CALIFORNIA STATE UNIVERSITY, NORTHRIDGE GEORGE LUKS AND THE AMERICAN SCENE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Sally Ann-Steiner / June 1980 The Thesis of Sally Ann Steiner is approved: Professor Bernard A. Thorsell .california State University, Northridge ii ACKNOWLEDGMENTS The entire process of developing this master's thesis has involved working with many persons to whom this study is now dedicated. The research was initiated, inspired, and finally presented with the encouragement and assistance of Dr. Donald S. Strong, Professor of Art History and Chairman of the Thesis Committee. Dr. Strong consis­ tently contributed support and inspiration, and spared neither time, patience, nor scholarly suggestions. Dr. Bernard Thorsell, Professor of Sociology and Chairman of the Sociology Department, CSUN, participated enthusiasti­ cally on the Committee and contributed guidance to the sociological considerations within the study. Ms. Kenan Breazeale, Assistant Professor of Art History, provided insights and suggestions for the format and presentation of material. Dr. Jeanne Trabold, Professor of Art History, assisted graciously with questions of form. Through correspondence and personal interviews, Helen Parr Sloan, Margarett Vernon, Joseph Hirsch, Joseph S. Trovato, Dr. E. Maurice Bloch, Phil Dike, and others helped bring vitality to the memory of George Luks and his con­ tributions in American art. Museum staff personnel across the country responded helpfully to correspondence. The staff of librarians, Oviatt Library, CSUN, willingly aided iii research efforts. In particular, appreciation is extended to Ms. Charlotte Oyer, Ms. Virginia Elwood, Mrs. Lyle Imbach, and Mr. Don Read, who answered questions, offered suggestions, and successfully provided their special skills. In the final phase of work Mrs. Evelyn Mayfield collaborated efficiently with typing and preparation. This study could not have been accomplished without the love and devotion of my husband, children, and mother, who encouraged and supported this effort and endured the extended time it has taken to complete. Particular grati­ tude and affection are given to my husband, Carl, for his invaluable editing and photography, as well as his love and loyalty. His sensitivity, companionship, and appreciation for .the arts have sustained me through this work. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS . • . • . iii LIST OF PLATES AND SOURCES vi · ABSTRACT xii INTRODUCTION 1 Chapter 1. LUKS' EARLY YEARS AND THE TRADITION OF ARTISTS WHO DOCUMENT THE AMERICAN SCENE 10 2. COMICS, POLITICAL CARTOONS, MAGAZINE SKETCHES AND DRAWINGS: LUKS' COM- MENTARY ON THE URBAN AMERICAN SCENE 23 3. INFLUENCES ON LUKS FROM THE SOCIOCULTURAL ENVIRONMENT, PARALLELS WITH THE LITERARY TRADITION, AND LUKS' INFLUENCE ON OTHERS . • . 4 9 4. FINAL CONSIDERATIONS 69 PLATES 73 BIBLIOGRAPHY 158 APPENDIXES A. REMINISCENCES OF PHIL DIKE, FORMER STUDENT OF LUKS . 173 B. LUKS DESCRIBES THE SLUMS IN AN INTERVIEW BY LOUIS BAURY . 180 c. BIOGRAPHICAL NOTES . 183 v PLATES AND SOURCES Plates Page 1. Winslow Homer, Snap the Whip, oil, 1872. Source: Lloyd Goodrich, Winslow Homer {New York: Whitney Museum of American Art, 1973), p. 63 .••.•.••.•• 75 2. Thomas Eakins, Walt Whitman, oil, 1887. Source: Fairfield Porter, Thomas Eakins (New York: George Braziller, Inc., 1959), Plate 49. •.•.....•.. 77 3. Thomas Anshutz, Ironworkers at Noontime, oil, ca. 1882. Source: The City in American Painting {Allentown;-Pennsylvania: Allentown Art Museum, 19 7 3) , p. 3 5 • • • • • • • . • • 79 4. Robert Henri, Portrait of George Luks, oil, 1904. Source: William Innes Homer, Robert Henri and His Circle (Ithaca, New York: Cornell University Press, 1969), p. 114. • ••. 81 5. George Luks, The Old Duchess, oil, 1905. Source: Metropolitan Museum of Art, New York .. 83 6. George Luks, "Uncle Sam: 'I'm Ready to Join this Peace Conference,'" political cartoon for journal, 1899. Source: The Verdict, Vol. 1, No. 10 {February~, 1899), 10-11 •..••• 85 7. Winslow Homer, Cavalry Soldier, black chalk, 1863. Source: Lloyd Goodrich, Winslow Homer (New York: Whitney Museum of American Art, 1973), p. 13. • . .. • . • .. • • . • • 87 vi Plate Page 8. George Luks, "An Insurgent Standard Bearer," newsprint, 1896. Source: Philadelphia EVening Bulletin, microfilm, 1896. ..•....• 89 9. George Luks, Hester Street, oil, 1905. Source: The Brooklyn Museum, Brooklyn, New York. 91 10. Thomas Eakins, Wrestlers, oil, 1899. Source: Sylva Schendler, Eakins (Boston: Little, Brown and Co., 1967), Plate 74, p. 158 . ................ 93 11. George Luks, Wrestlers, oil, 1905. Source: Museum of Fine Arts, Boston, Boston, Massachusetts. • • . 95 12. George Luks, "The Battle of January 29," newsprint, 1896. Source: Philadelphia Even·ing Bulletin, microfilm, February 15, 1896 .... 