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Index
David M. Lubin
Description: Picturing a Nation: Art and Social Change in Nineteenth-Century America
Picturing a Nation: Art and Social Change in Nineteenth-Century America
Index
Author
David M. Lubin
PublisherYale University Press
Copyright© 1994 by Yale University
https://doi.org/10.37862/aaeportal.00093.010
Stable URL: https://aaeportal.com/?id=-15960
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Index
For topic outlines of individual chapters, see Ariadne Asleep on the Isle of Naxos (chap. 1), Emigration of Boone (chap. 2), Duncanson, Robert S. (chap. 3), Spencer, Lilly Martin (chap. 4), Making a Train (chap. 5), and trompe l’oeil still-life painting (chap. 6).
 
Abbott, Jacob, 214, 249–50
Abduction of Daniel Boone’s Daughter (Wimar), 99, 100
Able Doctor (Revere), 44–45
Adams, John Quincy, 67
Adams, John, 46
Adolphe (Constant), 18–19
After the Hunt (Harnett), 273, 295, 297, 300
agrarianism, 37–38, 134, 218, 304, 312
Agrippina Landing at Brundisium (West), 76
Alas, Poor Yorick! (Spencer), 176, 177
Alcott, Bronson, 249, 259
Alcott, Louisa May, 248, 249, 269
“Alice Liddell as a Beggar Girl” (Carroll), 226
Allston, Washington, 173, 201
America (de Bry), 29, 33
American Art-Union, 65–68, 86, 93–94, 104, 171
Andes of Ecuador (Church), 131, 132
Andrew Jackson (Vanderlyn), 39
Annan, Thomas, 148, 150
Anthony, Susan B., 210, 212, 269
Antiope (Vanderlyn), 12
Appleton, Jane Sophia, 166
Ariadne Asleep on the Isle of Naxos (Durand), 14
Ariadne Asleep on the Isle of Naxos (Vanderlyn, chap. 1), 4: Vanderlyn’s early career, 1–5, 9–12, 35–36, 45–46
social-political context, 1–5
plurality of meanings, 4, 24, 44, 47–48, 49, 50–51, 52–53
description, 5–6, 8
nature/culture dichotomy, 6–8, 42
mythological context, 6–8, 18
seduction theme, 8, 17–24, 28, 38, 40, 42
female nude in art, 10–17
as embodiment of Western culture, 10–12, 42
sexual gazing, 10, 16, 29–30, 48–49, 52
sexual predation and victimization, 12–13, 16–17, 18–24, 52
sex and commerce, 12–13
public protest, 12, 14–17, 48–49
sentimental culture, 16–17, 21
anti-British matrix, 22–23, 44–46
class struggle, 23–24, 42–43, 45–48
family melodrama, 22–25
similarity to Pocahontas legend, 25–28, 30–31, 42
female sexual desire, 28–31, 49–52
Indians regarded as unrestrained sensualists, 28–31, 40–41, 52
as natural, self-restrained nobles, 31–33
as classical Greeks, 31–35, 41
Indian princess symbol for America, 33–35
Vanderlyn and Indians, 35–36
racial conflict, 36–42
political conflict, 42–48
female autonomy, 49–52. Also mentioned, 55, 229
Ariadne of Naxos (Benda), 24
“Ariadne’s Thread” (Miller), 53
Ariadne, Bacchus, and Venus (Tintoretto), 7, 24
Ariadne: Study for Head and Torso (Vanderlyn), 10
Arnold, Matthew, 103
Arnolfini Wedding Portrait (van Eyck), 233, 234
Art Versus Law (Blythe), 207, 208, 267
Artist and Her Family at a Fourth of July Picnic (Spencer), 183, 189, 191, 192, 193, 197
Artist and Model in the Studio, 268
“Artists in Whittredge’s Studio,” 210
Atala (Chateaubriand), 31
Attention, Company! (Harnett), 290
Atwood, Margaret, 167, 180
Au Bonheur des dames (Zola), 287
Awful Disclosures (Monk), 77
 
