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The Place of Europe in American History: Twentieth-Century Perspectives Edited by M

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The Place of Europe in American History: Twentieth-Century Perspectives Edited by M E d. M.Vaudagna nova americana in english For the last thirty years the place of Europe in twentieth-century American history has been marginalized. While the impact of the United States on European life has been frequently dealt with, the American history writing prevalent in the United States has debunked the traditional portrait of the American experience as “invented” by Europeans and their heirs in the “New World.” The so-called “new historians” have dismantled the old Eurocentric “victory tale,” which they have interpreted as the historical legitimization of the white, male and Anglo-Saxon elites. As a result, not only has Europe’s pretentious claim of being the main original source of the American experience been appropriately The Place of Europe in American History denied, but all “Atlantic crossings” have been overlooked. With the beginnings of the 1990s, however, the trend toward cultural globalism made some of the leading protagonists of the Americanist historical profession in the United States keenly aware of the need to reformulate American history from a edited by M.Vaudagna transnational perspective. If in new terms, the interest in the place of Europe in U.S. history has begun to revive. Yet, when it comes to the twentieth century, there has not emerged to this day a significant variety of studies on the many ways in which Europe has been present, whether constructively or dramatically, in the American historical process. This book is an effort to try and fill the void. It takes into account four important areas of transatlantic exchanges: international relations, cultural borrowings, emigration, and comparative welfare states. The implication is that, while distant from the old Eurocentric rationale, the history of transatlantic relations is relevant to understand both Europe and the United States. The Place of Europe in American History: Twentieth-Century Perspectives Tiziano Bonazzi, Daria Frezza, Claudio Zambianchi, Giuliana Muscio, Giuliana Gemelli and Antonella Cardellicchio, Jörn Leonhard, Raffaella Baritono, Marco Mariano, Mario Del Pero, Jennifer Klein, Elisabetta Vezzosi, Maurizio Vaudagna, Manuel Plana, Alessandra Lorini, Simone Cinotto Books in the “Nova Americana” and “Nova Americana in English” series also appear in electronic format and can be found at the website www.otto.to.it. ISBN 88-95285-03-4 ISBN 978-88-95285-03-0 € 30.00 nova americana in english THE PLACE OF EUROPE IN AMERICAN HISTORY: TWENTIETHCENTURY PERSPECTIVES edited by M. Vaudagna The Place of Europe in American History: Twentieth-Century Perspectives Edited by M. Vaudagna Collana Nova Americana in English Comitato scientifico: Marco Bellingeri, Marcello Carmagnani, Maurizio Vaudagna Prima edizione gennaio 2007 ©2007, OTTO editore – Torino [email protected] http://www.otto.to.it ISBN 88-95285-03-4 ISBN 978-88-95285-03-0 È vietata la riproduzione, anche parziale, con qualsiasi mezzo effettuato, compresa la fotocopia, anche ad uso interno o didattico, non autorizzato. TABLE OF CONTENTS Introduction 1 intellectual exchanges Tiziano Bonazzi Constructing and Reconstructing Europe: Torture of an American Prometheus or Punishment of a New World Sisyphus? 11 Daria Frezza Th e Language of Race: Th e Discourse of American Social Scientists from the Progressive Era to World War Two from a Transatlantic Perspective 27 Claudio Zambianchi “We Need a Closer Contact with Paris:” Th e Presence of Europe in American Art from the Ashcan School to Abstract Expressionism 49 Giuliana Muscio European Actors in Classical Hollywood Cinema: From the Extras to the Stars 65 Giuliana Gemelli and Antonella Cardellicchio Th e Making of the New Encyclopaedia Britannica and the “Golden Age” of European Culture in the U.S. (1940’s-1960’s) 91 political perspectives Jörn Leonhard Progressive Politics and the Dilemma of Reform: German and American Liberalism in Comparison, 1880-1920 115 Raff aella Baritono Th e British Labour Model in the American Political and Intellectual Debate of the 1920s 133 Marco Mariano Th e U.S. Discovers Europe. Life Magazine and the Invention of the “Atlantic Community” in the 1940s 161 Mario Del Pero “Europeanizing” U.S. Foreign Policy: Henry Kissinger and the Domestic Challenge to Détente 187 the place of europe in american history interactions in social policy Jennifer Klein Welfare and Security in the Aftermath of World War Two: How Europe Infl uenced America’s Divided Welfare State 215 Elisabetta Vezzosi Why Is Th ere No Maternity Leave in the United States? European Models for a Law Th at Was Never Passed 243 Maurizio Vaudagna Conservative Critics of the New Deal in the 1930s: Towards Authoritarian Europeanization? 