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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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 bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI 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. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographicaOy in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BASS OTIS AND HIS CRITICS During His Early Career in Philadelphia by John Carpenter tfcKee A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture Summer 1995 Copyright 1995 John Carpenter M&ee All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMX Number: 1384962 UMI Microform 1384962 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BASS OTIS AND HIS CRITICS During His Early Career in Philadelphia by John Carpenter M?Kee Approved: McSherry Fowble, M.A. Professor in charge c£ thesis on behalf of the Advisory Committee Approved: JaipJes Curtis, Ph.D. Director of the Winterthur Program in Early aerican Culture Approved: Cavanaugh, Ph.D. im Associate Provost for Graduate Studies Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS Many individuals have facilitated the production of this thesis. I would like to acknowledge the significant contributions of Ellen Miles, Lillian Miller, Anne Verplank, Shirley Wajda, and Jim Curtis, who all provided important feedback at various stages of research and writing. I have similarly enjoyed the support of my classmates Ann Kirschner, Jill Haley, Mary Cheek, Kirk Swinehart, Cindy Dickinson, King Laughlin, Allison Elterich, and Jennifer Ley. Neville Thompson at the Winterthur Library provided me with crucial information and guidance. Bert Denker and Gail Stanislow, also from Winterthur, both aided in preparation for the presentation of my thesis. Throughout the entire course of this project, I have greatly benefitted from the editing, patience, and generosity of Sherry Fowble, whose leadership has been indispensable to this thesis. Finally, I would like to express my deepest gratitude to Alex Deutsch for the numerous direct and indirect ways she has helped bring this thesis to completion. ili Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OP CONTENTS LIST OF FIGURES........................................ v ABSTRACT.............................................. vi Prevailing Criticism in Philadelphia to 1812............ 1 The Language of Criticism and the Inspiration of Genius..6 Critiques of Bass Otis................................. 11 The Stylistic Development of Bass Otis, 1812-1827.......24 NOTES................................................. 32 WORKS CITED........................................... 41 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES Fig. 1 Bass Otis. Self-Portrait. 1812. Historical Society of Delaware .............. 12 Fig. 2 Bass Otis. Henrv B . Brevoort. 1813. The New-York Historical Society .............. 14 Fig. 3 Sir Joshua Reynolds. Charles Carroll of Carrollton. 1763. Yale Center for British A r t ................................... 17 Fig. 4 Bass Otis. William Branch Giles. 1816. Virginia Historical Society .................. 20 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT The portraitist Bass Otis enjoyed fame and prosperity during his early career in Philadelphia. Despite never having studied in Europe, Otis received critical acclaim among a community of older, more established artists in what was a very competitive portrait market. Two surviving critiques of exhibited Otis portraits demonstrate that the artist was perceived to possess qualities associated with artistic genius. In fact, Otis' brush work and method of lighting his subject conformed to what Sir Joshua Reynolds, one of the most famous art theorists of the time, identified as characteristics of genius in his widely-read treatise Discourses on Art. Parallels between Otis' style and the theories and portrait style of Reynolds provide an explanation of Otis' early critical success in Philadelphia. Moreover, comparisons between the two contemporaneous critiques of exhibited Otis portraits reveal a common stylistic preference among Philadelphia critics in the early nineteenth century. vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PREVAILING CRITICISM IH PHILADELPHIA TO 1812 The painter Bass Otis is best known today by two works he completed early in his Philadelphia career. He painted Interior of a Smithy, which was exhibited in 1815 at the Pennsylvania Academy of Fine Arts under the title A Foundry in New England With Operatives, Machinery, Etc.1 His lithograph Landscape: House and Trees at Waterside, published in the July 1819 issue of Analectic Magazine, established Otis as the first lithographer in America. Ironically, Interior of a Smithy and Landscape: House and Trees at Waterside are atypical of Otis's work during his long career. Otis was predominantly a portrait painter. Hundreds of extcint portraits currently attributed to the artist2 and the artist's own notebook underscore this point.3 The fact that Otis and his works enjoy relative obscurity today stands in sharp contrast to the fame the artist enjoyed in Philadelphia from 1812 to 1822, the first ten years he lived in the city. Reviews of Otis’s exhibited works, the prominence of his portrait subjects, and his high level of recognition within the Philadelphia 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2 artistic community indicate that Otis was then regarded as one of the most promising young American artists.* Paradoxically, Otis was more famous rn his youth than in his old age and death, when his name fell into obscurity behind the fame of other Philadelphia painters like the Peales, Thomas Sully, Jacob Eichholtz, and John Neagle. While the subsequent decline of Otis's reputation is beyond the scope of this paper, this study of Otis's early career attempts to reveal what phenomena were present in Philadelphia that provided such a favorable atmosphere for Otis's success as a young artist. Was it the climate of art criticism in Philadelphia that critics, artists, and patrons alike perceived Otis as a promising example of native-born and American-trained artistic genius? Except for those privileged enough to study art through European travel, Philadelphian artists and patrons had few opportunities to view art prior to 1812. Nonetheless, art criticism and theory were available to artists and patrons through articles appearing predominantly in two Philadelphia magazines, Analectic Magazine and The Port Folio. These articles sought to perform the dual functions of exposing the reader to art through vivid descriptions and providing the reader with vocabulary to critique and evaluate art.5 The degree to which published criticism influenced the collective Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 3 readers' perception of art remains unknown, but it is certain that the criticism favored some styles of painting over others. More significant to an understanding of Otis's acclaim is the language used in early nineteenth- century criticism and the sources of critical rhetoric. Several factors support the notion that criticism influenced the way Philadelphians looked at art in the early nineteenth century. Despite its position as an "artistic" center of the new nation, Philadelphia contrasted sharply with Europe in its public and private collections of painting and sculpture. Philadelphia lacked the frequent public exhibitions,
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