Bacchus and Ariadne (Reni), 24, 26
Bacchus and Ariadne (Titian), 24, 25
Bachelor’s Drawer, A (Haberle), 281, 284
Baker, Charlotte, 219, 220, 223
Bakhtin, Mikhail M., 179
Ball, James P., 116
Bannister, Edward, 152
Barlow, Joel, 1, 46
Barnardo, Dr. Thomas, 226
Barnum, Phineas T., 288
Barthes, Roland, xii, 261, 310
Baum, L. Frank, 310, 316–17, 319
Beauty and Barberism (Spencer), 246, 247
Beecher, Catharine, 77, 171, 178, 187
Before the Mirror (Manet), 265
Beheading of Saint John the Baptist (Caravaggio), 270
“Behind a Mask” (Barnard), 247–48
Benjamin, Walter, 40, 357nn49,52
Bennett, James Gordon, 67
Benton, Sen. Thomas Hart, 68, 69, 94, 99, 101
Bierstadt, Albert, 55
Bingham, George Caleb: illstr., 56, 59, 60, 61, 63, 71, 96, 97, 283. See Emigration of Boone (chap. 2)
Biographical Memoir of Daniel Boone (Flint), 83
“Birdie” (Carroll), 222
Birth of Venus (Cabanel), 13
Bloch, Ernst, 148
Blue Hole, Little Miami River (Duncanson), 107, 108, 111–12, 117, 119, 122, 132, 153
Blythe, David Gilmour, 206, 208, 214, 216, 217, 267
Boone, Daniel, 55, 57, 69, 83, 84, 86, 87, 91, 93, 98, 102, 104
loner, 62, 95
Indian fighter, 70, 82ff
and squatters, 95
courting, 98–99
old age, 102
Boone, Rebecca Bryan, 57, 71, 73, 75, 76, 77, 78, 79, 98–99
Bootblack with Rose (Brown), 216
Bouguereau, William, 13, 15, 295, 297, 301
Boy with a Fruit Basket (Caravaggio), 236
Breaking Home Ties (Hovenden), 308, 309
Brecht, Bertolt, 148–50, 176
Bringing Home the Bride (Hovenden). 255, 280
Broken Mirror (Greuze), 235
Broken Vows (Calderon), 263
Brontë, Charlotte, 271
Brown, J. G. [John George], 205, 206, 207, 216, 223, 224
Brown, William Wells, 119, 153
Brueghel, Pieter, 126, 127
Bryant, William Cullen, 65, 67
Burr, Aaron, 9, 10, 13, 21, 46
Byron, George, Lord, 20, 62
 
Cabanel, Alexandre, 13, 15
Cabin Door Still Life (Goodwin), 283
Cameron, Julia Margaret, 220, 221
Capital (Marx), 281
Caravaggio, 241, 242, 270
Carroll, Lewis, 221, 222, 223, 226, 227, 261, 347n20
Cather, Willa, 306–07
Chambers, William, 153
Charlotte Temple (Rowson), 21–23, 168
Chase, William Merritt, 201, 293, 294
Chesnutt, Charles, 154
Child, Lydia Maria, 164
childhood: and play, xvi, 195–97, 212–15, 219, 221–22, 262
political allegory of, 22, 25, 37, 38, 40, 44–45, 136, 215, 228–31
Indians as children, 38, 40, 290
nostalgia for, 104–05, 111, 122
Wordsworthian view, 128, 214
blacks as children, 136, 138, 139, 155, 290
conceptions of, 164–65, 212ff, 231
innate depravity of, 164, 194–97, 212, 214, 218, 219, 222–23, 231, 256, 262
innate innocence of, 212ff, 218, 220–23
child abuse, 217–19
women as children, 233, 245, 248, 265, 290. See also Spencer, Lilly Martin (chap. 4); Making a Train (chap. 5)
Choose Between (Spencer), 198, 199
Christy, Howard Chandler, 229, 231
Church, Frederic Edwin, 55, 122, 129, 131, 132, 133
Civil War, 101, 120–22, 144, 191, 207, 208
Clarissa (Richardson), 22–23, 44
class difference, 21, 23–24, 112–13, 120, 139, 142, 154, 169, 225, 276
classicism (and neoclassicism), 9, 43, 53, 76, 304
and Indians, 31–33
Clay, Henry, 67–70, 72, 79, 89, 91, 102, 104
American System, 67–68
Compromise of 1850, 69, 79, 105
Clonney, James G., 136, 138
“Close 118, High Street, Glasgow” (Annan), 150
Cole, Thomas, 55, 59, 61, 63, 64, 65, 67, 85, 87, 105, 129, 154
Coleridge, Samuel Taylor, 142
Columbiad, The (Barlow), 1
Columbian Exposition, Chicago, 304–05, 308
Columbus Builds a Fortress (Maurin), 135
commodity realm, 244, 281–88, 291, 293–95, 299–302, 314–17
Comstock, Anthony, 217
Concealed Enemy (Bingham), 70, 71, 85
Confidence Man, The (Melville), 82–83
Cook, Emma, 226–27
“Cotton Goods Display” (Baum), 319
Country Wedding (Krimmel), 27
County Election (Bingham), 58, 59, 94, 206
Courbet, Gustave, 13, 16
“Court of Honor, World’s Columbian Exposition,” 305
Crayon, The, 174, 193
Crockett almanacs, 91–93, 94, 95–98
Crockett, David/Davy, 91, 93, 94, 95, 98
Crowe, Eyre, 80
Cupid and Psyche (Guy), 267
“Cupid and Venus” (Rejlander), 220
Currier and Ives, xv, 238, 240
 