267 multidirectional emigrations Manuel Plana Exiles and Refugees During the Mexican Revolution 325 Alessandra Lorini Atlantic Crossings: Race, Nation and Late Nineteenth-Century Cuba Libre Between Italy and the United States 341 Simone Cinotto “I Won’t Be Satisfi ed Until I’ve Travelled the Entire World:” Th e Transnational Imagination of an Italian Immigrant in the United States, 1905-1942 371 “WE NEED A CLOSER CONTACT WITH PARIS:” THE PRESENCE OF EUROPE IN AMERICAN ART FROM THE ASHCAN SCHOOL TO ABSTRACT EXPRESSIONISM* claudio zambianchi “If only America would realize that the art of Europe is fi nished – dead – and that America is the country of the art of the future, instead of trying to base everything she does on European Tradition!”1 So said Marcel Duchamp to an interviewer in 1915, less than three months after he fi rst arrived to New York. Duchamp may have been too hard on Europe, but he was right about American art. Up until the beginning of the 1940s, art in the United States was deeply imbued with European infl uences, and one of the major paradoxes of American art of the fi rst four decades of the twentieth century is that, in their quest for a national style, Americans stumbled over European sources again and again. Until at least the end of the thirties, it was Europe that provided the models and the modern language with which to interpret American subject matters. Before providing a short overview of the European presence in American art in the second part of this paper, I will give some specifi c examples of the interaction. When the Ashcan School arose in New York during the fi rst decade of the twentieth century, one of its main objectives was the creation of a truly American school. Th e core of the group was formed by Robert Henri and some of his pupils from the Pennsylvania Academy of the Fine Arts in the 1890s: William Glackens, George Luks, Everett Shinn, and John Sloan. Th e latter four artists – who followed Henri to New York at the beginning of the new century – all started their careers as newspaper illustrators and shifted to painting under Henri’s impulse as soon as they reached New York. Henri and his followers were the fi rst to claim an American art in the new century, but their style was greatly infl uenced by French painting of modern life. Henri had been to France three times and he mainly admired the work of Manet, though through his work he also came to appreciate the painting of old masters like Frans Hals and Diego Velázquez. Henri’s followers Glackens and Shinn, on the other hand, looked to the work of Edgar Degas. In general, the main source for the painting of the Ashcan School was French art of the 1870s and 1880s. Th ere is also a vernacular aspect to their realism, due to their former careers as newspaper illustrators. Th e taste for the anecdotal and the narrative in Sloan’s Chinese Restaurant (1909; University of Rochester, Memorial Art Gallery; www.otto.to.it), for example, owes much to that experience. Nevertheless, the main infl uence on the Ashcan School’s FIGURE 1 penchant for the depiction of urban modern life was the French Nouvelle Peinture. Such a penchant casts a long shadow over the American art of the fi rst half of the twentieth century. Th e social realism of the thirties, for example, practiced by painters such as 49 “we need a closer contact with paris” Reginald Marsh, Isabel Bishop, and the Soyer brothers during the Depression, is rooted in the American Realism of the fi rst decade of the century. If we look to another moment of twentieth-century American painting, specifi cally the work of Grant Wood, creator of one of the most famous icons of American art – American Gothic (1930; Th e Art Institute of Chicago; www.otto.to.it) – we fi nd a similar hiatus between the American subject mat- FIGURE 2 ter and a style that was drawn from Europe. During the twenties Wood studied in Paris and Germany, where a form of magic realism was developing. Th e lack of atmospheric quality and hard edges in Wood’s Th e Midnight Ride of Paul Revere (1931; New York, Th e Metropolitan Museum of Art; www.otto.to.it) recall the paintings of Franz Radziwill FIGURE 3 and Georg Scholz, among others, and the sharp focus with which Wood depicted the farmers’ faces in American Gothic is similar in style to the portraits of Christian Schad.2 In terms of subject matter, Wood’s painting is American to the point of being nation- alistic, while in terms of style it depends heavily on European prototypes. Th e stress on subject matter as a means to defi ne a specifi c American quality in painting is evident in the words of the most vociferous of the Regionalists, Th omas Hart Benton. When he looked in retrospect to the Regionalist art of the thirties in his book of memoirs, he saw Regionalism as a reaction to Parisian models in order to draw inspiration from “American life and American life as known and felt by ordinary Americans.
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