97 13. Geroge Luks, "A Hot Election Day in Hogan's Alley," newsprint, 1896. Source: New York World, microfilm, Novem- ber 1, 1896, Sunday Supplement, p. 1. 99 14. George Luks, "Barbarous Cruelty of a Tu;kish Governor," newsprint, 1896. Source: New York World, microfilm, Sep- tember 20;-18~p. 19 ....... 101 15. George Luks, "The Imperialism Stunt," political cartoon for journal, 1899. Source: The Verdict, Vol. 2, No. 9 (August 1~1899), 1. 103 vii Plate Page 16. George Luks, "Hanna: That Man Clay Was an Ass. It's Better to be Presi­ dent than to Be Right!" political car­ toon for journal, 1899. Source: Thomas C. Blaidsell, Jr., Peter Selz and Seminar. TheAmerican Presidency in Political C:arfoons: 1776~1976 (Berkeley, California: University Art Museum, 1976) , Plate 49, p. 141. • . 105 17. George Luks, "The Way We Get the War News - Manila Correspondent and th~ McKinley Censorship," political cartoon for journal, 1899. Source: The Verdict, Vol. 2, No. 10 (August ?r;-1899), 1 •....... 107 18. George Luks, "The Coming Republican Circus Has A Dress Rehearsal," political cartoon for journal, 1899. Source: The Verdict, Vol. 2, No. 3 (July 31 1899) 1 12-13 • o o o o • • • 109 19. George Luks, Seen on Any Free Day in Any Art Gallery, published sketch,-r92I7 Source: Vanity Fair, Vol. 16, No. 4 (Junel921), 44.-- ....... 111 20. George Luks, Bringers of Light: The Professors, published sketch, 192~ Source: Vanity Fair, Vol. 19, No. 3 (November 1922) ,~ ...•... 113 21. George Luks, The Children's Hour in Washington Square, published sketch, 1921. Source: Vanity Fair, Vol. 17, No. 4 (December 1921),~ ....... 115 viii Plate Page 22. George Luks, The Sand Artist, oil, 1905. Source: George Luks, 1866-1933, Utica, New York: Munson-Williams-Proctor Institute. 117 23. George Luks, The Mixed Grill Served Daily at the Ritz, published sketch, 1922. Source: Vanity Fair, Vol. 18, No. 6 (February 1922), 62. .•••. 119 24. George Luks, Polo: A Few Motion Pictures ey George Luks, black chalk, 1922. Source: Vanity Fair, Vol. 19, No. 1 (September 1922) , 72. • • . • • 121 25. George -Luks, At the Taft Exhibition, pencil, n.d. Source: Munson-Williams-Proctor Insti­ tute, Utica, New York. •...•••. 123 26. George Luks, Fat Woman, blue crayon, n.d. Source: Munson-Williams-Proctor Insti­ tute, Utica, New York. ...•••. 125 27. George Luks, Spring in the Woods, pencil, n.d. Source: Munson-Williams-Proctor Insti­ tute, Utica, New York. • . 127 28. George Luks, Figures, pencil, n.d. Source: George Luks Drawinas, Olana Gallery, 2390 Palisades Avenue, Bronx, New York, Catalogue No. 13, p. 6 •• 129 29. George Luks, Figures, pencil, n.d. Source: George LUks Drawings, Olana Gallery, New York, Catalogue No. 13, p. 13. • . • . 131 ix Plate Page 30. George Luks, Group of Figures, carbon pencil, ca. 1920. Source: National Collection of Fine Arts, Smithsonian Institution, Washington, D.C. • . • . 133 31. George Luks, Daughter of the Mines, watercolor, 1923. Source: George Luks - 1866-1933. An exhibition of--paint:ings and drawings dating from 1889 to 1931 (Utica, New York: Munson-Williams-Proctor Insti­ tute, 1973), p. 11 •.......... 135 32. George Luks, Teddie Roosevelt: Facing Right, color, n.d. Source: Hirschl and Adler Galleries, New York. 137 33. George Luks, Teddie Roosevelt: Facing Front, color, n.d. Source: Hirschl and Adler Galleries, New York. • . • . 139 34. George Luks, Jack Dempsey in Training, watercolor, 1920-1924. Source: Los Angeles County Museum of Art, Los Angeles, California ..... 141 35. George Luks, Portrait of Gene Tunney, oil, 1927. Source: Vanity Fair, Vol. 29, No. 2 (October 1927) , ~- . 143 36. George Luks, The Peddler, pencil on paper, n.d. Source: Walker Art Center Minneapolis, Minnesota. •.... 145 37. George Luks, The Miner, oil, 1925. Source: National Gallery of Art, Washington, D.C. ... 147 X Plate Page 38. George Luks, Man Alone, pencil, n.d. Source: Munson-Williams-Proctor Insti­ tute, Utica, New York. • .••.• . 149 39. Reginald Marsh, "What Is Wrong with these Pictures?" published sketch, 1922. Source: Vanity Fair, Vol. 18, No. 4 (July 1922), 74. • . • . • 151 40. Philip Evergood, Her World, oil, 1948. Source: The Metropolitan Museum of Art, New York, New York ...•.....••. 153 41. Joseph Hirsch, Blind Men Listening, conte crayon on paper, n.d.--- Source: The Metropolitan Museum of Art, New York, New York .•...•• 155 42. Joseph Hirsch, The Room, oil on canvas, n.d. Source: The Metropolitan Museum of Art, New York, New York .•.......... 157 xi ABSTRACT GEORGE LUKS AND THE AMERICAN SCENE by Sally Ann Steiner In this study George Luks' artistic achievements are examined from the standpoint of the artist's role as a commentator on the American scene