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Viewed Cleveland As Belonging to the Second Group of Museums,” but He Likely © 2015 CHRISTA ADAMS ALL RIGHTS RESERVED BRINGING “CULTURE” TO CLEVELAND: EAST ASIAN ART, SYMPATHETIC APPROPRIATION, AND THE CLEVELAND MUSEUM OF ART, 1914-1930 A Dissertation Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Christa Adams December, 2015 BRINGING “CULTURE” TO CLEVELAND: EAST ASIAN ART, SYMPATHETIC APPROPRIATION, AND THE CLEVELAND MUSEUM OF ART, 1914-1930 Christa Adams Dissertation Approved: Accepted: ____________________________ ____________________________ Advisor Department Chair Dr. Gregory Wilson Dr. Martin Wainwright ____________________________ ____________________________ Committee Member Interim Dean of the College Dr. Martin Wainwright Dr. John Green ____________________________ ____________________________ Committee Member Dean of the Graduate School Dr. Gang Zhao Dr. Chand Midha ____________________________ ____________________________ Committee Member Date Dr. Gary Holliday ____________________________ Committee Member Dr. Rebecca Pulju ii ABSTRACT In the early twentieth century, staff members at the new Cleveland Museum of Art worked to build a well-balanced, cosmopolitan collection of art objects and antiquities from global sources. While objects from Europe were certainly prized, this dissertation examines the unusual preoccupation of the museum’s first director, Frederic Allen Whiting, and first Curator of Oriental Art, J. Arthur MacLean, with sourcing, acquiring, and placing on display the very best examples of art objects and antiquities from China, Japan, and Korea. I argue that these individuals were not motivated by Orientalist fervor to acquire fine examples of East Asian material culture; instead, by engaging in what I call sympathetic appropriation, objects from Asia were carefully displayed in Cleveland’s new museum, where they might serve a broad educational function. These pieces retained their existent cultural cachet even after being placed on display in Cleveland’s museum. Following a historiographical discussion in the Introduction, my argument unfolds over five chapters and a Conclusion. In Chapter One I discuss the construction of the Cleveland Museum of Art vis-à-vis other large, urbane American museums, placing special emphasis upon the work of the museum’s first Director and Curators to distinguish Cleveland’s museum from peer institutions on the East Coast. Chapter Two focuses upon the impact of the American Arts and Crafts Movement on processes of iii collection at the museum. In Chapter Three I examine the motivations that inspired staff at the Cleveland Museum of Art to pay special attention to objects from East Asia. Chapter Four examines the museum’s “Oriental Expedition” to Asia, led by the scholar- explorer Langdon Warner. In Chapter Five I discuss the perceived educational value of Asian art as displayed in Cleveland’s museum. An analysis of the processes of acquisition employed by staff members at the Cleveland Museum of Art adds complexity to the existent historiography on collecting and appropriation in American museums. Additionally, this dissertation’s examination of the methods of acquisition of East Asian material culture at the Cleveland Museum of Art serves as an excellent case study for analyzing collecting practices at smaller regional American museums in the early twentieth century. iv DEDICATION To Tim, my family, and all those who came before… this is for you. v TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION…………………………………………………………...........1 Historiography…………………………………………………………………...21 II. SITUATING CLEVELAND…………………………………………....……….54 Models of Edification: Boston, New York, and Chicago………………………..60 Building a Museum for Cleveland……………………………………………….83 Frederic Allen Whiting and the First Collection………………………………..101 III. ART, CRAFT, AND ASIA AT THE CLEVELAND MUSEUM OF ART……126 The Arts and Crafts Movement…………………………………………………130 Frederic Allen Whiting…………………………………………………………136 Collectors, Scholars, and Artists on the Value of Asian Aesthetics……………141 Popular Asian Art………………………………………………………………167 IV. COLLECTING ASIAN ART AT CLEVELAND’S MUSEUM: 1914-1924….177 The Inaugural Exhibition of 1916……………………………………………....211 V. THE CLEVELAND MUSEUM OF ART AND THE “ORIENTAL EXPEDITION”……………………………..…………………………………..229 Political Unrest in China, 1911-1928……………………....…………………...231 The “Oriental Expedition” of 1916……………………………………………..271 vi VI. PUBLIC EDUCATION AND THE CLEVELAND MUSEUM OF ART: 1914- 1930…………………………………………………………..…………………287 Cleveland: Immigration, Population, and “Americanization”………………….291 Museum Outreach: Children……………………………………………………297 Museum Outreach: Adults……………………………………………………...310 An Educational Case Study: “Re-Orientalizing Alfred Chang”………………..320 VII. CONCLUSION…………………....