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Literary Space and Material Culture in the Works of Harriet Prescott Spofford, Edith Wharton, Isabella Stewart Gardner, and Willa Cather 1870-1920

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Literary Space and Material Culture in the Works of Harriet Prescott Spofford, Edith Wharton, Isabella Stewart Gardner, and Willa Cather 1870-1920 University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 4-2020 Thresholds of Curating: Literary Space and Material Culture in the Works of Harriet Prescott Spofford, Edith Wharton, Isabella Stewart Gardner, and Willa Cather 1870-1920 Lindsay N. Andrews University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the American Art and Architecture Commons, and the Literature in English, North America Commons Andrews, Lindsay N., "Thresholds of Curating: Literary Space and Material Culture in the Works of Harriet Prescott Spofford, Edith Wharton, Isabella Stewart Gardner, and Willa Cather 1870-1920" (2020). Dissertations, Theses, and Student Research: Department of English. 166. https://digitalcommons.unl.edu/englishdiss/166 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THRESHOLDS OF CURATING: LITERARY SPACE AND MATERIAL CULTURE IN THE WORKS OF HARRIET PRESCOTT SPOFFORD, EDITH WHARTON, ISABELLA STEWART GARDNER, AND WILLA CATHER 1870-1920 by Lindsay N. Andrews A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy Major: English Minor: Art History (Nineteenth Century Studies) Under the Supervision of Professor Guy Reynolds Lincoln, Nebraska May, 2020 THRESHOLDS OF CURATING: LITERARY SPACE AND MATERIAL CULTURE IN THE WORKS OF HARRIET PRESCOTT SPOFFORD, EDITH WHARTON, ISABELLA STEWART GARDNER, AND WILLA CATHER 1870-1920 Lindsay N. Andrews, Ph.D. University of Nebraska, 2020 Advisor: Guy Reynolds This dissertation explores the polycentric intersections between material and literary culture in four case studies spanning 1870-1920. Harriet Prescott Spofford, Edith Wharton, Isabella Stewart Gardner, and Willa Cather are four women whose work reflects a capacity to defy the genre-specific boundaries for which they are canonically renown. Harriet Prescott Spofford was an important contributor to the interior design movement in the early Gilded Age following challenges to finding publication resources for her fiction within a male-dominated publishing community. Edith Wharton’s ties to material culture are well known, but less attention is granted to the ways in which her own expertise in interior design is materially and spatially manifest in her fiction. Combined with her own interest in fashion, Willa Cather’s fine art connoisseurship and professional journalism inform the sartorial flourishes she inserts in her novels. Isabella Stewart Gardner is not just a collector—she is a curator of the material ephemera she purchased or stewarded in her museum. Her vitrines, specifically, reflect a narrativization of her relationships and express authority over the ways in which those artifacts are arranged. The interdisciplinary scaffolding this dissertation adopts will survey the ways these women exploit the boundaries of the genres in which they were participating. To arrive at this point, the technical scope of this dissertation will excavate literary and material artifacts by using the complementary techniques of formal analysis and close reading. Combined with archival material and primary sources to convey the range of literary and artistic history, the case studies selected for analysis strive to explore the mechanisms by which women anchor “things” as a way of securing themselves within the boundaries of meaningful relationships—with material culture, with personal relationships, or with genre-specific explorations of art. The overarching argument the thesis will propose is that as each woman asserts control over her own work, at the same time, she creates a cultural economy that supports and promotes her friendships, patronages or individual acts of artistry. i For my mother, who cultivated my love of art. For my late father, who didn’t have the chance to see it flourish. For my husband, who is my strength and support. For my daughters, to whom I give my whole heart. ii ACKNOWLEDGEMENTS Thank you to everyone who has guided me through the journey of completing this dissertation. Thank you to Guy Reynolds, who has supported my Art-Kid-In-An-English-Department tendencies. Thank you for your unwavering open-mindedness as I’ve insisted on following an admittedly unconventional approach to literary studies. Thank you to Melissa Homestead, who has mentored me with the kind of rigor that has made me a better thinker and a better scholar. Thank you to Wendy Katz, who, with