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England After the Civil War and the Perceived Meanings of The 5 61 England after the Civil War and the perceived .. For an extended consideration of Coney Island, For a recent description and photographs, see meanings of the region, see John Brinckerhoff see John E Kasson, Amusing the Million: Coney Jeanine Larmoth, "Historic Architecture: Stan­ Jackson, American Space: The Centennial Years, Island at the Turn of the Century (New York, ford White-the Southampton House of William r86J-I876 (New York, 1972), pp. 87-136. 1978); Kathy Peiss, Cheap Amusements: Work­ Merritt Chase," Architectural Digest 43 (June 39 Charles Burr Todd, "The American Barbison ing Women and Leisure in Turn-of-the-Century 1986), pp. 158-63. [sic]," Lippincott's Magazine, n.s. 5 (Apr. 1883), New York (Philadelphia, 1986), pp. 115-38; and 63 Speed, "An Artist's Summer Vacation," p. 4· Stephen E Weinstein, "The Nickel Empire: Coney p. 323. 64 Lillian Baynes, "Summer School at Shinnecock 40 Island and the Creation of Urban Seaside Resorts A useful survey of the phenomenon of American Hills," Art Amateur 31 (Oct. 1894), p. 92. The .in the United States" (Ph.D. diss., Columbia beach imagery is Valerie Ann Leeds et al., At the article reiterates "A School in the Sands," Brook­ University, New York, 1984). Water's Edge: 19th and 2oth Century American lyn Daily Eagle, Oct. 14,1894, p. 9, cols. 6-7. 53 William H. Bishop, "To Coney Island," Scribner's Beach Scenes (exh. cat., Tampa, Fla.: Tampa 65 Elizabeth W. Champney, Witch Winnie at Shin­ Monthly 20 (July r88o), pp. 365, 363, quoted in Museum of Art, 1989). necock; or, The King's Daughter in a Summer Art Pisano, Long Island Landscape Painting, p. 48. 4 ' The Maine coast was of little interest to the School (New York, 1894), pp. 12-13. American Impressionists, but Kent, who had 54 Hardy, "Seaside Life in America," p. 616. 66 Kenyon Cox, "William M. Chase, Painter," been a student of Chase's, was indebted to the 55 Alfred Trumble, "Art's Summer Outings," Quar­ Harper's New Monthly Magazine 78 (Mar. 1889), heritage of Homer and often depicted Monhegan terly Illustrator 2 (Oct.-Dec. 1894), p. 385, p. 556. Island, off Maine. One of his many Maine coast quoted in Pisano, Long Island Landscape Paint­ 67 Rockwell Kent, It's Me 0 Lord: The Autobiogra­ images is considered in "Modem Painters in ing, p. 8. phy of Rockwell Kent (New York, 19 55), pp. 76, Landscape," this publication. 56 The Tile Club's activities are summarized in 78, quoted in Charles C. Eldredge, "William 41 Curry, Childe Hassam, p. 17. Pisano, Long Island Landscape Painting, pp. Merritt Chase and the Shinnecock Landscape," 43 Curry discusses the poppy paintings at length 3-6, on the basis of the following publications: Register of the Museum of Art, University of (ibid., pp. 77-1o8). W. MacKay Laffan, "The Tile Club at Work," Kansas, Lawrence 5 (1976), p. 12.. 44 See Julian Ralph, "Old Monmouth," Harper's Scribner's Monthly 17 (Jan. 1879), pp. 401-9; W. 68 For a discussion of parallels between some of New Monthly Magazine 89 (Aug. 1894), pp. MacKay Laffan and Edward Strahan [Earl Shinn], Chase's Shinnecock landscapes and works by de 326-42. "The Tile Club at Play," Scribner's Monthly 17 Nittis, see Dianne H. Pilgrim, "The Revival of 45 Duffield Osborne, "Surf and Surf-Bathing," (Feb. 1879), pp. 457-78; The New Long Island: Pastels in Nineteenth-Century America: The Scribner's Magazine 8 (July 189o), p. roo. See A Handbook of Summer Travel (New York, Society of Painters in Pastel," American Art also "Summer on the Sands," Munsey's Maga­ 1879); W. MacKay Laffan and Edward Strahan Journal ro (Nov. 1978), pp. 48-52. More work zine 17 (Aug. 1897), pp. 651-56, for the extent [Earl Shinn], "The Tile Club Afloat," Scribner's needs to be done to determine Chase's access to of beach development "from Maine to Florida, Monthly 19 (Mar. r88o), pp. 641-71; W. MacKay work by de Nittis. Laffan, "The Tile Club Ashore," Century 23 and from Pescadero to San Diego" (p. 651). 