……………………………………………333 BIBLIOGRAPHY……………………………....………………………………………350 vii CHAPTER I INTRODUCTION Cleveland, Ohio and the Cleveland Museum of Art do not immediately come to mind when considering the prevalence of Asian art and antiquities in museums in the United States. One might first think of the Museum of Fine Arts, in Boston, New York City’s Metropolitan Museum of Art, The Art Institute of Chicago, or the Freer and Sackler Galleries located on the Mall in Washington, D.C. The curators at the Museum of Fine Arts and the Metropolitan Museum of Art, starting in the early and middle nineteenth century, acquired, cataloged, and displayed some of the finest examples of East Asian art and antiquities available outside of China and Japan. By the turn of the twentieth century, Charles Lang Freer, Detroit railroad industrialist, determined that the best home for his extensive collection of East Asian art and artifacts would be a national museum, to be associated with the venerable Smithsonian Institution in Washington, DC.1 The development of such fine, urban art museums on the Eastern coast of the United States is perhaps unsurprising, given the relative wealth and perceived sophistication of these large urban centers. Coastal cities, like Boston and New York, 1 Linda Merrill, “The Washington Building,” in Freer: A Legacy of Art, ed. Thomas Lawton and Linda Merrill (Washington, D.C.: Freer Gallery, Smithsonian Institution, 1993), 235. 1 also were important economic centers in the burgeoning global trade of the late nineteenth and early twentieth centuries.2 The relative cosmopolitanism of these port cities resulted in the popularization of Chinese export goods among regional consumers. These commodities first found their way to North America via the east coast ‘China Trade.’ Export wares, including goods made of porcelain and silver, were produced specifically for this burgeoning market and were some of the first examples of readily accessible Chinese commodities to arrive in North America. Most early export wares featured European or American figures liked Winged Liberty, western-style ships, or idyllic romantic scenes. Later goods produced in China for export were produced in the “Chinese” style, featuring imagery uncommon in American and European decorative arts. By decorating the home with these “Chinese” stylistic elements, called chinoiserie, an individual could present him-or herself as a participant in this broader global, and cosmopolitan, system of exchange.3 This style was still, of course, a construct, and was produced mainly to cater to foreign expectation, rather than accurately reflect Chinese stylistic sensibilities. Nonetheless, the popularization of chinoiserie goods did stimulate public interest in Asia amongst nineteenth and early twentieth century Americans. Its popularity “signal[ed]” a “self-conscious embrace of difference … and variety through taste.”4 Through the nineteenth century, public interest in and appropriation of chinoiserie transitioned from mere consumption to an expanded desire to better 2 Craig Clunas, “Introduction,” in Chinese Export Art and Design, ed. Craig Clunas (London: Victoria and Albert Museum, 1987), 18-20. 3 Stacey Sloboda, Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain (Manchester: Manchester University Press, 2014), 10-11. 4 Sloboda, 10. 2 understand Asia through goods produced there, by and for Asian consumers. The new focus on the necessity of possessing ‘authentic’ art objects and antiquities spurred and supported efforts by directors and curators at American art museums to build collections that referenced the cosmopolitan nature of the cities they served. As such, in the late nineteenth century, art museums emerged in major American cities; some of the largest institutions developed in Boston, Massachusetts (incorporated in 1870), New York, New York (incorporated in 1870), and Chicago, Illinois (incorporated in 1879). Yet smaller museums also emerged in the late nineteenth and early twentieth centuries in cities throughout the Midwestern United States; of these, the new art museum in Cleveland (incorporated in 1913), with its peculiar emphasis upon building a strong and varied collection of ‘Oriental’ art, makes for an excellent case study of the myriad ways that art objects and antiquities from diverse global sources could augment and serve a homegrown civilizing mission. Beginning in the early twentieth century, in Cleveland, a relatively young industrial center located in the Midwestern United States, a newly christened art museum emerged; one which invested heavily upon the acquisition, study and display of Asian antiquities and objets d’art. These objects would, in the minds of both curators and the museum’s
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