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THE POSTERS of BUFFALO BILL's WILD WEST By ART PERPETUATING FAME: THE POSTERS OF BUFFALO BILL’S WILD WEST By Copyright 2013 Stephanie Fox Knappe Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Charles C. Eldredge ________________________________ Dr. David Cateforis ________________________________ Dr. Stephen Goddard ________________________________ Dr. Susan Earle ________________________________ Dr. Chuck Berg Date Defended: July 1, 2013 The Dissertation Committee for Stephanie Fox Knappe certifies that this is the approved version of the following dissertation: ART PERPETUATING FAME: THE POSTERS OF BUFFALO BILL’S WILD WEST ________________________________ Chairperson Dr. Charles C. Eldredge Date approved: July 1, 2013 ii Abstract From 1883 until 1913, Buffalo Bill’s Wild West attracted fifty million people in more than one thousand cities in ten countries. William Frederick “Buffalo Bill” Cody’s globe- galloping extravaganza would not have attained its status as one of the most widely attended and wildly popular turn-of-the-century spectacles without an extensive and effective promotional system to perpetuate its fame. Using the exhibition’s posters as primary objects of inquiry, this dissertation examines the Wild West’s most iconic and resonant elements. Each of four case studies is anchored by a key image—a poster that serves as a platform from which to investigate other imagery devoted to the same theme—and incorporates visual and contextual analysis, contemporary public reception, and an exploration of influential iconography originating from both fine art and popular sources as well as their literary counterparts. The first chapter focuses on the man at the center of it all, Buffalo Bill himself, and the meanings of the various roles he played within the Wild West’s arena and in its advertising. The second chapter analyzes the complicated and shifting status of Indians near the close of the nineteenth century. The cowboy, who, like the Indian, experienced a change in reputation vividly chronicled by the Wild West and its promotional imagery, is the subject of the third chapter. The Congress of Rough Riders of the World, a reflection of increasing American imperialism, cultural hegemony and exceptionalism during an era when the word “frontier” no longer strictly referred to the American West, is the topic of the final chapter. The posters of Buffalo Bill’s Wild West advertised more than a traveling exhibition that captivated millions for three decades. A century after the exhibition met its fate on the auction block, the posters designed to promote it still perpetuate its fame. Simultaneously, images of Buffalo Bill, Indians, cowboys, and multinational Rough Riders continue to illuminate many iii defining currents of the late-nineteenth and early-twentieth centuries. When considered in their cultural context, the posters of Buffalo Bill’s Wild West both influenced and underscored complex sociopolitical ideologies, perspectives, and values that challenged and shaped America. iv Acknowledgements A graduate student in any discipline who makes it to this stage in her academic career is keenly aware that the moment never would have arrived were it not for the intellectual, financial, and emotional support provided by many. An art historian who writes her dissertation on an unconventional topic, takes a leave of absence from her day job, commandeers her family’s dining room for a year, and posts a “Keep Out!” sign at toddler height outside that makeshift “office” fully realizes the extent of her debts and is exceptionally grateful. I would not have undertaken this examination of Buffalo Bill’s Wild West posters without the example set by Dr. Karal Ann Marling. Her work demonstrated to an awe-struck undergraduate Golden Gopher that an art historian can dedicate serious scholarly attention to topics at the fringes of what most might label “outside-the-canon.” It was also Dr. Marling who recommended that I continue my study of American art, from the canonical to the quirky, at the University of Kansas with Dr. Charles Eldredge as a mentor. Her advice was unerring. My first exploration of the imagery used to advertise Colonel Cody’s extravaganza occurred in a seminar led by Dr. Eldredge on the art of the American West, broadly defined. His validation of this topic then as one that fit within the purview of art history, as well as his steady encouragement (and extraordinary patience) as my primary advisor over the duration of this endeavor to secure my “union card” has been invaluable. Likewise, I extend my thanks to the faculty and staff of the Kress Foundation Department of Art History at the University of Kansas, and especially to the KU faculty who rounded out my dissertation committee and agreed to sign on in spite of the imposition of a mid-summer defense, the