Danäe and the Shower of Gold (Wertmuller), 11, 12
Danäe (Titian), 10, 11, 12, 13
Dance of the Haymakers (Mount), 280
Daniel Boone (Harding), 103
Daniel Boone at His Cabin on the Great Osage Lake (Cole), 62, 64
Daniel Boone Escorting Settlers through the Cumberland Gap. See Emigration of Boone (chap. 3)
Davis, John, 25, 30
de Bry, Theodor, 29, 33
Deas, Charles, 89, 90, 93
Death of General Wolfe (West), 31
Death of Jane McCrea (Vanderlyn), 1, 2, 9, 35, 46, 99
Death Struggle (Deas), 89, 91, 92
Degas, Edgar, 258, 259
Déjeuner sur l’herbe (Manet), 13
Democratic party, 78, 88, 89, 99
Desire and Domestic Fiction (Armstrong) 178
Dessert, A (Peale), 277
Diana Asleep at the Foot of a Tree (van Neck), 10
Diplomatic Medal (Dupré), 35
Discarded Treasures (Peto), 295, 297
Discourses (Reynolds), 269
Discovery of America: Vespucci Landing in America, 30
Domestic Happiness (Spencer), 162–69
passim (illstr. 163), 183, 187, 189, 191
Douglass, Frederick, 119, 120, 122, 123, 146, 155
Dreiser, Theodore, 286, 293
Dressing for the Rehearsal (Guy), 237
Drunkard’s Plight (Duncanson), 128, 129,
Du Bois, W. E. B., 123, 142, 146, 147, 153
Duncanson, Robert S. (chap. 3): illstr., 108, 118, 121, 125, 129, 130, 145, 149, 156
scholarship about, 107–10
passing, 110, 151–52, 155–57
boys in nature, 111–12
youth and early career, 113, 115–16
in Cincinnati, 113–17, 144
mulattoism, 114–16, 124
patronage, 116, 144, 151
spirituals, 119, 122–24, 141
signifyin’, 124, 141, 154, 157
depiction of Canaan, 125–29, 155, 157
leisure ethic, 126, 129, 133
work ethic, 128–29, 132–33, 136–39, 141–42, 143, 157
childhood theme, 128
encounter of races, 133–35
“return to Africa” debates, 134–36
“laziness” theme, 136–39
“samboism,” 139–41, 142
“organic” intellectual, 142
Talented Tenth, 142, 154
individualist, 143
Scotland, 144–50
art as denial, 148
as utopian affirmation, 148–51
land reform, 148–51
assimilationism, 152
breakdown of, 152–53
“uplift the race,” 154
“Uncle Tomitude,” 155–57
escapism, 157. See also 333–34n8
Durand, Asher B., 14, 55, 65, 66, 67, 112, 129, 330n48
Dutch painting, 174–76, 191, 212, 234–35, 251–52, 276, 293, 302
 
