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Unearthing Mesoamerican Antiquity in the Art of the United States, 1839-1893

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Unearthing Mesoamerican Antiquity in the Art of the United States, 1839-1893 ABSTRACT Title of Dissertation: THE OLD NEW WORLD: UNEARTHING MESOAMERICAN ANTIQUITY IN THE ART OF THE UNITED STATES, 1839-1893 Angela Susan George, Doctor of Philosophy, 2011 Dissertation directed by: Professor Sally M. Promey Department of Art History and Archaeology Through a series of case studies, this dissertation examines how and why artists in the United States imagined Mesoamerican antiquity between 1839 and 1893. The artists whose work I consider most closely include Frederick Catherwood, Peter F. Rothermel, Emanuel Leutze, George Martin Ottinger, and George de Forest Brush; works by other artists play supporting roles or amplify the observations made in this project. The decades in which I situate my study were key in the development of the United States’ geographic borders and national identity as well as in the foundation of archaeological investigation in Mesoamerica. During the period under question, ancient Mesoamerica provided a “usable past” for many in the United States. Since little was known of the pre-Hispanic cultures of the region, Mesoamerican antiquity served as a palimpsest upon which a number of narratives could be written. As this dissertation reveals, ancient Mesoamerica resonated differently with various individuals and groups in the United States. The Mesoamerica that existed in the U.S. imagination was at once savage, exotic, advanced, and primitive, inhabited by a population assigned a similarly disparate and ultimately contradictory range of traits. Representations of Mesoamerica were not fixed but eminently variable, shaped to serve the exigencies of many historical moments. As such, these images reveal as much about the nineteenth-century United States as they do about the people and places depicted. Ultimately, I demonstrate that these images conveyed multivalent and often ambivalent attitudes about Mesoamerica, views that emphasized the importance of the Mesoamerican past as well as the presumed preeminence of the United States’ future. THE OLD NEW WORLD: UNEARTHING MESOAMERICAN ANTIQUITY IN THE ART OF THE UNITED STATES, 1839-1893 by Angela Susan George Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2011 Advisory Committee: Professor Sally M. Promey, Chair Professor Steven A. Mansbach Dr. Franklin Kelly Dr. Joanne Pillsbury Professor Nancy L. Struna ©Copyright by Angela Susan George 2011 The dissertation document that follows has had referenced material removed in respect for the owner’s copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park’s library collection. ii Acknowledgements There are numerous individuals who encouraged and supported me as I wrote this dissertation. I would like to first thank my advisor, Sally M. Promey, for her patience and guidance during this long process. I also extend my thanks to the members of my advisory committee, Franklin Kelly, Joanne Pillsbury, Steven Mansbach, and Nancy Struna, for their valuable contributions to the refinement of my thesis. Another word of gratitude goes to Renee Ater, who gave me helpful advice during the early stages of dissertation writing. My most heartfelt appreciation goes to those who provided feedback or assisted me in various ways. Elizabeth Johns allowed me to sit in on her graduate seminar at University of Maryland in the spring of 2006, and since then she has generously listened to and encouraged my ideas. Her kindness, professionalism, and thought-provoking work serve as a model for my own. Nancy Anderson, curator of American and British paintings at the National Gallery of Art, provided invaluable feedback and encouragement for my work on George de Forest Brush. Elizabeth Boone, who served as Andrew W. Mellon Professor at the National Gallery of Art’s Center for the Advanced Study in the Visual Arts from 2006 to 2008, graciously took time away from her research to meet with me and discuss Aztec art. Ryan Shepard kindly read early drafts and used his skills as a librarian to help me locate research materials. In Salt Lake City, Robert Davis at the Museum of Church History and Art, Donna Poulton of the Utah Museum of Fine Arts, and David Ericson of David Ericson Fine Art, answered questions and provided many sources and leads on the artist George Martin Ottinger. Stephen Kornhauser, Chief Conservator at the iii Wadsworth Atheneum, kindly allowed me to examine Emanuel Leutze’s The Storming of the Teocalli by Cortez and his Troops while it was undergoing conservation. I would also like to convey my sincere gratitude for the generous financial assistance I received in support of my work. The following grants and fellowships enabled me complete this project: Henry Luce/ACLS Dissertation Fellowship in American Art; Andrew W. Mellon Foundation Fellowship, The Huntington Library; Mary Savage Snouffer Dissertation Fellowship, University of Maryland; Jay and Deborah Last Fellowship, American Antiquarian Society; Cosmos Scholar