69 For the debt of French artists to Dutch painting, (Feb. 1882), pp. 481-98; and E Hopkinson 46 Francis H. Hardy, "Seaside Life in America," see Petra T. D. Chu, French Realism and the Smith, Book of the Tile Club (Boston, 1886). Cornhill, n.s. r (Nov. 1896), pp. 6os, 6o6. Dutch Masters: The Influence of Dutch Seven­ 57 Laffan, "Tile Club Ashore," p. 498. 47 Gabriel Furman, Antiquities of Long Island, ed. teenth-Century Painting on the Development of 58 Frank Moore (New York, 1874). Lizzie [Elizabeth W.] Champney, "The Summer French Painting Between r83o and r87o (Utrecht, Haunts of American Artists," Century 30 (Oct. 1974). 48 Long Island Democrat (Jamaica), July 6, r88o, 1885), pp. 8so-51, quoted in Pisano, Long Is­ 70 "Complete Guide to the Day Summer Resorts p. 2, quoted in Marilyn E. Weigold, The American land Landscape Painting, p. 9· Mediterranean-An Environmental, Economic, About New York," New York Sunday Press, and Social History of Long Island Sound (New 59 For Chase as a teacher at Shinnecock, see Ronald suppl., June 12, 1892, p. 19, quoted in Fiorino, York, 1974), pp. 57-58. For a comprehensive G. Pisano, The Students ofWilliam Merritt Chase "At the Seaside," pp. 9-10. account of the artistic encounter with Long Is­ (exh. cat., Huntington, N.Y.: Heckscher Museum; 71 A summary history of Southampton and a useful land, see Ronald G. Pisano, Long Island Land­ Southampton, N.Y.: Parrish Art Museum, 1973); description of sites and facilities appear in Henry scape Painting, r820-1920 (Boston, 1985). Our Ronald G. Pisano, William Merritt Chase in the Isham Hazelton, The Boroughs of Brooklyn and discussion of Long Island, especially Shinnecock, Company of Friends (exh. cat., Southampton, Queens, Counties of Nassau and Suffolk, Long is also indebted to Giovanna P. Fiorino, "At the N.Y.: Parrish Art Museum, 1979); and D. Scott Island, New York, r6o9-1924, 4 vols. (New Seaside" (manuscript, Graduate School and Uni­ Atkinson and Nicolai Cikovsky,Jr., William York, 1925 ), vol. 2, pp. 784-804. See also John versity Center, City University of New York, Merritt Chase: Summers at Shinnecock, r89r- Gilmer Speed, "The Passing of the Shinnecocks," 1991). 1902 (exh. cat., Washington, D.C.: National Harper's Weekly 36 (Dec. 31, 1892), p. 1258. 49 These guides are mentioned in Charles L. Sachs, Gallery of Art, 1987). John H. Morice, The First 71 Ernest Knaufft, "An American Painter-William The Blessed Isle: Hal B. Fullerton and His Image Out-of-Door Art School in the United States M. Chase," International Studio 12 (Jan. 1901), of Long Island, r897-1927 (Interlaken, N.Y., (n.p., 1945), discusses the founding of the school. pp. 156-57· 1991), p. 32. This source also describes there­ The most useful older sources are John Gilmer 73 M. R. Harrington, "Shinnecock Notes," Journal Speed, "An Artist's Summer Vacation," Harper's gion's development as a tourist area. of American Folklore r6 (Jan.-Mar. 1903), pp. New Monthly Magazine 87 (June 1893), pp. 50 Several other examples of this mode by Sanford 37-39. See also Speed, "Passing of the Shinne­ 3-14; and Rosina H. Emmet, "The Shinnecock Robinson Gifford, Jasper Francis Cropsey, cocks," p. 1258. Hills Art School," Art Interchange 31 (Oct. 1893), Edward Moran, and Mauritz Frederick Hendrik 7 4 William M. Chase, "Talk on Art by William M. pp. 89-90. de Haas are reproduced in Pisano, Long Island Chase," Art Interchange 39 (Dec. 1897), p. 127, 60 Landscape Painting, pp. 64-80 passim. Speed, "An Artist's Summer Vacation," p. 4· quoted in Ronald G. Pisano, A Leading Spirit in 61 5' The definitive study of Carr is Deborah Chotner, A useful description of the Art Village appears in American Art: William Merritt Chase, r849-19I6 S. S. Carr (exh. cat., Northampton, Mass.: Smith Alastair Gordon, "Village Voice," Art and An­ (exh. cat., Seattle: Henry Art Gallery, University College Museum of Art, i976). tiques, May 1991, pp. 91-97. of Washington, 1983), p. 135. 322 THE COUNTRY RETREAT AND THE SUBURBAN RESORT .
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