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Florida State University Libraries )ORULGD6WDWH8QLYHUVLW\/LEUDULHV 2020 Viva La Mujer: International Leftist Politics and Pan-Hispanism in the Work of Alice Neel Sahara Jane Lyon Follow this and additional works at DigiNole: FSU's Digital Repository. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF FINE ARTS VIVA LA MUJER: INTERNATIONAL LEFTIST POLITICS AND PAN-HISPANISM IN THE WORK OF ALICE NEEL By SAHARA LYON A Thesis submitted to the Department of Art History In partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: Spring, 2020 Viva La Mujer: International Leftist Politics and Pan-Hispanism in the Work of Alice Neel The members of the Defense Committee approve the thesis of Sahara Lyon defended on April 23, 2020. Dr. Tenley Bick Thesis Director Dr. Carla Della Gatta Outside Committee Member Dr. Karen Bearor Committee Member 2 Viva La Mujer: International Leftist Politics and Pan-Hispanism in the Work of Alice Neel Abstract Art historians and critics such as Denise Bauer and Ann Temkin have written on American artist Alice Neel’s (1900–1984) work through a feminist lens, focusing primarily on her portraits of women. In recent years, revisionist scholarship, especially by writer and theater critic Hilton Als in his exhibit Alice Neel, Uptown (David Zwirner Gallery, New York, 2017), has focused on Neel’s attention to class, race, and representation in her portraits of her neighbors in Spanish Harlem. However, these scholars have not adequately addressed Neel’s engagement with Spanish Romanticism and Cuban modernism even though her early work poses formal and ideological connections to both movements. Her work’s attention to these movements constitutes an engagement with pan-Hispanism, a term coined in the late nineteenth century, partly in response to pan-Americanism. Neglecting the relationship between Neel’s work’s and international, partly pan-Hispanic art movements, poses an issue because the discourse discusses Neel’s work in an isolationist American political context and a non-intersectional feminist lens. However, her early work urges us to look at her involvement with international politics, such as anti-Franco sentiments, further highlighting her leftist political interests. In response to this gap in the discourse, this thesis examines the relationship in Neel’s early work to Spanish Romanticism and Cuban modernism with special attention to global politics. This special attention highlights the leftist philosophies communicated through her work such as class struggles and racial equality. By closely examining Neel’s early work in relation to Cuban modernism and Spanish Romanticism, I shed light on new facets of Neel’s engagement with leftist politics while repositioning her work within an international artistic context. I argue that Neel’s interest in historical Spanish Romanticism and contemporaneous Cuban modernism, both formally and ideologically, serves to enforce Neel’s interest in leftist politics and to position her 3 Viva La Mujer: International Leftist Politics and Pan-Hispanism in the Work of Alice Neel work within a global political context. More focus is placed on Neel’s paintings created between 1925 and 1960 in comparison to contemporaneous work by Cuban modernists Eduardo Abela and Wifredo Lam, among others, as well as the historical works of Spanish Romantic painter Francisco Goya. This thesis finds that Neel’s work is deeply rooted in international leftist politics and an engagement with Spanish Romanticism and Cuban modernism through a pan-Hispanic art mode—that is, through specifically engaging with the leftist, anti-colonial, and anti-fascist sentiments of both movements. Thesis Manuscript In 1970, American art historian Cindy Nemser reached out to American artist Alice Neel (1900–1984) to ask if Neel might provide a quote for Nemser’s upcoming article in Art in America on the subject of women in art.1 Neel responded with a quote on discrimination in the art world that ended as follows: “History must be rewritten. Viva La Mujer.” Neel’s response aligned with her position within American feminist art history, but her use of the Spanish translation for “hooray for women” presented questions: Why did this American artist, who has no ancestry relating her to the Hispanic world, choose to end her quote with a Spanish phrase rooted in histories of Chicana and Latina feminist movements? This quote calls for attention to Neel’s engagement with the Hispanic art world and leftist politics. After her graduation from the Philadelphia School of Design in 1925, Neel moved to Havana, Cuba with her husband and fellow artist Carlos Enríquez, who was from Havana.2 1 Getty: Recording Artists, episode 2, “Alice Neel: Viva La Mujer,” host Helen Molesworth, 2013, audio, 35:33, https://www.getty.edu/recordingartists/season-1/neel/. 2 Phoebe Hoban, Alice Neel: The Art of Not Sitting Pretty (New York: St. Martin’s Press, 2010), 48–50. 