Award, The Cosmos Club Foundation; Summer Research Award, Charles Redd Center for Western Studies, Brigham Young University. Lastly, this work was supported by a Craft Research Fund grant from the University of North Carolina, Center for Craft, Creativity and Design. Assistance with my research at various institutions deserves special thanks. I am indebted to the generous staffs of: the National Gallery of Art, the Library of Congress, the Brooklyn Museum, the Metropolitan Museum of Art, the New-York Historical Society, the National Academy of Design, the Smithsonian Institution, the Archives of American Art, the American Antiquarian Society, the Wadsworth Atheneum, the Bancroft Library at University of California, Berkeley, the Huntington Library, the Church Archives of the Church of Jesus Christ of Latter-day Saints, the J. Willard Marriott Library at University of Utah, the Springville Museum of Art, the Harold B. Lee Library at Brigham Young University, and the Brigham Young University Museum of Art. iv I am grateful for the personal and professional support of my colleagues at the University of Maryland. I especially thank Benjamin Benus, Ginny Treanor, and Asma Naeem for their friendship, encouragement, and advice, as well as their willingness to share many much-needed coffee breaks and lunches with me. My warmest appreciation also goes to the faculty and staff at Maryland, especially Meredith Gill, Quint Gregory, Laurie Sails, Ania Waller, Deborah Down, and the late Kathy Canavan. Lastly, I extend my heartfelt thanks and love to my friends and family for their kindness, patience, and understanding while I undertook this project. v Table of Contents Acknowledgments iii List of Figures vii Introduction 1 Chapter One “Entering abruptly upon new ground”: 25 Frederick Catherwood and the Introduction of Mesoamerican Antiquity into U.S Visual Culture Chapter Two Repainting the Past: Scenes of the Conquest of 60 of Mexico Created by Peter F. Rothermel and Emanuel Leutze Chapter Three Picturing “Old America”: Mesoamerican 85 Antiquity and the Latter-day Saint Artist George Martin Ottinger Chapter Four Fashioning Artistic Tradition: George De Forest 121 Brush’s “Aztec” Paintings Conclusion 152 Figures 156 Bibliography 255 vi List of Figures 0.1 Reading room of the American Antiquarian Society, Worcester, Massachusetts, circa 1893. Photograph from the collection of the American Antiquarian Society. 0.2 Henry N. Sweet, photograph of the portal from the site of Labná, 1888-1891. Peabody Museum of Archaeology and Ethnology, Harvard University. 0.3 Map of Mesoamerica. From Mary Ellen Miller, The Art of Mesoamerica, 3rd edition (New York and London: Thames and Hudson, 2001), 12-13. 0.4 “Peintures Hieroglyphiques.” From Alexander von Humboldt, Vues des cordillères et monumens des peoples indigènes de l’Amérique (Paris: F. Schoell, 1810), plate XXVI. 0.5 “Relief en Basalte, representant le Calendrier Mexicain.” From Alexander von Humboldt, Vues des cordillères et monumens des peoples indigènes de l’Amérique (Paris: F. Schoell, 1810), plate XXIII. 0.6 Richardo Almendariz, Palace Tower at Palenque. From Antonio del Río, Description of the Ruins of an Ancient City: discovered near Palenque, in the Kingdom of Guatemala …, trans. Paul Felix Cabrera (London: H. Berthoud, and Suttaby, Evance, and Fox: 1822). 0.7 José Luciano Castañeda, “El Palacio, Mitla.” Reproduced in Edward King, Lord Kingborough, Antiquities of Mexico (London: R. Havell, 1831), IV: plate 29. 0.8 “Elevation de la Pyramide de Kingsborough” (west façade of the Pyramid of the Magician, Uxmal). From Jean-Frédéric Waldeck, Voyage pittoresque et archéologique dans la province d’Yucatan pendant les années 1834 et 1836 (Paris: Bellizard Dufour et cie., 1838), plate 10. 0.9 Pyramid of the Magician, Uxmal. Photograph by Martin Gray. 0.10 Désiré Charnay, “Palace of the Nuns, Chichen Itza,” 1859. From Désiré Charnay, Cités et ruines américaines (Paris: Gide, 1863). 0.11 Temple of the Sun at Palenque and a Japanese Temple. From Désiré Charnay, The Ancient Cities of the New World (New York: Harper & Brothers, 1887). Reproduced in R. Tripp Evans, Romancing the Maya (Austin: University of Texas Press, 2004), 123. 1.1 Frederick Catherwood, Colossi of Memnon – Statue of Amen-Hotep III – vii Thebes, circa 1833. The British Museum, London. Reproduced in Victor von Hagen, Frederick Catherwood, Archt. (New York and London: Oxford University Press, 1950, n.p. [figure 6]. 1.2 Frederick Catherwood, plan of Jerusalem, July 1835. Reproduced in Stephen Olin, Travels in Egypt, Arabia Petraea, and the Holy Land (New York: Harpers, 1844). 1.3 Frederick Catherwood, “Plan of Copán.” From John Lloyd Stephens, Incidents of Travel in Central America, Chiapas and Yucatan (New York: Harper & Brothers, 1841), I: n.p. [facing page 133]. 1.4 Frederick Catherwood, Stela H at Copán. From John Lloyd Stephens, Incidents of Travel in Central America, Chiapas and Yucatan (New York: Harper & Brothers, 1841), I: n.p. [facing page 149]. 1.5 Alfred Maudlsley, photograph of Stela H at Copán, 1885. The Brooklyn Museum of Art, Brooklyn, New York.
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