Eakins, Thomas, 15, 16, 208, 280, 310, 312
Eavesdropper (Maes), 175
Edmonds, Francis, 171
Eel Spearing at Setauket (Mount), 111, 112,
Ellen’s Isle (Duncanson), 144, 145, 147, 148, 151, 154
Embarkation for Cythera (Watteau), 191
Emerson, Ralph Waldo, 87, 201
Emigration of Boone (Bingham, chap. 2), 56: description, 55–58
flight into Egypt, 57–58, 71, 105
river paintings, 59
religion, 59–62, 65, 77, 78
community, 59–62, 65
Kindred Spirits, 65
anti-Semitism, 67
Henry Clay, 67–69, 70, 79, 88, 91, 101–02, 104
“mire of politics,” 68–69
Compromise of 1850, 69, 79–80, 89
Moses, 70, 95
slave-holding, 68–69
republican motherhood, 72–73
westward migrations, 73–75
mourning, 75–77
anti-Catholicism, 77–79
Mormon migrations, 79, 105
slave migrations, 79–80
hybrid of history and landscape painting, 55, 66, 80
Indian migrations, 81–82
Indian-hating, 82–87, 89–91
backwoodsmen, 87, 89–91
self-reliance, 87, 89–91
Crockett almanacs, 91–98
dirtiness, 93, 99
the body, 94–95
squatters, 94–95
sexual conquest, 95–99
Manifest Destiny, 99–102
republican ideals, 101
Bingham’s youth, 102–05
reverence for the past, 105. Bingham mentioned, 111, 206, 208, 280
Emigration of Daniel Boone and His Family (Regnier), 63
Émile (Rousseau), 214
“Emma Cook,” 227
Entombment of Atala (Girodet-Trioson), 31, 32
Expulsion from the Garden of Eden (Cole), 62, 64
 
Faithful Colt (Harnett), 291, 292, 315
Farmers Nooning (Mount), 137
Federalists, 36, 42, 43, 46, 47
Feeding Time (Homer), 208, 209
Female Combatants, 44, 44
feminism: late 18th- and early 19th-century, 19, 20–21, 49–51
mid 19th-century, 164–67
late 19th-century, 205, 210
20th-century, 49
Fern, Fanny [Sara Willis Parton], 176, 180
Fi! Fo! Fum! (Spencer), 183, 189, 190, 191
Fight or Buy Bonds (Christy), 229
Finck, Henry T., 231, 265
First Party, 247, 262, 265
First Settlers of Virginia, The (Davis), 25, 30, 37
Fishing Party on Long Island Sound (Clonney), 136, 138
Flight into Egypt (Fabriano), 73
Flint, Timothy, 83, 93
For Sunday Dinner (Harnett), 315, 316
Foster, Stephen, 157
Foucault, Michel, xii, 179, 351n75
Four Seasons of Life: Middle Age (Currier and Ives), 238, 240
Fourierism, 165–66
Frank Leslie’s Illustrated Historical Register, 228
Frankenstein (Shelley), 18–20, 40
Freedman’s Bureau!, 140
Freud, Sigmund, 241, 258
Friedländer, Max, 276, 299
Fruit of Temptation (Spencer), 194. 246
Fugitive Slave Act, 69
Fur Traders Descending the Missouri (Bingham), 58–62 (illstr. 60), 65. 70, 94, 104–05, 111–12
 
genre painting, 55, 66–67, 104, 111, 205, 276
Gentle Measures in the Management and Training of the Young (Abbot), 214, 218, 219, 249
Gérôme, Jean-Léon, 208, 259, 260
Gilman, Charlotte Perkins, 248, 254, 269, 271
Girl at the Mirror (Rockwell), 257, 258
Girl Chopping Onions (Dou), 182, 185
Girl with Dog (Fragonard), 236
Godwin, William, 23
Golden Horseshoe (Harnett), 312, 313, 315
Good Sense Corset Waists, 245
Gossips (Spencer), 171
Gramsci, Antonio, 142, 157
Gray, Effie, 223, 224, 233
Greek Slave (Powers), 16, 259
Greek Slave on View in the Dusseldorf Gallery, 17
Greeley, Horace, 150
Greenough, Horatio, 83, 84, 88
Greuze, Jean-Baptiste, 27, 235, 236
Guy, Seymour Joseph: illstr., 210, 211, 213, 237, 239. See Making a Train (chap. 5)
 
