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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

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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). Lithograph. Ball State Museum of Art, Muncie. 211 Figure 6. Associated American Artists Gallery, Chicago, Associated American Artists Patrons Supplement (1939). Author’s collection. 212 Figure 7. Pond’s Soap Advertisement, (1931). http://www.periodpaper.com/index.php/subject-advertising-art/health- beauty/soap-cleansing/1931-ad-pond-s-cream-belmont-astor-vanderbilt-du- pont Accessed 24 August, 2012. 213 Figure 8. Geyer-Cornell Advertisement, (1933). http://www.ebay.com/itm/1933-Peter- Helck-farmer-farm-art-Geyer-Cornell-print-ad-/140612080783#vi-desc Accessed 24 August, 2012. 214 Figure 9. George Schreiber, Southern Siesta (1939). Lithograph. de Young Fine Arts Museum, San Francisco. 215 Figure 10. De Martelly, Two Old Toms (1938). Lithograph. Yale University Art Gallery. 216 Figure 11. Thomas Hart Benton, I Got a Gal on Sourwood Mountain (1938). Lithograph. Oklahoma City Museum of Art. 217 Figure 12. Thomas Hart Benton, Ballad of the Jealous Lover of Lone Green Valley (1934). Oil and tempera mounted on aluminum. Spencer Museum of Art, Lawrence. 218 Figure 13. Luis Quintanilla, Deer and Faun (1940). Drypoint. 219 5 Figure 14. S.L. Margolies, Men of Steel (1940). Drypoint. de Young Fine Arts Museum, San Francisco. 220 Figure 15. William Gropper, The Opposition (1942). Etching. Cleveland Museum of Art. 221 Figure 16. Arnold Blanch, Along the Hudson (1939). Lithograph. de Young Fine Arts Museum, San Francisco. 222 Figure 17. Adolf Dehn, Threshing (1939). Lithograph. Associated American Artists Patrons Supplement. Author’s collection. 223 Figure 18. Ernest Fiene, Winter Evening (1939). Lithograph. Associated American Artists. Author’s collection. 224 Figure 19. Eugene Higgins, Pioneers Resting (1937). Lithograph. Archives of American Art, Smithsonian Institution. 225 Figure 20. Andrew Karoly, Broad and Wall (1936). Etching. Associated American Artists Patrons Supplement. Author’s collection. 226 Figure 21. Thomas Hart Benton, Cradling Wheat (1939). Lithograph. Associated American Artists. St. Louis Mercantile Library, University of Missouri. 227 Figure 22. Grant Wood, Tree Planting Group (1937). Lithograph. Dubuque Museum of Art. 228 Figure 23. Associated American Artists advertisement, n/d. Associated American Artists’ Patrons Supplement. Author’s collection. 229 Figure 24. Associated American Artists advertisement, n/d. Associated American Artists’ Patrons Supplement. Author’s collection. 230 Figure 25. Associated American Artists gallery image (1936). Photograph. Author’s collection. 231 Figure 26. John Everett Millais, Bubbles (1886). Oil on canvas. Lady Lever Art Gallery, Liverpool. 232 Figure 27. Thomas Hart Benton, Fluid Catalytic Crackers (1944). Oil and egg tempera on canvas. The Art Gallery of Toronto, Oil, An Exhibition of Documentary Paintings from the Collection of Standard Oil Company. New Jersey: Standard Oil, 1948, 10. 233 Figure 28. Francis Criss, Tomorrow’s World (1944). Oil on canvas. The Art Gallery 6 of Toronto, Oil, An Exhibition of Documentary Paintings from the Collection of Standard Oil Company. New Jersey: Standard Oil, 1948, 15. 234 Figure 29. Joe Jones, Elk Basin (1944). Lithograh. The Art Gallery of Toronto, Oil, An Exhibition of Documentary Paintings from the Collection of Standard Oil Company. New Jersey: Standard Oil, 1948, 23. 235 Figure 30. Waldo Peirce, Maine Swimming Hole (1944). Oil on canvas. Department of Fine Arts, Carnegie Institute, Portrait of America. Pittsburgh: Carnegie Institute, 1946, 103. 236 Figure 31. Philip Evergood, Wheels of Victory. Oil on canvas. (1945). Department of Fine Arts, Carnegie Institute, Portrait of America. Pittsburgh: Carnegie Institute, 1946, 46. 237 Figure 32. Thomas Hart Benton, The American Tobacco Company Advertisement featuring Outside the Curing Barn. Time (July 20, 1942). 238 Figure 33. Thomas Hart Benton, The American Tobacco Company Advertisement featuring Tobacco. Time (July 20, 1942). 239 Figure 34. Ad Reinhardt, How to Look at Modern Art. (1946). Ad Reinhardt Papers, Archives of American Art, Smithsonian Institution. 