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GREAT NATIONAL PAINTING” 7 How John Trumbull’S the Declaration of Independence Shaped the Debate Over Public Art and National Identity, 1817-1828 Margaret Coons

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GREAT NATIONAL PAINTING” 7 How John Trumbull’S the Declaration of Independence Shaped the Debate Over Public Art and National Identity, 1817-1828 Margaret Coons THE YALE HISTORICAL REVIEW AN UNDERGRADUATE PUBLICATION FALL 2013 THE YALE HISTORICAL REVIEW AN UNDERGRADUATE PUBLICATION The Yale Historical Review provides undergraduates an opportunity to have their exceptional work highlighted and FALL 2013 encourages the diffusion of original historical ideas on campus by VOLUME III providing a forum for outstanding undergraduate history papers ISSUE I covering any historical topic. The Yale Historical Review Editorial Board For past issues and information regarding gratefully acknowledges the support of the submissions, advertisements, subscriptions, following donors: contributions, and our Editorial Board, please visit our website: FOUNDING PATRONS Matthew and Laura Dominski WWW.YALE.EDU/ In Memory of David J. Magoon YALEHISTORICALREVIEW Sareet Majumdar Brenda and David Oestreich Or visit our Facebook page: Stauer Derek Wang WWW.FACEBOOK.COM/ Yale Club of the Treasure Coast YALEHISTORICALREVIEW Zixiang Zhao With further questions or to provide FOUNDING CONTRIBUTORS feedback, please e-mail us at: Council on Latin American and Iberian Studies at Yale [email protected] Peter Dominksi J.S. Renkert Or write to us at: Joe and Marlene Toot Yale Center for British Art THE YALE HISTORICAL REVIEW Yale Club of Hartford P.O. BOX #204762 Yale Council on Middle East Studies NEW HAVEN, CT 06520 CONTRIBUTORS The Yale Historical Review is published by Greg Weiss Yale students. Yale University is not Annie Yi responsible for its contents. ON THE COVER: Trumbull, John. The Declaration of Independence. 1818. Oil on canvas. U.S. Capitol, Washington. Architect of the Capitol. 21 Nov. 2012. <http://www.aoc.gov/capitol- hill/historic-rotunda-paintings/declaration-independence>. EDITOR IN CHIEF ASSOCIATE EDITORS EDITORIAL Jacob Wasserman, SY ’16 Samuel Becker, CC ’16 BOARD John Hayashi, BR ’14 MANAGING EDITOR Gene Kim, CC ’14 Spencer Weinreich, PC ’15 Nicole Ng, PC ’17 Andrew Tran, BK ’16 Emily Yankowitz, PC ’17 SENIOR EDITORS Jacob Anbinder, ES ’14 COPY EDITORS Tiraana Bains, CC ’15 Olivia Pollak, DC ’16 Margaret Coons, SM ’14 Scott Remer, PC ’16 Noah Remnick, ES ’15 Lauren Wackerle, TC ’16 DEVELOPMENT CHAIR PRODUCTION & DESIGN Jessica Liang, TD ’17 Anthony Kayruz, BR ’17 DAVID BLIGHT ADVISORY Class of 1954 Professor of American History; Director of the Gilder Lehrman Center for the BOARD Study of Slavery, Resistance, and Abolition JOHN GADDIS Robert A. Lovett Professor of Military and Naval History; Director of the Brady Johnson Program in Grand Strategy BEVERLY GAGE Director of Undergraduate Studies for History GLENDA GILMORE Peter V. and C. Vann Woodward Professor of History, African American Studies, and American Studies JAY GITLIN Lecturer of History; Associate Director of the Howard R. Lamar Center for the Study of Frontiers and Borders STEVEN PINCUS Bradford Durfee Professor of History; Co-Director of the Center for Historical Enquiry and the Social Sciences NORMA THOMPSON Director of Undergraduate Studies for Humanities LETTER FROM THE EDITORS Much of history is, at its heart, self-perception. The ways individuals, groups, and nations understand their past, their contemporaries, and themselves offer invaluable insights about the events that have shaped the present. From historiography to cultural anthropology to the study of national identity, examinations of times gone by are incomplete without con- sidering how past peoples viewed their world. As Yale’s own history department undertakes a period of reflection on how the discipline is taught—creating new course pathways and retool- ing the requirements of the major—now is an opportune time to examine both the perception of history and history of perception. The essays in the Fall 2013 issue of The Yale Historical Review discuss these questions over a wide geographic and temporal range. Recounting the controversy surrounding the 1801 replacement of a New Haven official, John Masko ’14 examines how Jefferson and his Federal- ist foes regarded the role of partisanship and the legitimacy of opposition in a nation still de- fining its own political identity. Margaret Coons ’14 has followed one strand of that identity in another take on early America, investigating the young republic’s relationship with art and the representation of its own history through a study of John Trumbull’s magisterial Declaration of Independence. Similar issues arose in twentieth-century Europe, where authoritarian regimes en- gaged in systematic manipulations of national self-perception. Thomas R. Prendergast, Uni- versity of Chicago ’14, explores the career of a Nazi historian, Wilhelm Grau, as part of the Third Reich’s writing and rewriting of history. After the war, the battle over national identity in Russia spread to the realm of poetry. Analyzing the intersection of language and politics, Noah Remnick ’15 compares the two roles played by Soviet poets—as “antagonist and apologist.” Our