Haberle, John, 281, 284, 289
Hamilton, Alexander, 9, 42
Harding, Chester, 102, 103
Harnett, William M.: illstr., 279, 282, 290, 292, 296, 298, 300, 303, 306, 313, 316. See trompe l’oeil still-life painting (chap. 6)
Hawarden, Clementina, Lady, 263, 264
Hawthorne, Nathaniel, 105
Heart of the Andes (Church). 131. 132
Henry Clay (Neagle), 72
history painting, 55, 66–67, 104, 205, 276
Hogarth, William, 206
Homer, Winslow, 208, 209
Hope Leslie (Sedgwick), 41
House of the Seven Gables (Hawthorne), 105
Hovenden, Thomas, 255, 280, 308. 309
Howells, William Dean, 310
Hudson River School, 65, 105, 107. 109, 112, 116, 119, 123, 128, 129. 132, 134, 139, 141, 142
Humbert, Humbert, 223–24
Humphrey, Heman, 164
 
Image Peddlar (Edmonds), 171
Imlay, Gilbert, 19, 20, 332n73
immigrants, 77–79, 113, 205, 215, 306–07, 308, 310
In Grandmother’s Time (Eakins), 310, 311
Indian Princess (Barker), 37
Indian Widow (Wright), 33, 34
Indians, American, 25, 47, 55, 70, 101, 134
sexuality myth, 28–29, 40, 52, 99
noble savage myth, 31–33
compared to ancient Greeks and Romans, 31–35, 41
symbol for America, 33–35
as mercenaries, 35
wars of resistance, 38
compared to children, 38, 40, 290
racial degeneration, 41
forced migrations, 81–82
concealment, 85
Indianhating, 82–87, 89–91. See also Ariadne Asleep (chap. 1); Pocahontas
Infant Samuel Praying (Reynolds), 242, 253, 268–69
Ingres, Jean-Auguste-Dominique, 10, 18, 19
Interior (The Rape) (Degas), 258, 259
Interior of the Artist’s Studio (Chase), 294
Interior View of the Hoffman House Bar, 302
interpretation of images, xv–xvii, 43, 50, 119–20, 122, 273–74
Iola Leroy (Harper), 154
Irving, Washington, 40–41
 
Jackson, Andrew, 67, 81, 88, 91
James, Henry, 208, 228
Jefferson, Thomas, 42, 46, 81, 102, 105, 135
Job Lot Cheap (Harnett), 294, 296, 316
John Wannamaker’s Grand Depot, 315
Johnny’s Revenge (Sophie May), 253
Jolly Flatboatmen, The (Bingham), 280, 283
Jolly Washerwoman (Spencer), 169–71
“Joseph Henry Byington Family,” 74
Jupiter and Thetis (Ingres), 18, 19
 
Kilvert, Rev. Francis, 221, 222, 223, 262
Kindred Spirits (Durand), 65, 66, 67. 129
Kiss Me and You’ll Kiss the ‘Lasses (Spencer), 171, 172, 183, 193
Kitchen Maid (Vermeer), 173
“Kubla Khan” (Coleridge), 142
 
Lady of the Lake, The (Scott), 144, 147
Lady Oracle (Atwood), 167
Lake George (Kensett), 144, 146
Lament of the Watch (Grueze), 235, 236
Land of Cockaigne (Brueghel), 126, 127
Land of the Lotos Eaters (Duncanson), 129–35 (illstr. 130), 139, 141, 144
Landing of Columbus (Vanderlyn), 35–36, 37, 134
Landscape with Dead Tree (Cole), 62, 63
Landscape with Rainbow (Duncanson), 124–28 (illstr. 125)
Landscape with Rainbow (Rubens), 128
Landscape with the Fall of Icarus (Brueghel), 127
landscape painting, 55, 107–09, 111, 126, 157, 276
Last of the Mohicans, The (Cooper), 99
leisure, 126, 129, 133, 136–39, 141–42, 143, 157, 208
leisure class, 215
Liberty Leading the People (Delacroix), 230, 231
Liddell, Alice, 223
Little Women (Alcott), 248, 249
Loch Long (Duncanson), 148, 149
Lolita (Nabokov), 222–23
London Labour and the London Poor (Mayhew), 225
Long Branch, New Jersey (Homer), 208
Longworth, Nicholas, 116, 151, 154, 201
Looking Backward (Bellamy), 319
“Lotos-Eaters, The” (Tennyson), 132
Love In Idleness (Cameron), 221
Lovejoy, Elijah Parish, 78
Lukács, Georg, 148
 
