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Art and Reform in Cincinnati™S Antebellum Associations

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Art and Reform in Cincinnati™S Antebellum Associations Creating a Western Heart: Art and Reform in Cincinnati's Antebellum Associations Wendy J. Katz In studying art in early nineteenth-century opportunity for new economic, social and cultural Cincinnati, scholars generally emphasize the impres- choices, if reformers and promoters could win sup- sive number of artists and art institutions that flour- port for them. As Dr. Daniel Drake, an early and ished in the city. Alternately, they look more closely influential Cincinnati booster, wrote in William at how the work of individual artists who lived in the McGuffey's widely-disseminated "eclectic" reader, city expressed general trends in American life—how "we should foster western genius, encourage western painter Lilly Martin Spencer's scenes of domestic life, writers, patronize western publishers, augment the for example, contributed to the ideology of gendered number of western readers and create a western heart separate spheres.1 This division in focus separates . [then] the union will be secure, for its center will the local (a flowering of support for the arts) from the be sound, and its attraction on the surrounding parts national (the production of American gender roles), or irresistible. Then will our state governments emu- it sees the city sending artists to New York, from late each other in works for the common good; the whose standards and market a national culture then people of remote places begin to feel as the members issued and which, not incidentally, determined the of one family, and our whole intelligent and virtuous very value of the local cultivation of art by those later population unite, heart and hand. "5 triumphs on the national stage. Such a model of the By resituating antebellum artists within the lan- formation of a national artistic culture can be quite guage of morals, taste, and feeling that developed 2 convincing. Many if not most of the artists active in around art and exhibitions in Cincinnati, it becomes Cincinnati from the 1830s to the 1850s, including possible to see their participation in shaping the Spencer who arrived in 1841 and left the city in 1848, nature of and expectations for such a virtuous popu- spent much of their careers elsewhere, often in New lation. An interlocking array of men and women 3 York, where they achieved national recognition. cooperated to attach middle-class status to the culti- Their work would properly relate as much to those vation of proper feelings and behavior, particularly later patrons and markets as to conditions in the idea of self-control and a corresponding sympathy Cincinnati. with others, as a mark of the individual's relationship 6 However, what this model disregards is the sig- to the larger community. Reformers deliberately nificance of the local in producing the national.4 tried to construct a middle class around "respectable" When Cincinnati patrons and boosters advocated cre- values and tastes displayed at new venues, whether to ating a "western" art, they served their own personal clerks at the mercantile library, readers of women's economic and social interests in the city, but they magazines in the home, or attendees at lyceums and also self-consciously staked a claim to represent and mechanics' fairs. Art helped spread these values and reform the national culture. As the nation's third attract people to a new identity based on them, while largest manufacturing city, positioned on a river sys- artists who believed in a moral purpose for art found tem that Walt Whitman called the "spine" of the themselves and their work aligned with the project of nation, Cincinnatians into the 1850s optimistically public elevation.7 If the promoters of western art in envisioned their city as the future center of an Cincinnati did not succeed in creating a distinctive expanding nation and an exemplar for the rest of the western civilization by involving art in this project of country. The very character of this distinctly western redefining class along moral lines, they nevertheless city and its mixing of diverse individuals offered an helped shape a national culture. Ohio Valley History Behind Cincinnati's drive to become the Athens selves further the goal of projecting a regional charac- of the West lay a concern for developing a harmo- ter and style as a type for the nation.10 nious urban culture capable of attracting and assimi- Cincinnati's success in fostering artists certain- lating a steady stream of emigrants. Economic ly owed much to the efforts of patrons and writers growth required bringing in both investment capital who supported the arts as part of their project for and a work force, but the heightened presence and urban reform. Patrons joined artists in founding insti- mobility of a sizable and diverse population threat- tutions that exhibited or taught art, occasionally ened to transform traditional bases for community funded artists' careers or travel, puffed local art in cohesiveness. Between 1820 and 1850, not only did newspapers and magazines, or simply purchased art- Cincinnati's population swell as a result of rural to works.11 But Cincinnati also possessed certain natu- urban migration, the number of immigrants from ral advantages for an art industry, including its com- overseas (primarily from Germany and Ireland) grew mercial and manufacturing base. The city's mer- to nearly sixty-nine percent of the labor force. That chants imported supplies from the East to sell to the labor force, both men and women, was increasingly West and South, including paints and luxury goods. employed in factories, creating a large pool of mostly The region also had its own linseed oil industry, white, landless wage-earners.8 In response, art pro- which not only exported the oil but also facilitated moters and urban boosters, often one and the same, inexpensive local production of paint supplies. sought to create a less hierarchic and more "natural" Because Cincinnati was a regional manufacturing western culture that would win allegiance from center, artists found crossover employment in several immigrants in the city, as well as bridge divisions related industries, including engraving (especially within the city's elite and, amid the sectionalism pre- bank notes), furniture-making, stage set painting, col- ceding the Civil War, even unite the nation itself. oring daguerreotypes, poster-making, and stonework 12 Regionalism also usefully proposed independ- for canals. The building industry alone employed ence from or resistance to dominant Eastern values, artists for murals, ornamental decor, wallpaper, glaz- 13 although no such independence, of course, existed. ing, and mixing colors. Drawn from small towns to The "Prospectus" for the Unitarian literary maga- the city's opportunities for exhibition, patronage and zine, the Western Messenger, pledged its editorial training within the artists' community, landscape attention "to everything which concerns the social painters like Godfrey Frankenstein and Worthington advance of the great West in civilization and happi- Whittredge worked on houses and signs while they ness," while the magazine's opposition to Eastern took lessons or apprenticed, while sculptors like convention and exclusiveness would bestow on it a Shobal Clevenger found employment as stonecutters pronounced "Western character."9 Despite its manu- before they began to carve busts. facturing prowess, Cincinnati merchants typically Charles Cist, author of several decennial sur- imported eastern goods for a southern market, keep- veys of Cincinnati, described the desired economic ing Cincinnati a debtor city to eastern financial cen- and educational role for Cincinnati and its artists in ters. Regionalism defended against that dependence the national landscape: "Cincinnati must become by creating a cultural sphere particular to itself, a the focus, or meeting place of a great network of inter- space safe from competition and invidious compar- nal communications—radiating from, to and through isons well suited to boosting local claims to great- this common centre," just as Cincinnati must pro- ness. Moreover, regional identity offered a route to mote the fine arts "to draw students from all parts of national power through the export of its culture to our common country here, to be instructed and ele- other regions. Cincinnati, accordingly, attracted from vated in their different walks; thus from a common the 1830s to the 1850s many reformers with definite centre radiating a just and classical taste to all around ideas about the nation's culture, including the us." Should Cincinnati do so, it would resemble Beechers, James Birney, Levi Coffin, Henry Blackwell, Rome, that "mistress of empires," for great artworks James H. Perkins, and William McGuffey. The activ- are understood as "connected with the prosperity, as ity of these reformers and writers helped establish they are with the sympathies of the people."Z4 A Cincinnati as the most important publishing center frontispiece view of Cincinnati from the Kentucky in the West and attracted artists who would them- shore preceded his comments, illustrating concretely Fall 2001 Creating a Western Heart View of Cincinnati from Kentucky Charles Cist, Sketches and Statistics of Cincinnati in 1851 (CHS Collections) the notion of a beautiful city whose role was to ele- businessman and art patron with the city's vate or improve its citizens and expand imperially. prospects.16 The arts—like roads, canals, rivers, warehouses and Artists also saw their interests bound up with streets—would help establish the
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