4 Viva La Mujer: International Leftist Politics and Pan-Hispanism in the Work of Alice Neel While she lived there only until 1928, these formative years spent in Havana had a resounding and arguably enduring impact on Neel’s work, partly due to the trauma she experienced, as her first daughter was born and died in Havana.3 Neel’s exposure to political artwork through the Cuban Vanguardia movement had a lasting impact on her portraits and broader work in figuration, as she paid close attention to intersections of class, race, and representation in her work, as in Beggars, Havana, Cuba (1926) (Fig. 1). Specifically, her portraits painted between 1925 and 1960 such as Elsie Rubin (1958) explored emotive color palettes, magical realism, and so-called Naïve Art, styles practiced by Cuban modernists such as Wifredo Lam (Fig. 2).4 Within the art historical discourse on Neel, however, this early period of Neel’s artistic life has been relatively neglected, with art historians choosing instead to highlight her later portraits of women such as Self-Portrait (1980) and Linda Nochlin and Daisy (1973) (Figs. 3– 4).5 In comparison to her earlier works, these portraits use brighter, more vivid color palettes as well as tighter brushstrokes. Feminist art historians were driven to focus on these later works of women because the portraits aligned well with second-wave feminism, a movement Neel supported.6 In addition, the portraits aligned with canonical revisions being made by many feminist art historians during the late twentieth century. However, in recent years, scholars such as Hilton Als and Jeremy Lewison have shifted the focus away from Neel’s portraits of— primarily—white women and towards her understudied portraits that engage more diverse representations of class, race, and community outside of whiteness, such as The Spanish Family 3 Henry R. Hope, “Alice Neel: Portraits of an Era,” Art Journal 38, no. 4 (1979): 275. 4 Luis Camnitzer, New Art of Cuba: Revised Edition (Austin: The University of Texas Press: Austin, 1994), 2. 5 Denise Bauer, “Alice Neel’s Female Nudes,” Art Journal 15, no. 2 (1994–1995): 21. 6 Hope, “Alice Neel: Portraits of an Era,” 280. 5 Viva La Mujer: International Leftist Politics and Pan-Hispanism in the Work of Alice Neel (1943) (Fig. 5).7 Art historians have noted Neel’s engagement with leftist politics in a U.S.- American context, such as her sympathizing with American Communist ideals for the majority of her life, as suggested by her portrait of the leader of the party, Gus Hall (1981).8 Despite this revisionist scholarship, scholars have also largely neglected to note Neel’s engagement with leftist politics on a global scale, despite her work’s international engagement with politics.9 For example, art historian and critic Henry R. Hope interviewed Neel in 1979 for Art Journal. In this interview, Hope asked Neel if she found inspiration in the work of any contemporary American artists. Neel responded, “I knew [contemporary artists’] work, but was more interested in Goya… Friends said my painting looked Spanish.”10 Here, Neel reflects on her interest in Spanish Romantic art, specifically because of her reference to Goya who, during the mid-twentieth century, was primarily studied as a Romantic artist.11 By failing to acknowledge Neel’s interest in both Cuban modernism and Spanish Romanticism, however, the current scholarship surrounding Neel has not yet sufficiently acknowledged key sources of Neel’s politicized interests in class, race, and representation, study of which reveals an engagement with pan-Hispanism. The discourse has therefore yet to acknowledge her work’s 7 Hilton Als, Alice Neel, Uptown (New York: David Zwirner Gallery, 2017). 8 Andrew Hemingway, Artists on the Left. American Artist’s and the Communist Movement, 1926–1956 (New Haven and London: Yale University Press, 2002); In the context of this paper, U.S.-American art does not refer to Native or Indigenous American art forms, although I am conscious of the colonial histories of American Imperialism and the trauma experienced by millions of Indigenous American peoples. Unfortunately, due to this colonial legacy, the term “American art” is often used to describe art created outside of an Indigenous context, but still on the continents of North and South America. 9 When using the word “global,” I am referring to an international interest outside of the United States of America, and a conscious engagement of international Leftist politics, such as those stemming from Cuba, revolutionaries in Francoist Spain, and sentiments developing during the Cold War. 10 Hope, “Alice Neel: Portraits of an Era,” 273. 11 Rose-Marie Hagen, Francisco Goya, 1746–1828 (Cologne: Taschen, 2003), 15. 6 Viva La Mujer: International Leftist Politics and Pan-Hispanism in the Work of Alice Neel interaction with global leftist politics within the context of mid-twentieth-century U.S.-American art. Pan-Hispanism was defined as cooperation—socially, economically, and politically— amongst the Spanish-speaking world, as explained by J.
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