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SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939). -
Benton, Thomas Hart American, 1889 - 1975
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Benton, Thomas Hart American, 1889 - 1975 Thomas Hart Benton, Self-Portrait, 1972, lithograph in black ink on wove paper, National Gallery of Art, Washington, Gift of Jerome W. and Dorothy A. Canter BIOGRAPHY Named after his great-uncle, a five-term senator, Thomas Hart Benton was born on April 15, 1889, in Neosho, Missouri. His father, Maecenus Eason Benton, was a lawyer and a United States representative from 1896 to 1904, so the young Benton spent his early years in both Washington, DC, and southwest Missouri. Benton dropped out of high school at 17 and started working as a cartoonist for the Joplin American newspaper. His mother, Elizabeth Wise Benton, was supportive of his artistic ambitions, but Benton’s father enrolled him in the Western Military Academy in Alton, Illinois, in 1906 before agreeing to allow him to attend the Art Institute of Chicago in 1907. The following year Benton traveled to Paris and studied at the Académie Julian. There he met California artist Stanton Macdonald-Wright (American, 1890 - 1973) and began to experiment with Macdonald-Wright’s synchromist style of abstract painting. In 1911 he returned to the United States and settled in New York. He taught briefly at the Chelsea Neighborhood Association, where he met his future wife, Rita Piacenza, one of his students. During World War I Benton served at the naval base in Norfolk, Virginia, where he made illustrations for a catalog of ships and military equipment. After the war Benton went back to New York, and in 1922 he married Piacenza. -
Stylistic Influences in the Work of Thomas Hart Benton
STYLISTIC INFLUENCES IN THE WORK OF THOMAS HART BENTON A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY JN THE GRADUATE SCHOOL OF THE TEXAS WOMAN'S UNIVERSITY COLLEGE OF FINE ARTS DEPARTMENT OF ~RT BY . JAYME SUE SCHAUMANN BURCHETT, B.S. DENTON, TEXAS MAY, 1976 [EXAS WOMAN'S UNIVEftSITY LIBRARi The Graduate School Texas Woman's University Denton, Texas ___D_e_c_e_m_b_e_r_, __ 19 7 5 _____ ___ We l1areby recommend that the thesis prepared under our supervision by Jayme Sue Schaumann Burchett entitled "Stylistic Influences in the Work of Thomas Hart Benton" be accepted as fulfilling this part of the requirements for the Degree of Master of Arts Committee: ,Accepted: 1-29788 Frontispiece. Study for "Self-Portrait." 1970. Thomas Hart Benton. Pe n c i 1 , 1 5½ x 1 O½ " • Estate of the artist.· ~ABLE OF CONTENTS LIST OF ILLUSTRATIONS . vi PREFACE viii INTRODUCTION . 1 Chapter I. THE ARTISTIC DEVELOPMENT OF THOMAS HART BENTON • · • • • • . • . • . • • • • • 5 Search for Method • 5 Development of Method • . 16 Expression in Method . 27 II. CULTURAL AND HISTORICAL INFLUENCES IN THE WORK OF THOMAS HART BENTON. • • • • . • • • • 43 II I. THOMAS HART BENTON AND REGIONALISM. 80 IV. SUMMARY . 87 BIBLIOGRAPHY . 92 - V - LIST OF ILLUSTRATIONS Letter 1. Letter from Thomas Hart Beaton to Steve Miller. October 5, 1974 •••••• xi 2. Letter from Thomas Hart Benton to Jim Owens. March 22, 1970 ••••.• 24 Figure 1 • "The Bather." Thomas Hart Benton • . 13 2. "The Lord Is My Shepherd." · Thomas Hart Benton •••••••••• . 18 3. "Palisades (American Historical Epic) .. ' Thomas Hart Benton •••••••••• 20 4. -
1 Thomas Hart Benton
1 Thomas Hart Benton: A Vernacular Mythic Modernist, Too Stephen Polcari To modernists, Thomas Hart Benton’s position in the history of American, if not world, art was popularly described as reactionary.i His art uses the traditional elements of the Renaissance representational style – three-dimensional space, sculptural form, and narrative imagery - -- with what was most often thought to be reportage or “documentation” of the everyday events of the American scene. These features were most often presented as antithetical to the works of more adventurous artists known as the modernists. Benton himself, of course, was largely responsible for this view. His tirades against modern painting in the 1930s were some of the sharpest statements about, if not distortions of, modern art in a decade full of distortions from the left and right. Benton dismissed modern art as hermetic, elitist, and merely subjective, as the studio works of neurotics. This position, however, hid from view a much more complex relationship to modern culture and art – one that was interactive, combining a rejection of the obvious elements of modern art and thought with more subtle accommodations, absorptions, and transformations. Benton blended modern elements with an aggressive “Americanization” to produce an art of national, cultural and modern forms and concepts. His reach was larger than he or his critics. Allowed. Recently, his formal 2 modernism has begun to be recognized, ii but regrettably, his moments of thematic modernism remains largely unacknowledged. At first glance, this seems to be an unlikely proposition, yet it is case from at least the late 1930s onward, as work that initially seems to be nothing more than the worst of Benton indicates. -
Thomas Hart Benton: Popular Culture
© COPYRIGHT by Louise Haven Ashley 2015 ALL RIGHTS RESERVED THOMAS HART BENTON: POPULAR CULTURE AND THE AMERICAN NUDE BY Louise Haven Ashley ABSTRACT My research examines four artworks by the American Regionalist Thomas Hart Benton that offer different depictions of the nude and semi-nude female: the America Today (1930-31) mural series, Hollywood (1937-38), Susanna and the Elders (1938) and Persephone (1938-39), all from the 1930s. Benton’s interest in the eroticized female body, influenced by popular culture, is evident in these works. I propose that Benton incorporated the visual cues of pin-ups and “pretty girl” imagery into the iconography of Persephone to create an inherently American nude, so that his American aesthetic might compete with the European tradition. Through a feminist analysis, I will examine the reactions that women and men had, and may have towards the sexualized female body used in advertising, film, and print media during the 1930s. My research concludes after examining Benton’s eroticized interpretation of the originally violent Greek mythology and Apocryphal narratives that inspired Susanna and Persephone. ii TABLE OF CONTENTS ABSTRACT.................................................................................................................................... ii LIST OF ILLUSTRATIONS......................................................................................................... iv INTRODUCTION .............................................................................................................