Drs. David Cateforis, Stephen Goddard, Susan Earle, and Chuck Berg. v In addition to many things I learned from Dr. Eldredge, including how imperative it is to look closely at an object at the same time that you cast a wide net to divine meaning, discover influence, and determine impact, another lesson he imparted has proved itself time and again. A scholar is nothing without a good librarian. These I was fortunate to find in spades at the Buffalo and Erie County Public Libraries; Chester County Historical Society; Cincinnati Art Museum; Circus World Museum in Baraboo, Wisconsin; the Western History Collection at the Denver Public Library; the McCracken Research Library at the Buffalo Bill Historical Center in Cody Wyoming; the Public Library of Cincinnati and Hamilton County and, especially, at the University of Kansas. My research for this project also benefited from travel grants received from the Kress Foundation Department of Art History. These grants allowed me to mine the collection of posters, drawers of original art, and folders of programs, couriers, and newspaper clippings at the Circus World Museum Library. They also permitted me to profit from the rich repository of materials on Cody and his extravaganza held by the Denver Public Library. In the summer of 2012, the Buffalo Bill Historical Center awarded me a fellowship at a time when it was most needed to snap my thinking into focus and fuel several upcoming months of writing. My residency in Cody country provided the opportunity to pour over and ponder Wild West ephemera, archival material, and an incredible collection of art of the American West in the company of generous and hospitable experts that included Dr. John Rumm, Mindy Besaw, Laura Fry, Lynn Houze, Beverly Perkins, Linda Clark, and Mary Robinson. That fellowship (in both meanings of the word) resulted in many discoveries that shaped this dissertation. Having led a double life as a student and as a museum professional, it would be appropriate for me to include the staff list of the Nelson-Atkins Museum of Art as an appendix to vi this dissertation to ensure that each colleague is duly acknowledged. I am fortunate to work in an institution lead by a director who values scholarship, Dr. Julián Zugazagoitia. Persuaded by Dr. Margi Conrads, from whom I learned the curatorial ropes and who recognized my struggle to balance student obligations and a career, Dr. Zugazagoitia temporarily released me from my duties at the Museum. This critical leave of absence allowed my dissertation to be my nine-to- five job instead of a gig that I took up on the occasional evening and infrequent weekend. It made it possible to take advantage of the Buffalo Bill Historical Center fellowship opportunity and to gain the much-needed momentum necessary to complete this project. I am also grateful for the regular in-the-hall, before-a-meeting, and on-the-way-to-the-galleries checks on my progress made by curators Drs. Catherine Futter, Robert Cohon, Gaylord Torrence, and Leesa Fanning. The solidarity expressed by fellow dissertating junior colleagues, Nicole Myers and April Watson, similarly imparted a boost more times than I can count. Great appreciation also goes to friends, especially Dr. Randy Griffey, Dr. Brittany Lockard, and Jennifer Talbott. Each of them has been a tireless cheerleader, particularly over the past year and even when the task at hand sometimes prevented me from being the kind of friend I wanted to be to them. Motivation also came from friend Dr. Jerry Smith’s success at “slapping the pig”—a euphemism, inspired by a genre painting we can no longer recall, for writing seminar papers that evolved to apply to the dissertation process and resulted in a small collection of miniature swine knickknacks as well as a custom t-shirt. At this point it is impossible to calculate what is owed to family. Thank you, thank you to my parents, Joyce and Don Fox, who first took me to Circus World and to Cody, Wyoming, on long ago family trips and who not once expressed concerns about my chosen field. They never doubted (even when I seriously did) that their seemingly perpetual-student daughter would clear vii this final hurdle. They showed their support in countless ways that I will never be able to repay. I am also grateful to my brother, Benjamin Fox, and to my in-laws, Ken and Leanne Knappe, who, like my parents have been there for me over this long haul and during times of deep sorrow as well as tremendous joy. Parents, brother, parents-in-law—each offered love and encouragement and none made me feel guilty for ordering take-out on Thanksgiving or postponing a visit because a chapter was due. My dear, sweet, smart, and silly daughter, Kaleia Celeste, exhibited more patience when Mama was working on her “paper” than should be expected of such a little person.
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