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Minna Citron: a Socio-Historical Study Of The Pennsylvania State University The Graduate School Department of Art History MINNA CITRON: A SOCIO-HISTORICAL STUDY OF AN ARTIST’S FEMINIST SOCIAL REALISM IN THE 1930S A Thesis in Art History by Jennifer L. Streb © 2004 Jennifer L. Streb Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2004 The thesis of Jennifer L Streb was reviewed and approved* by the following: Sarah K. Rich Assistant Professor of Art History Thesis Advisor Chair of Committee Craig Zabel Associate Professor of Art History Head of the Department of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor, Department of Art History Nan E. Woodruff Professor of History * Signatures are on file in the Graduate School ABSTRACT Minna Citron (1896-1991) was a lifelong self-proclaimed feminist, a divorced mother and an artist who believed in individual expression. One of her main artistic interests, particularly early in her career, was the way feminist concerns related to her dual roles as wife/mother and professional artist. She struggled to make a name for herself in the male-dominated art world between the 1930s and 1950s, beginning during a decade in which social roles for women increasingly tended towards domesticity. By the late 1960s, however, Citron’s interest in feminism was renewed by a new generation of women. The course upon which she set herself, in many ways, was uncharted and her concern with women’s issues and the challenges faced by women perhaps resonate more clearly with us today than while she was alive. My dissertation brings to the fore the Depression-era work of this American, whose career has been largely undervalued and overlooked by the traditional art historical canon. Through an interdisciplinary approach involving concepts from art history, visual culture, social history, film studies and women’s studies, I demonstrate how Citron wove her personal experiences in the 1930s into the larger social context and created unique social realist works that at times reflect her feminist interests as well. Works from her three major series of the decade, “Feminanities,” the “Gambling Series,” and “Judges and Juries,” will be discussed in relation to Depression-era advertising images found in popular magazines such as The Ladies’ Home Journal, popular Hollywood films, and novels and plays focusing on women subjects, as well as contemporary feminist issues. The distinctive works of this witty American artist are sarcastic, even boldly ironic, and they are unmatched by anything produced by her peers. Citron’s paintings and prints iii from the 1930s, as will be demonstrated in this thesis, are representative of several socio- historical trends including issues regarding feminism and women’s changing social roles, their continued fight for equality, and increasing interest in gambling, the law and court proceedings. iv TABLE OF CONTENTS List of Figures …………………………………………………………………………. vi Acknowledgments ………………………………………………………………….…. xiii Chapter 1. INTRODUCTION: PORTRAIT OF AN ARTIST …………………….….. 1 Citron and the New York Art Scene ………………………………………..…….… 16 Scholarship on Minna Citron …………………………………………………….…. 27 Scholarship on the New Deal and Art of the 1930s…………………………………. 35 Scholarship on Feminism, Beauty and Film Culture in the 1930s………………….. 41 Chapter 2. SOCIAL SATIRE AND IMAGES OF WOMEN….…….………………… 57 Citron and Feminism in the Thirties………………………………………………… 59 Women and Satire ………………………………………………………………..… 67 Working Women and Children, Newspapers, and the ……………………………... 94 Chapter 3. DIVORCE, GAMBLING AND THE SEEDY MEN OF RENO ..……….. 110 Reno: The Land of Divorce ……………….……………………………………….. 111 The Land of Gambling and the Men of the “Gambling Series” ….………………... 121 Chapter 4. VOIR DIRE ………………………………………………………………. 144 Citron’s Jury Service ……………………………………………………………… 146 Judges ……………………………………………………………………………... 149 Jury Duty for Women and the Woman Juror Bill ………………………………… 153 Women, Rights of Citizenship, Juries and the Courtroom ………………………... 162 Chapter 5. CONCLUSION …………………………………………………………… 184 The TVA Series, New York in Wartime, and Abstraction ………………..………. 185 Avenues for Further Research ..…………………………………………………… 192 Appendix ..……………………………………………………………………………. 195 Bibliography ………………………………………………………………………….. 