Machiavelli, Niccolo, 43
“Macy’s Food Counter,” 318
Madonna [Madonna Ciccone], 179
Maes, Nicolas, 175, 176, 234
Mahler, Gustave, xvi
Making a Train (Guy, chap. 5), 213
genre painting and satire, 205–08
American girl, 208–09, 225, 227–31
theatricality, 210, 248–49, 251, 260–62
description, 210–11, 249, 252–53, 260
Cinderella, 212, 225
progressive views of childhood, 212–18, 231
child’s play, 212–15, 219, 221–22, 262
reform movements, 215–18
child abuse, 217–19
fetish-ization of childhood innocence, 218, 223, 231, 240, 260
childhood depravity, 212, 214, 218, 219, 222–23, 231, 256, 262
eroticization of children, 218–25, 261–62
child brides, 223–24
working-class children, 215–17, 218–19, 225–27
voyeurism, 226, 241, 258, 262–67
American girl as symbol of nation, 227–31
female sphere, 230
Caucasian beauty ideals, 231–33
female aging, 232–33
female sexuality in art, 233–36
chiaroscuro lighting, 236–38, 241–42
onset of puberty and preadolescent anxiety (fall from innocence), 238–42, 270
menstruation, 240, 270–71
female vanity, 242–49, 256
commodification of beauty, 244–48
the beauty system, 250
diary keeping, 250–51, 270
resistance through transgression, 251–54, 262
patchworking, 252–53, 270
disciplinary surveillance, 249–58, 269–71
scopophilia, 258
body language, 258–60
striptease, 260–62
female rivalry and voyeurism, 262–67
the artist’s studio, 267–68
artist as docile child, 267–69
performative agency, 270. Mentioned, 288
Malcolm X, 117, 124
“Man and Girl in a Room” (Hawarden), 264
Manet, Edouard, 13, 16, 265
Manhood. See Voyage of Life: Manhood
Manifest Destiny, 55, 99, 101, 105, 109
Mariana in the Moated Grange (Millais), 232
“Mariana in the South” (Tennyson), 232
Marius Amidst the Ruins of Carthage, 1, 3, 9, 10, 18, 62, 88
Mark Twain, 171, 205, 206, 208, 229
Marriage of the Virgin (Raphael), 180
Marshall, John, 82
Martin, Angélique, 166, 167, 201–03
Martin, Gilles, 201
Marx, Karl, 105, 142, 225, 281, 285
masculinity, 1, 18, 40, 183–93, 224–25, 258–60, 277–78, 281, 289, 298, 319
Match Seller (Blythe), 217
Mayhew, Henry, 218, 225
melodrama, 22–23, 24–25, 89–91, 120, 147, 168–69, 187–90, 236–42, 253–54, 263–64
Melville, Herman, 82, 84, 105
Metamorphoses (Ovid), 6
“Metaphysics of Indian-Hating, The” (Melville), 82
Miscegenation Ball, 136
Moeurs des sauvages américains (Lafitau), 33
Morisot, Berthe, 265, 266, 267
Morse, Samuel F. B., 77, 79, 173
“Moses Speese Family” (Butcher), 151
Mother and Child (Sully), 173, 174
Mother’s Book (Child), 164
“Mother’s Clothes” (Rejlander), 218, 220
Mount, William Sidney, 111, 112, 136, 137, 206, 280
Munch, Edvard, 187, 241, 242, 270
Music and Good Luck (Still Life-Violin and Music) (Harnett), 306
My Ántonia (Cather), 306
“My Heart Leaps Up” (Wordsworth), 128
 
Napoleon, 9, 88
Narrative of the Life (Douglass), 155
Nast, Thomas, 207
National Academy of Design, 198, 205, 209
Native Americans. See Indians, American New York Society for the Prevention of Cruelty to Children, 215
Nick of the Woods (Bird), 86, 91, 99
Nietzsche, Friedrich, 107, 110, 333n5, 338nn57,62
Noyes, John Humphrey, 164
“Nude beside a Suit of Armor” (Braquehais), 299
Nugent, Byron, 295, 316
Nymphs and Satyr (Bouguereau), 295, 301
 