240 7 Acknowledgments I am incredibly grateful to my advisor, Anne Helmreich, who took me under her wing at a seminal moment of my career as a PhD candidate. Her unwavering attention to detail caused me to push myself past the limitations I felt were achievable and her insistence that I leave no stone unturned and no fact unquestioned allowed me to grow immensely as a scholar as well as learn more about this dissertation topic that I thought possible. I am also indebted to the other members of my committee—Jane Glaubinger, Ellen Landau, Catherine Scallen, Renee Sentilles. In addition to being very helpful and encouraging mentors, their own academic accomplishments reminded me of the importance of setting the bar very high for my own work. Kenneth Ledford and Martha Woodmansee offered invaluable guidance, feedback, encouragement, and praise while I was a fellow in the College of Arts and Sciences Dissertation Writing Seminar. My experience in this seminar was the single most valuable event of my graduate career. I am grateful for the improvements made in my writing and the broad and varied advice of my peers in this seminar, all of which I found very relevant and beneficial. I am especially thankful to Danny Anderson, Joshua Terchek, and Wells Addington for their careful reading of my third chapter. I have been fortunate to have feedback from several leading Americanists as well, notably Leo Mazow, whose continued encouragement and detailed advice have played a major role in the success of this dissertation. His own scholarship has been an inspiration to me and I am lucky to have had his comments on my own work. Laurette McCarthy 8 offered useful archival material early in my research and I am grateful for her support. Henry Adams played a helpful role in the beginning stages of my dissertation and was very supportive in his knowledge of the Regionalists, notably Thomas Hart Benton. My knowledge of Associated American Artists would not be as complete without the incredible help from Gail Windisch and Patricia Shaw. Neither Gail nor Patricia are art historians, but both stumbled on the firm and endeavored to contribute to its scholarship. As a result, both interviewed several of the key figures related to Associated American Artists and its affiliates and were gracious enough to share all of their materials with me. Gail and Patricia have been consistently encouraging and helpful every step of the way and I credit much of my material to their willingness to sharing their own hard work. I simply could not have come this far without their help and support. I thank Lana Reeves for the archival material she shared with me and also for the valuable anecdotal information she provided me about her father, Reeves Lewenthal, whose genius and support for Regionalist painters continues to impress me. I am indebted to the staff of the Archives of American Art for accommodating all of my research needs during my two separate visits. Additionally, the Smithsonian American Art Library has been helpful in sourcing many materials for me. I am also grateful to the Thomas Hart Benton Testamentary Trust for releasing otherwise withheld material about the artist, namely his private correspondence, much of which yielded helpful insights for my research. My editor, Rebecca Skerrett, closely read my manuscript and provided great help and encouraging advice. I have been unbelievably lucky to have a network of family and friends whose support has sustained me during my twelve years as a graduate student—they deserve an 9 ovation. I do not attempt to name them all, but several warrant special mention. Christine Wolken’s help, encouragement, and friendship during the entirety of my career as a PhD student have sustained me throughout this project. John and Judy Blebea’s backgrounds as accomplished academicians allowed for a constant stream of relevant advice along with their love and guidance. My parents, R. Corbin and Georgeta Washington, are credited for supporting my interest in art history from my very first art classes at the Cleveland Museum of Art at the age of 5 through trips to Europe and Washington D.C. to view the art I love most. They have been unfailingly accommodating and supportive. My husband, Marko Farian, could not have offered greater support during the toughest times when even I questioned my abilities to surpass difficult challenges and endure frustrating hardships.
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