grace and compassion, has asked the toughest questions of me and held me accountable to my interdisciplinary work. You were the first to enable my interest in Thaxter. Your support has meant the world to me. Thank you to the staff at the Isabella Stewart Gardner Museum Archives, especially Shana (who guided me through the collections) and Alexandra, who was an exceptional point-person through my inquiries. Thank you to the Inter-Library Loan staff in Love Library, who worked tirelessly to find obscure catalogues far, far away from Nebraska. Thank you to Lincoln Public Schools’ Early Intervention team, whose empathy has been a guiding light for my family. Thank you to Ellen and Lowell, who gave me time by sacrificing their own. Thank you to Sue and Alan, who have been a source of support through times of very, very high stress. Thank you to Kelly, Janel and Susan—my “sheroes” who led by example. And thank you to Ed, who has been an editor, a sounding board, and the absolute best motivator during the final stretches. iii TABLE OF CONTENTS Introduction………………………………………………………………………………1 Chapter One: “Privileged Spaces: Harriet Prescott Spofford and the Cultivation of Gilded Age Domesticity”………………………………………………………………..19 Chapter Two: “Interiority and the Function of Decorative Art in Edith Wharton’s The House of Mirth”……………………………………………………………………..…...52 Chapter Three: “Sartorialism and the Body in Willa Cather’s The Song of the Lark”…..81 Chapter Four: “Authorship, Literary Curating, and the Cultivation of Selfhood in Isabella Stewart Gardner’s Vitrines”……………………………………………………………108 iv Multimedia Objects Figure 1 33 Lyman Abbot. “Home Life in the East” Harper’s New Monthly Magazine, no. 318, November, 1876, 70.1 Figure 2 35 Spofford, Harriet Elizabeth Prescott. Art Decoration Applied to Furniture. New York: Harper & Brothers, 1878. Figure 3 37 Harriet Prescott Spofford. Home and Hearth. New York: Dodd, Mead, & Co., 1891 Figure 4 38 Harriet Prescott Spofford. A Scarlet Poppy and Other Stories. New York: Harper and Brothers, 1894. Figure 5 68 Edith Wharton. “The House of Mirth: Holograph Manuscript, Corrected.” Edith Wharton Collection, Yale University Beinecke Rare Book and Manuscript Library. Figure 6 94 Celia Thaxter. Poems. Boston: Houghton, Mifflin and Company, 1885, Isabella Stewart Gardner Archives, Boston. Figure 7 95 Celia Thaxter. Poems. Boston: Houghton, Mifflin and Company, 1885, Isabella Stewart Gardner Archives, Boston. Figure 8 95 Celia Thaxter. Driftweed. Boston: Houghton, Mifflin and Company, 1884 Isabella Stewart Gardner Archives, Boston. Figure 9 97 Celia Thaxter. Driftweed. Boston: Houghton, Mifflin and Company, 1884 Isabella Stewart Gardner Archives, Boston. v Figure 10 135 Edouard Manet. Olympia. 1863. Oil on Canvas. Musée D'Orsay, Paris. Figure 11 136 Edouard Manet. The Street Singer. 1862. Oil on Canvas. Museum of Fine Arts, Boston. Figure 12 138 Anders Zorn. Dagmar. 1912. Etching. Metropolitan Museum of Art, New York. 1 INTRODUCTION Framing Literary “Space” for Material Culture between 1870 and 1920 The scope of this dissertation investigates the intersections between decorative art, class and authorship in the late nineteenth and early twentieth centuries as a direct result of their entanglement with material culture. To accomplish this, I will isolate four case studies that explore the intertextual staging of objects—how they respond to one another and extend a meaningful narrative about the author, artist or collector’s identity. The representative work of Harriet Prescott Spofford, Edith Wharton, Isabella Stewart Gardner and Willa Cather all amplify representations of literary and material culture across multiple platforms because writing, arranging, and curating all make visible the narratives these women seek to tell. What this dissertation will make clear is that the intersections between material and literary culture were a liberating catalyst for women artists, authors and collectors. The nuances of their work reveal the ways in which they navigated the structural limits placed upon them. The creative spheres these aforementioned women occupied at the turn of the nineteenth century was varied, and their creative contributions reflect a tenuous negotiation of the limits of class, genre, and access to resources. Kirsten Swinth’s research understands this historical circumstance and explores the way space—economic and creative—characterized the art world starting in the 1870’s. To Swinth, the art market was “splintering” in an overabundance of highly specialized genres. To compete in this market, many male artists created niches for themselves in the form of clubs, 2 leagues or schools to
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