Oath of the Horatii (David), 8, 43
Odyssey, The (Homer), 133
Old Cremona (Peto), 280, 282
Old Models (Harnett), 302, 303, 304, 307, 308, 310
Olympia (Manet), 13 120
Days of Sodom (Sade), 50
On the St. Anne’s, East Canada (Duncanson), 120, 121
On to Liberty (Kaufmann), 80, 81
Osage War Dance (Stanley), 99
Our Centennial (Davis), 311
Our Nig (Wilson), 126
 
Panic of 1869 (Knoll), 187, 188
Pantheon of Heroes and Gods (North), 6
Pathetic Song (Eakins), 280
Peace and Plenty (Inness), 122
Peale, Charles Willson, 276
Peale, Raphaelle, 276, 277, 314
Peeling Onions (Spencer), 171, 182, 184
Personification of America, 34
Peto, John, 282, 285, 286, 294, 295, 297
Philadelphia Centennial Exposition, 152, 309–10, 314
Pick of the Orchard (Guy), 209
Plea for the West, A, (Beecher), 77
Pocahontas, 25, 28, 30, 36–37
Poe, Edgar Allan, 223
Poor Man’s Store (Peto), 285, 286
Post Office (Blythe), 216
Powers, Hiram, 16, 17, 201, 259
Psyché (Morisot), 265, 266, 267
Puberty (Munch), 241
 
Raftsmen Playing Cards (Bingham), 58
Reading the Legend (Spencer), 180, 181
Reading the Romance (Radway), 49
Reclining Girl (Boucher), 236
Reconstruction, 123, 146–48, 154, 205
Red Riding Hood (Guy), 209, 211
Reed, Rebecca, 77
Rejlander, Oscar, 219, 220
Renoir, Jean, xiii
republicanism, 42–44, 46–47, 67, 76, 101
republican motherhood, 72–75, 198
republican simplicity, 298, 302–04
Rescue (Greenough), 83, 84
Resting in the Woods (Brown), 205, 206
Rev. John Atwood and His Family (Darby), 166
Reynolds, Joshua, 242, 269, 276
Right to Be Lazy, The (Lafargue), 142
Rise and Fall of Athens (Plutarch), 7
“Robert S. Duncanson” (Notman), 115
Rockwell, Norman, 257, 258
Rolfe, John, 28
Rollins, Maj. James Sidney, 68, 69, 70, 93
Romantic Love and Personal Beauty (Finck), 231
Rousseau, Jean-Jacques, 24, 51, 93, 214
Rowson, Susanna, 21–23, 168
Rules of the Game (Renoir), xiii
Ruskin, John, 157, 174, 223, 224, 231, 233, 245, 265, 338n62, 347nn20,23
Ruth Hall (Fern), 176
 
Sade, Marquis de, 50
Scene on the Mississippi, 140
Schroon Mountain, Adirondacks (Cole). 85, 86
Scott, Walter, Sir, 144, 147, 154
Searchers, The (Ford), 87
Sears, Richard, 314
Secret Out at Last, 264, 265
Sedgwick, Catharine Maria, 41
Self-Portrait (Spencer), 158, 201, 202
Shake Hands? (Spencer), 170, 171, 174, 180, 182, 185, 193
Sister Carrie (Dreiser), 286
Six Months in a Convent (Reed), 77
Slave Market (Gérôme), 259, 260
Slave Market in Richmond, Virginia (Crowe), 80
Slaves Escaping through the Swamp (Moran), 146
Sleeping Maid and Her Mistress (Maes), 175
Sleeping Venus (Giorgione), 6, 10
Smith, Capt. John, 25, 30
Social Club (Harnett), 305
Social Contract, The (Rousseau), 214
Son Punished (Greuze), 27
Songs of Innocence (Blake), 214
Sonntag, William Louis, 112, 143
Souls of Black Folk, The, (Du Bois), 153
Southgate, Eliza, 49–51
Sparking (Edmonds), 171
Spencer, Benjamin Rush, 161, 187, 189, 190
Spencer, Lilly Martin (chap. 4): illstr., 160, 163, 170, 172, 177, 181, 184, 186, 190, 192, 194, 196, 199, 200, 202, 246
rediscovery of Spencer, 159–61
social control vs. social resistance, 161–62
moves to New York, 162
depiction of sentimental family, 162–69
Fourierism and utopian feminism, 166–67
attempt to counter dysfunctional family, 168–69
art as social criticism, 169
kitchen scenes, 169–83, 187
transgressive vulgarity, 169, 171–73, 193, 201, 203
and Dutch artists, 171–76
direct address, 176–78
the isolated household, 178–79
antisentimentalism, 178–82
popular culture as resistance, 179–80
romantic art of, 180, 201
depiction of husbands and fathers, 183–93
compared to situation comedy, 183–87
depiction of African-Americans, 191, 193
the carnivalesque, 193
attitude toward hired help, 193–95
attitude toward children, 195–200, 203
career choices, 198–203
diversity of identifications, 203
Squatters (Bingham), 94, 97
Stackpole, Roaring Ralph, 86, 91
Stanton, Elizabeth Cady, 178
Steen, Jan, 206
Stephens, Alice Barber, 287
Still Life with Bric-a-Brac (Harnett), 282
Still Life with Helmet, Books, Trumpet, and Sheet Music (Harnett), 298
Still Life-Writing Table (Harnett), 278, 279
still-life painting. See trompe l’oeil still-life painting (chap. 6)
Story of Golden Locks (Guy), 209, 238, 239, 240, 246
Stowe, Harriet Beecher, 77, 79, 105, 120, 155, 176, 187, 269
Strauss, Richard, 310
Struggles and Triumphs (Barnum), 288
Stuart, Gilbert, 9, 21, 48
Studies on Hysteria (Freud & Breuer), 241
“Study of a St. John the Baptist” (Cameron), 221
Sully, Thomas, 173, 174
Supper at Emmaus (Caravaggio), 238
 