197 v LIST OF FIGURES The illustrations are available only at the Department of Art History, 229 Arts II Building. Figure 1. Minna Citron, Self-Expression, 1934. Oil on gesso panel, 26 x 16 ½ inches. Collection of the Wolfsonian-Florida International University, Miami Beach, Florida. Figure 2. Minna Citron, Self-Expression, 1932. Lithograph, 18 x 13 ¾ inches. Collection of Christiane Citron, Denver, Colorado. Figure 3. Minna Citron, Minna Citron by Minna Citron (Self-Portrait from the Back), 1938. Pen and ink, 10 x 13 inches. Reproduced in From the 80 Years of Minna Citron, with an Introduction by Max Chapman. Newark, NJ: The Newark Public Library, 1976. Figure 4. Mae West in She Done Him Wrong, 1933. Reproduced in Thomas Doherty, Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934. New York: Columbia University Press, 1999. Figure 5. Judith Leyster, Self-Portrait, c. 1635. Oil on canvas, 29 3/8 x 25 5/8 inches. Reproduced in Judith Leyster: A Dutch Master and Her World. New Haven: Yale University Press, 1993. Figure 6. Anna Zinkeisen, Self-Portrait, 1944. Oil on canvas, 29 5/8 x 24 5/8 inches. National Portrait Gallery, London. Reproduced in Liz Rideal, Mirror Mirror: Self-Portraits by Women Artists. New York: Watson-Guptill Publications, 2001. Figure 7. Isabel Bishop, Self-Portrait, 1927. Oil on canvas, 14 x 13 inches. Reproduced in Helen Yglesias, Isabel Bishop. New York: Rizzoli, 1989. Figure 8. Lee Krasner, Self-Portrait, c. 1930. Oil on linen, 30 1/8 x 25 1/8 inches. Estate of Lee Krasner. Reproduced in Anne Middleton Wagner, Three Artists (Three Women): Modernism and the Art of Hesse, Krasner, and O’Keeffe. Berkeley: University of California Press, 1996. Figure 9. Map of Union Square. Reproduced in The Artists of Union Square. New York: Associated American Artists, 1987. Figure 10. Minna Citron, photograph used as model for Self-Expression, 1930s Minna Citron Archives, Denver, Colorado. vi Figure 11. Betty Waldo Parish, Union Square Ralley, c. 1935-1945. Etching, 7 ¾ x 9 ¾ inches. Sylvan Cole Gallery, New York, New York. Reproduced in James N. and Kathleen M. Daniels, Between Heaven and Hell: Union Square in the 1930s. Wilkes-Barre, PA: Sordoni Art Gallery, 1996. Figure 12. Edward Laning, Unlawful Assembly, Union Square, 1931. Tempera on composition board, 14 1/8 x 36 inches. Collection of Whitney Museum of American Art, New York, New York. Reproduced in James N. and Kathleen M. Daniels, Between Heaven and Hell: Union Square in the 1930s. Wilkes-Barre, PA: Sordoni Art Gallery, 1996. Figure 13. Berenice Abbott, Union Square, Manhattan, statue of Lafayette by Frédéric- Auguste Bartholdi, erected in 1879, March 20, 1936. Photograph. Federal Art Project, “Changing New York.” Museum of the City of New York. Reproduced in Ellen Wiley Todd, The “New Woman” Revised: Painting and Gender Politics on Fourteenth Street. Berkeley, University of California Press, 1993. Figure 14. Minna Citron, Hope Springs Eternal/Bargain Basement, early 1930s. Oil on board, 52 ½ x 40 inches. Collection of Christiane Citron, Denver, Colorado. Figure 15. Interior of Macy’s Department Store, Toiletries Department, New York, 1942. Reproduced in Kathy Peiss, Hope in a Jar: The Making of America’s Beauty Culture. New York: Metropolitan Books, Henry Hold and Company, 1998. Figure 16. Marlene Dietrich. Shanghai Express, 1932. Reproduced in Jim Heimann, All- American Ads: 30s, with an introduction by Steven Heller. Los Angeles: Taschen, 2003. Figure 17. The Women, 1939. Reproduced in Jim Heimann, All-American Ads: 30s, with an introduction by Steven Heller. Los Angeles: Taschen, 2003. Figure 18. Maybelline, 1937. Reproduced in Jim Heimann, All-American Ads: 30s, with an introduction by Steven Heller. Los Angeles: Taschen, 2003. Figure 19. Richard Hudnut Makeup, 1937. Reproduced in Jim Heimann, All-American Ads: 30s, with an introduction by Steven Heller. Los Angeles: Taschen, 2003. Figure 20. Irresistible Perfume, 1935. Reproduced in Jim Heimann, All-American Ads: 30s, with an introduction by Steven Heller. Los Angeles: Taschen, 2003. Figure 21. Seventeen, 1932. Reproduced in Jim Heimann, All-American Ads: 30s, with an introduction by Steven Heller. Los Angeles: Taschen, 2003. Figure 22. Hats, 1930. Reproduced in Jim Heimann, All-American Ads: 30s, with an introduction by Steven Heller. Los Angeles: Taschen, 2003. vii Figure 23. Youthful Fall Chic, 1930. Reproduced in Ladies’ Home Journal, September 1930. Figure 24. Formal Lines are Flattering, 1930. Reproduced in Ladies’ Home Journal, September 1930. Figure 25. Toppers. Reproduced in Jim Heimann, All-American Ads: 30s, with an introduction by Steven Heller. Los Angeles: Taschen, 2003. Figure 26. Minna Citron, Cold Comfort, 1935. Etching. Collection of Christiane Citron, Denver, Colorado. Figure 27. Paul Manship, Eve (#2), 1922. Bronze on marble base, 11 5/16 inches high. Reproduced in Harry Rand, Paul Manship. Washington, D.C.: Smithsonian Institution Press, 1989. Figure 28. Paul Manship, Standing Nude (#1), 1927. Bronze, 17 ½ inches high. Reproduced in Harry Rand, Paul Manship. Washington, D.C.: Smithsonian Institution Press, 1989. Figure 29. Michelangelo, Libyan Sibyl, 1508-1512. Fresco. Detail of the ceiling
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