final two essays explore the history of cross-cultural encounters and impressions. Isabel Beshar ’14 recounts the mixed success of American anti-malaria efforts in Cold War Nepal, a program which blended a surprisingly high degree of cultural sensitivity with a mili- taristic, non-democratic structure. Centuries earlier, we find al-Biruni, who published his mas- sive On India to improve Persian attitudes towards Hindus. In her prize-winning senior essay, Deirdre Dlugoleski ’13 examines this medieval work of anthropology for its engagement with, and manipulation of, Islamic concepts of religion, civilization, and cultural difference. Along the lines of the self-reflective questions raised by the essays in this issue, our Editorial Board itself has been examining the Review’s role and format. While we remain firm- ly committed to publishing quality essays in print, we recognize the power of online media. Recently, we launched our Facebook page and redesigned our website, with the aim of stream- lining and expanding our reach. We encourage you to check out our online resources and offer suggestions for further improvement. Whether you prefer to read our latest issue in print or on the web, we encourage you to examine history’s stories, and your own, with curiosity, rigor, and enjoyment. Sincerely, Jacob Wasserman, Editor in Chief Spencer Weinreich, Managing Editor CONTENTS THE “GREAT NATIONAL PAINTING” 7 How John Trumbull’s The Declaration of Independence Shaped the Debate Over Public Art and National Identity, 1817-1828 Margaret Coons FIGHTING THE RED EPIDEMIC 24 Foreign Policy and Public Health in Cold War Nepal Isabel Beshar THE ANTAGONIST AND THE APOLOGIST 37 Joseph Brodsky, Yevgeny Yevtushenko, and the Generation of Poets Who Changed Russia Noah Remnick ALL REPUBLICANS, ALL FEDERALISTS? 56 The New Haven Remonstrance and Two-Party America John Masko VICTORY AT LAST 72 Wilhelm Grau, Nazi Historiography, and the Propaganda of Revolution Thomas Prendergast AL-BIRUNI’S ELEVENTH CENTURY ANTHROPOLOGY ON INDIA 88 The Moral and Legal Implications of Objectivity Deirdre Dlugoleski THE “GREAT NATIONAL PAINTING” HOW JOHN TRUMBULL’S THE DECLARATION OF INDEPENDENCE SHAPED THE DEBATE OVER PUBLIC ART AND NATIONAL IDENTITY, 1817-1828 John Trumbull’s The Declaration of Independence, pictured on this issue’s front cover, is one of the iconic images of our nation’s early history—but it didn’t always carry such weight. As Margaret Coons ’14 relates, Trumbull’s painting touched off a contentious debate over the propriety of government patronage for the arts. Coons details how Trumbull presented himself as the painter for such a project, and follows the convoluted discourse, carried on in Congress and in print, over the commission, the painter, and questions of historical accuracy. The painting, once created, quickly became a touchstone for the self-image of the nascent country, a position it has retained ever since. By Margaret Coons, SM ’14 Written for “The Age of Hamilton and Jefferson” Professor Joanne Freeman Faculty Advisor: Alejandra Dubcovsky Edited by Tiraana Bains and Nicole Ng 7 THE “GREAT NATIONAL PAINTING” There are few images of early America as ubiquitous as John Trumbull’s The Declaration of Independence. It appears in countless history textbooks, on the (now rare) two-dollar bill, and in its full grandeur as one of four Trumbull paintings commissioned by Congress to hang in the Rotunda of the Capitol. The painting depicts the committee of Thomas Jefferson, John Adams, Benjamin Franklin, Roger Sherman, and Robert Livingston presenting the Declaration to John Hancock before the Continental Congress. With the commission of Trumbull’s paintings in 1817, Congress established the federal government as a supporter of the fine arts in the United States of America and a champion of public commemoration of the heroes of the Revolutionary War. In doing so, Congress also authorized the creation of an aesthetic object, The Declaration of Independence, around which a decade-long debate would take place. That debate reveals a complicated relationship between the federal government, fine arts, fiscal matters, and founding individuals in early America, as well as the way in which these issues affected remembrance of the Revolutionary War period. Art in general, and The Declaration of Independence in particular, became a medium through which early Americans could debate issues of national policy and identity. By examining the debate surrounding this image, we can better understand the attitudes of early Americans towards their recent history and governmental practices. Themes of personal politics, government policy, and national identity echo throughout the documentation of this debate—a debate that, at its core, has not been resolved to this day. The author of the image in question, John Trumbull, was born in 1756 to Jonathan Trumbull—the famous “Brother Jonathan,” friend of Washington, and, later, governor of Connecticut.1 As a painter, he is best known for the Rotunda paintings and his series of smaller Revolutionary War paintings that he donated to Yale University, effectively founding the art gallery there. He was also an aide-de-camp to Washington (if only for a matter of weeks), a diplomat, an architect, and an author.
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