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Nature and Nostalgia in the Art of Mary Nimmo Moran (1842-1899)

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Nature and Nostalgia in the Art of Mary Nimmo Moran (1842-1899) City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Nature and Nostalgia in the Art of Mary Nimmo Moran (1842-1899) Shannon Vittoria Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/700 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NATURE AND NOSTALGIA IN THE ART OF MARY NIMMO MORAN (1842-1899) by SHANNON VITTORIA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 SHANNON VITTORIA All Rights Reserved NATURE AND NOSTALGIA IN THE ART OF MARY NIMMO MORAN (1842-1899) by SHANNON VITTORIA This manuscript has been read and accepted for the Graduate Faculty in Art History to satisfy the dissertation requirement for the degree of Doctor of Philosophy. Katherine Manthorne _________________________ ___________________________________ Date Chair of Examining Committee Rachel Kousser _________________________ ___________________________________ Date Executive Officer Patricia Mainardi Sally Webster Helena E. Wright Supervisory Committee THE CITY UNIVERSITY OF NEW YORK ABSTRACT NATURE AND NOSTALGIA IN THE ART OF MARY NIMMO MORAN (1842-1899) by SHANNON VITTORIA Adviser: Professor Katherine Manthorne This dissertation is the first comprehensive study dedicated to the work of American painter-etcher Mary Nimmo Moran (1842-1899), an innovative printmaker and influential interpreter of the American landscape. She began her career in 1863, studying drawing and painting with her husband, artist Thomas Moran (1837-1926). Throughout the 1870s, she exhibited works at both the Pennsylvania Academy of the Fine Arts and the National Academy of Design, and published wood engraved illustrations in books and popular monthly magazines. Yet it was in the medium of etching that she achieved her greatest recognition: between 1879 and her untimely death in 1899, she executed an extensive oeuvre of expressively etched, tonal landscapes that nostalgically preserve America’s agrarian past as it was beginning to disappear. Working primarily in East Hampton, Long Island – where she and Thomas Moran built a home-studio in 1884 – she also traveled extensively throughout her career etching landscapes of Pennsylvania, New Jersey, Florida, California, Scotland, and Wales. Her technical expertise and inventive approach to printmaking, which included experiments with tools, techniques, inks, and papers, placed her at the forefront of the etching revival – a movement that aimed to promote original etching as the preeminent medium capable of conveying personal, autographic expression. Nimmo Moran was a major contributor to this popular and influential movement, which began in France and England in the 1860s, before reaching its height in the United States in the 1880s. She was the first woman elected to both the New York Etching Club and London’s i Society of Painter-Etchers, and her prints were widely exhibited and critically acclaimed in cities across the United States and in Europe. While her skilled and innovative works placed her on the cutting edge of American printmaking, this dissertation argues that Nimmo Moran used the newly revived medium of etching to promote a nostalgic vision of nature. I contend that her etchings visually preserve the landscape of America’s eastern seaboard, idealizing a pastoral past in the face of an increasingly industrialized present. As a result, her etchings appealed to an urban clientele, satisfying their growing demand for original, expressive, and affordable works of art, while also providing visual respite for those seeking to escape the complexities of modern-industrial life. I analyze her landscape aesthetic amidst the rise of American Tonalism, revealing the ways in which she deftly manipulated the etching medium to create harmonious tones in monochrome. Her oeuvre thus illustrates the importance of etching to the development of the Tonalist aesthetic in American painting, printmaking, and photography at the end of the nineteenth century. ii ACKNOWLEDGEMENTS I received tremendous support and counsel while researching and writing this dissertation. First and foremost, I extend a heartfelt thank you to my adviser Professor Katherine Manthorne, whose guidance and support was unwavering. Her dedicated research on the work of women artists inspired my pursuit of this topic. I am most grateful to my advisory committee for their invaluable insights and thoughtful feedback. My second reader Patricia Mainardi supplied unparalleled mentorship throughout my graduate studies