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John B. Flannagan (1895-1942): a Reexamination of His Life and Work

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John B. Flannagan (1895-1942): a Reexamination of His Life and Work City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2004 John B. Flannagan (1895-1942): A Reexamination of His Life and Work Katherine Rangoon Doyle Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1763 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NOTE TO USERS Copyrighted materials in this document have not been scanned at the request of the author. They are available for consultation in the author's university library. 223-416 This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. JOHN B. FLANNAGAN (1895-1942): A REEXAMINATION OF HIS LIFE AND WORK by KATHERINE RANGOON DOYLE A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment o f the requirements for the degree of Doctor of Philosophy, The City University of New York 2004 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3159272 Copyright 2004 by Doyle, Katherine Rangoon All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3159272 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©2004 KATHERINE RANGOON DOYLE All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This manuscript has been read and accepted for the Graduate Faculty in Art History satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. [signature] /A -At -03 Date Chair of^xamining Co>rr remittee [signature] f - Date Executive Officer Sally Webster ______ Katherine Manthorne Joan Marter__________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. iv ACKNOWLEDGMENTS During the course of the writing of this dissertation and before, many people offered their generous assistance and support. I am indebted to Professors Eloise Quinones-Keber and Marlene Park (emeritus) for mentoring me at the Graduate program at the City University o f New York and to Professor Jane Roos, who believed in me at a critical juncture in my study. I also thank the members of my committee, Professors Gail Levin, Sally Webster, Katherine Manthome, and Joan Marter (Professor o f Art History, Rutgers, The State University of New Jersey) for their excellent and timely suggestions. I am also very grateful to my friends in the program and colleagues in publishing, particularly Mary Abell (2001), Kathy Kienholz, and Cynthia Sanford (2003); as well as Senior Editor Elaine B. Stainton at Harry N. Abrams and Editor Karen Coutinho at the AICPA, for their warmth and encouragement. I would also like to thank my family for their sustained enthusiasm for my project and unconditional love and support. This dissertation is dedicated to my husband, Michael, and my daughter, Elizabeth, who preempted the delivery of my first draft. Finally, I would like to acknowledge the special commitment of my adviser, Professor Gail Levin, who saw me through what turned out to be a very challenging undertaking with professionalism and grace. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. V TABLE OF CONTENTS INTRODUCTION................................................................................................................................1 Chapter 1: SURVEY OF THE LITERATURE.............................................................................9 Chapter 2: BIOGRAPHY................................................................................................................ 33 Chapter 3: INTELLECTUAL DEVELOPMENT......................................................................83 Chapter 4: AESTHETIC.................................................................................................................I l l Chapter 5: CRITICAL RECEPTION..........................................................................................135 Chapter 6: FLANNAGAN AND THE ART MARKET......................................................... 177 Chapter 7: INFLUENCE ................................................................................................................ 202 Chapter 8: CONCLUSION ............................................................................................................213 ILLUSTRATIONS..........................................................................................................................223 BIBLIOGRAPHY............................................................................................................................417 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. vi LIST OF ILLUSTRATIONS Fig. 1. Female Nude Bending in Acrobatic Pose, 1920, watercolor with traces of dark blue fabricated chalk, 14 % x 10 inches. Collection Philadelphia Museum o f Art, Philadelphia, Pennsylvania. Fig. 2. Three Nudes, 1920, brush and ink on cardstock, H: 9 7/8, W: 5 % inches. Collection Metropolitan Museum o f Art, New York, New York. Fig. 3. Three Nudes, a.k.a. Three Nude Figures, 1920, brush and ink and pencil on mat board, H: 12, W: 8 lA inches. Collection Metropolitan Museum of Art, New York, New York. Fig. 4. Standing Female Nude and Trees, 1920-22, watercolor and traces of graphite, 21 5/8x15 inches (sheet). Collection Philadelphia Museum of Art, Philadelphia, Pennsylvania. Fig. 5. R elief fo r “Wax Painting, ” 1922, wood, 29Vi x 17 inches. Collection Hirshhom Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Fig. 6. Mother and Child, 1923, watercolor with graphite, 21 5/8 x 14 % inches (sheet). Collection Philadelphia Museum of Art, Philadelphia, Pennsylvania. Fig. 7. Seated Female Nude, 1923, watercolor with graphite, 21 11/16 x 14 13/16 inches (sheet). Collection Philadelphia Museum of Art, Philadelphia, Pennsylvania. Fig. 8. Female Nude on Horseback, c. 1923-24, woodcut, 5 3/8x5 % inches (sheet). Collection Philadelphia Museum of Art, Philadelphia, Pennsylvania. Fig. 9. Nude, c. 1923-24, linoleum cut, 6 7/16 x 8 11/16 (sheet). Collection Philadelphia Museum of Art, Philadelphia, Pennsylvania. Fig. 10. Four Female Nudes in a Forest, c. 1924, woodcut, 8 5/8 x 5 V2 inches (sheet). Collection Philadelphia Museum of Art, Philadelphia, Pennsylvania. Fig. 11. Maverick Horse, 1924, chestnut, H: 18 feet. Collection Maverick Concert Hall, Woodstock, N.Y. Fig. 12. Nude, a.k.a. Female Nude Standing on a Beach, c. 1924, woodcut, 7 7/16 x 6 7/8 (sheet). Collection Philadelphia Museum of Art, Philadelphia, Pennsylvania. Fig. 13. Valentine, 1924, watercolor, 9 x 6 inches. Collection University of Oregon Museum o f Art, Eugene, Oregon. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Fig. 14. Sisters, mahogany relief, 1924-25, 19 % x 9 5/8 x 2 inches. Collection Whitney Museum of American Art, New York, New York. Fig. 15. Spiral, 1924-25, mahogany relief, 20 % x 8 14 x 2 inches. Collection Whitney Museum of American Art, New York, New York. Fig. 16. Christ, 1925, wood, 33 5/8 x 6 Vi x 8 XA inches. Collection National Gallery of Art, Washington, D.C. Fig. 17. Bust of a Woman, 1926, rosewood, H. 14 14 inches. Collection Taylor Museum, Colorado Springs Fine Arts Center, Colorado Springs, Colorado. Fig. 18. Cathedral, 1926, walnut, 20 % x 9 x 5 1/16 inches. Collection The Saint Louis Art Museum, St. Louis, Missouri. Fig. 19. Ebon, 1926, ebony wood, H: 35 inches. Collection Fogg Museum, Harvard University, Cambridge, Massachusetts. Fig. 20. Lady with Death Mask, a.k.a Pieta, 1926, mahogany, 12 1/2 x 7 % x 15 3/8 inches. Collection Hirshhom Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Fig. 21. Mother and Son I,1926, satinwood, 30 x 9 x 8 inches. Collection Palmer Museum o f Art, Pennsylvania State University, University Park, Pennsylvania. Fig. 22. Mother Earth, a.k.a. Mother and Son II,c. 1926, mahogany on wood base, 23 14 x 7 'Ax 6 14 inches. Collection The Columbus Museum, Columbus, Ohio. Fig. 23. Mother and Child, c. 1926-29, quartz, 5 14 x 7 14 x 2 14 inches. Collection Weatherspoon Art Gallery, The University of North Carolina at Greensboro. Fig. 24.
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