Albuquerque, New Mexico: Museum purchase by Exchange, 77.2. ........................................................................................................................... 125 Figure 9: Austerity (Echo of New England), circa 1930, reverse painting on glass, 24 1⁄2 x 17 1⁄2 inches. University of New Mexico Art Museum, Albuquerque, New Mexico: Gift of the Artist, 68.1.............................................................................................................................................. 126 1 All works are by Rebecca Salsbury James unless otherwise noted. Unless I have indicated, I remain consistent with the cataloguing assigned to each object by their respective repositories. If a work is known only by an archival source and has no date, I have added a circa date corresponding to the year it was reproduced. iii Figure 10: Red Geranium, 1931, reverse painting on glass, 6 ¾ x 5 ¼ inches. Private collection. ..................................................................................................................................................... 127 Figure 11: Magnolia, 1933, reverse painting on glass, 13 x 9 1/16 inches. Denver Art Museum: Gift of Mr. and Mrs. Paul Atchison, 1973.1. Photography courtesy Denver Art Museum. ....... 128 Figure 12: Artist unknown, Romania, eighteenth-nineteenth century, reverse painting on glass, 14 x 12 inches. Corning Museum of Glass, Corning, New Hampshire: 74.3.154. ..................... 129 Figure 13: Artist unknown, United States, Mount Vernon: The Seat of the Late General George Washington, circa 1805-1840, reverse painting on glass, 13 2/3 x 17 ¾ inches. Corning Museum of Glass, Corning, New Hampshire: Gift of Col. And Mrs. Edgar William Garbisch, 64.4.95. 130 Figure 14: Artist unknown, United States, Rest Soldier Rest, circa 1880-1900, reverse painting on glass, 20 x 17 ½ inches. Corning Museum of Glass, Corning, New Hampshire: Gift of Col. And Mrs. Edgar William Garbisch, 64.4.106. ............................................................................ 131 Figure 15: Artist unknown, United States, Compote of Flowers with Fountain and Birds, circa 1859-1868, reverse painting and oil on glass, 16 x 22 inches. American Folk Art Museum, New York: Gift of Susan and Laurence Lerner, 2009.13.46. .............................................................. 132 Figure 16: A Late Federal Laminated Rosewood and Eglomise (Reverse Painting on Glass) Acorn Shelf Clock, Dial Signed by the Forestville Manufacturing Company, Bristol, Connecticut, circa 1845, 24 inches high. Private collection (sold at Christie’s, New York, January 24, 2020, lot 352)........................................................................................................... 133 Figure 17: Artist unknown, United States, Urn of Roses with Butterflies, tinsel and reverse painting on glass, 21 ½ x 17 ½ inches. Reproduced in Holger Cahill, American Folk Art: The Art of the Common Man in America, 1750-1900 (New York: Museum of Modern Art, 1932), 41, no. 117............................................................................................................................................... 134 Figure 18: Gaston Lachaise, The second floor library of Gaston and Isabel Lachaise’s home in Georgetown, Maine, 1930, photographic print, 2 5/16 x 4 1/16 inches. Gaston Lachaise collection, Beinecke Rare Book & Manuscript Library, Yale University, New Haven, Connecticut. ...............................................................................................................................
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