and my third reader Sally Webster enthusiastically supported this project at a critical juncture. I am deeply indebted to my fourth reader Helena E. Wright, whose early and sustained encouragement motivated my research. My time at the Graduate Center would not have been the same without Andrea Appel, Assistant Program Officer, whose patient demeanor and generous spirit is enviable. I would also like to thank Professors Kevin Murphy, Claire Bishop, and Rachel Kousser, who served as Executive Officers during my tenure at the Graduate Center and generously supported my studies over the years, as well as Kenneth Silver, who served as my undergraduate adviser at New York University and emboldened me to pursue a Ph.D. in art history. I was fortunate to receive the assistance of a Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship in American Art, as well as a Graduate Center Doctoral Student Research Grant, which together provided the resources necessary to complete this dissertation. Over the course of my research, I consulted more than twenty public collections, where I had the pleasure of meeting curators, librarians, art technicians, and volunteers who generously made their holdings available for use. I would like to extend a special thank you to Gina Piastuck, Department Head, Long Island Collection, East Hampton Library, who patiently fielded my seemingly endless number of requests for PDFs and JPEGs; Richard iii Barons, Director, East Hampton Historical Society, who led me on an unforgettable tour of the Morans’ home-studio; Alicia Longwell, the Lewis B. and Dorothy Cullman Chief Curator, Parrish Art Museum, who opened the Museum’s print room for extended periods of study; and Kimberly Roblin, Associate Curator, and Renee Harvey, Assistant Librarian, Gilcrease Museum, who graciously facilitated my cataloguing of more than 400 works in just two weeks. I extend my sincere appreciation to the print room and library staffs at the Metropolitan Museum of Art, New York Public Library, Newark Museum, Pennsylvania Academy of the Fine Arts, Museum of Fine Arts, Boston, Baltimore Museum of Art, Smithsonian American Art Museum, National Museum of Women in the Arts, Library of Congress, and Archives of American Art for accommodating my research visits, as well as to Erin Bennett and Sylvie Francois at Swann Auction Galleries for connecting me with collectors who generously opened their homes for private viewings of paintings and prints. I had the great fortune of meeting historian David G. Wright over the course of my research. His enthusiasm for the work of Mary Nimmo Moran is contagious and he supplied indispensible assistance and sage advice as I pursued this project. I extend a heartfelt thank you to artist Stephen Fredericks, whose knowledge of printmaking techniques and passionate dedication to historical American etching has inspired my own, as well as to Jim Kelch, who provided critical assistance with genealogical research. For their continued encouragement, I owe a deep debt of gratitude to my colleagues in the American Wing at the Metropolitan Museum of Art, including Elizabeth Kornhauser, Stephanie Herdrich, Catherine Mackay, and notably Thayer Tolles, whose timely editorial assistance, mentorship, and friendship has been invaluable. I would also like to acknowledge the support of colleagues Kimberly Orcutt, Marilyn Kushner, Colin Bailey, and Caterina Pierre. iv Over the course of eight years, I greatly benefited from a network of extraordinary women at the Graduate Center (and beyond). For their friendship and support, I thank my fellow art historians Britany Salisbury, Lee Hallman, Beth Saunders, Alice Walkiewicz, Eva Gratta, Caroline Gillaspe, Leslie Anderson-Perkins, Allie Rudnick, Marci Clark, Karin Zonis, Sarah Schaefer, Shana Lopes, Diana Greenwold, and Christina Weyl. Outside of graduate school, I was fortunate to have the loving support of family and friends. I could not have crossed the finish line without the encouragement (and home-cooked meals) of Jessica Holmes, Samantha Chen, Rachna Govani, Beth Duthie, and the Paparo family. I am, however, most grateful for my partner Brian Szczepanski. From my second semester of coursework to my defense, he weathered the storm of exams and presentations and deserves an honorary Ph.D. for his patience. Finally, I dedicate this dissertation to my parents, who lead by example and embody the values of hard work, honesty, and collaboration. Words cannot truly express my gratitude for the sacrifices they have made (and continue to make) and unconditional encouragement they have proffered. A heartfelt
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