“The Humble, Though More Profitable Art”

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“The Humble, Though More Profitable Art” “THE HUMBLE, THOUGH MORE PROFITABLE ART”: PANORAMIC SPECTACLES IN THE AMERICAN ENTERTAINMENT WORLD, 1794- 1850 by Nalleli Guillen A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Spring 2018 © 2018 Nalleli Guillen All Rights Reserved “THE HUMBLE, THOUGH MORE PROFITABLE ART”: PANORAMIC SPECTACLES IN THE AMERICAN ENTERTAINMENT WORLD, 1794- 1850 by Nalleli Guillen Approved: __________________________________________________________ Arwen P. Mohun, Ph.D. Chair of the Department of History Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Katherine C. Grier, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Rebecca L. Davis, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ David Suisman, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Paul E. Johnson, Ph.D. Member of dissertation committee ACKNOWLEDGMENTS I have so many people thank and just not enough words to adequately express the depth of my gratitude. This dissertation would not have seen the light of day without the steadfast support, encouragement, and faith of my advisor, Kasey Grier, who stuck with me even when I was lost in the woods. My dissertation committee, Rebecca L. Davis, David Suisman, and Paul E. Johnson, continue to strengthen this project through the diverse insights and perspectives they have shared with me throughout this process. I am incredibly lucky to have had the opportunity to work with them. Through their mentorship, my professors in the University of Delaware’s History Department and the larger community of the Center for Material Culture Studies have shaped me into a thoughtful historian and scholar, for which I am immensely grateful to them all. This project has benefited from the financial and academic support of many wonderful institutions. Research grants from the University of Delaware Office of Graduate and Professional Education and History Department funded several summer research excursions, and a University of Delaware Dissertation Completion Fellowship provided me with invaluable time in my final year to complete this manuscript. A fellowship from the New England Regional Fellowship Consortium enabled me to conduct research in the incredible collections held at the Houghton Library at Harvard University, the John Hay Library at Brown University, the Boston Public Library, and the Massachusetts Historical Society. As a Joyce Tracy Fellow at the American Antiquarian Society, my research and scholarship were bolstered by an iv amazing scholarly community and environment. A short-term research fellowship from Winterthur Museum, Garden & Library allowed me to complete my writing back home at the institution that first nurtured my love of American material culture studies. I am especially grateful for the friendship and support of Emily Guthrie and Jeanne Solensky at the Winterthur Library, who after nine years of “so I have a question for you,” continue to respond with the same good humor and incredible insights I found in them on my first day as a Winterthur McNeil Fellow. I am also incredibly appreciative of the in-person and digital assistance I received from the staffs at the following institutions: The Historical Society of Pennsylvania; The Library Company of Philadelphia, especially Connie King; The New York Historical Society; The New York Public Library; The Harvard University Archives; The Longfellow House Washington’s Headquarters in Boston; The Boston Athenaeum; The Rhode Island Historical Society; The Maine Historical Society; The New Bedford Whaling Museum; The Saco Museum in Maine; The New Britain Museum of American Art in Connecticut; The Worcester Art Museum; The Huntington Library; and The Getty Research Institute. The support of an amazing tribe of friends and colleagues made this project infinitely better, and they deserve so much more than just the thanks I can give them here. Alison, who has read almost every word I have ever written throughout grad school. Michelle, my brilliant writing partner and comadre, how did we not cross paths until Delaware? I’m so glad we did. Kim, life coach and more often than not, my pro-bono therapist. Sarah, who kept me sane by stitching and fangirling with me. There are too many more people to name, including every delightful character, past and present, to go through the History of American Civilization Program at UD. They v read several rough works-in-progress by me over the years and provided community, laughs, and countless pot luck dinners. To the countless other friends in the larger graduate student community at the University of Delaware and the new and old friends who took me in while I was on the road, thank you. This dissertation is dedicated to my mother, Yolanda Gonzalez. Ma, you showed me how a strong woman works, perseveres, and paves her own path in life. I don’t know if I will ever be worthy of the love and encouragement you have gifted me with my entire life, but I will never stop trying to make you proud. vi TABLE OF CONTENTS LIST OF TABLES ......................................................................................................... ix LIST OF FIGURES ........................................................................................................ x ABSTRACT ................................................................................................................. xxi Chapter 1 INTRODUCTION .............................................................................................. 1 The American Entertainment World ................................................................... 6 Panorama Historiography ................................................................................. 12 Chapter Breakdown .......................................................................................... 18 2 “THE PANORAMIC OPPORTUNITY”: ARTIST ENTREPRENEURS AND THE EARLY AMERICAN ART MARKET .......................................... 23 Respectability in Spectacle: Early American Museums and “the Panoramic View” ................................................................................................................ 28 “A Taste for Spectacular Scenery”: Scene Painters Escape the Painting Room ................................................................................................................. 49 Young, Immigrant, and Entrepreneurial “Public Painters” .............................. 65 Conclusion ........................................................................................................ 76 3 “A RARE CHANCE TO MAKE A FORTUNE?”: THE FALSE PROMISE OF THE PANORAMA BUSINESS ................................................................. 78 Guaranteed Success? ......................................................................................... 82 Catherwood and Jackson’s Panoramic Speculation, 1838-1842 ...................... 89 Stirring Interest ................................................................................................. 94 The Burden of Initial Capital Investments ........................................................ 99 Exhibition Spaces ........................................................................................ 99 The Paintings ............................................................................................ 106 The Evidence of Success and Public Opinion ................................................ 114 The Cost of Success ........................................................................................ 125 Conclusion ...................................................................................................... 139 vii 4 REVOLUTIONARY PANORAMAS: ANTEBELLUM ENTERTAINMENT AND THE EXPLOITATION OF AMERICAN SYMPATHIES ............................................................................................... 142 The Panorama of Athens and the Greek War of Independence ...................... 150 “A Beautiful View of What was Once the City of the Muses” ................ 150 “For the Gratification & Instruction of the Students of the University” ... 153 “For want of the funds for a suitable building” ........................................ 158 “The people…are very zealous in the cause
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