Take Your Choice (Peto), 295
Tecumseh, 38
Tennyson, Alfred Lord, 133, 142, 144
Thackeray, William, 80
Theory of the Leisure Class (Veblen), 248
Theseus, 6–8, 20, 44, 48, 50, 51
This Little Pig Went to Market (Spencer), 159, 160, 169, 195
Thompson, Lydia, 261
Tocqueville, Alexis de, 152
Treatise on Domestic Economy (Beecher), 171
Trial Scene (Blythe), 207
trompe l’oeil still-life painting (chap. 6): expository style, 273, 310
interpretation, 273
commodification and mass distribution of art, 274–75, 278, 293, 317
hierarchies of painting, 275–76
stylistic characteristics of trompe l’oeil still life, 275–76, 278, 288–95, 315
gender demarcation, 277–78, 298
personality vs. character, 277
business world, 279–80
“manly” items, 279–81
commodity realm and style, 281–88, 291–95, 299, 314–19
modern advertising, 285, 288, 314–15
deception and demystification, 288–91
racial superiority, 290
handcraft vs. machine aesthetic, 291–95, 310–14
Harnett revival, 295
sexualized looking, 295–97
resistant reading, 297–98
Gilded Age materialism, 299–302, 314
premodern, agrarian values, 302–04, 308, 310–18
nostalgia, 305–07, 317–18
familiar props, 307–08
public memory, 308–09
mechanical reproduction, 309–14
as narrative, 316–17
utopian desire, 318–19
Trumbull, John, 201
Truth Unveiling Falsehood (Spencer), 200, 208
Tudor, William, 41
Tussel with a Bear, 98
Twilight in the Wilderness (Church), 122, 129
Two Ways of Life (Rejlander), 219
 
Uncle Tom and Little Eva (Duncanson), 156
Uncle Tom’s Cabin (Stowe), 21, 77, 79, 105, 119, 120, 147
Unexpected Ride, An, 92
 
Vanderlyn, John: illstr., 2, 3, 4, 10, 37, 39. See Ariadne Asleep on the Isle of Naxos (chap. 1)
Veblen, Thorstein, 248
Venus of Urbino (Titian), 10
Vermeer, Jan, 171, 173
Vespucci Discovering America, 30
Vespucci, Amerigo, 28–30
View of Cincinnati (Duncanson), 117, 118, 141
Vindication of the Rights of Woman, A, (Wollstonecraft), 20, 21
Voyage of Life: Manhood (Cole), 59, 61, 62, 65, 67, 87
Waking Up (Clonney), 136, 138
Walker, Thomas Barlow, 307
Wanamaker, John, 314, 317
War News from Mexico (Woodville), 195, 197
War Spirit at Home (Spencer), 195, 196, 198
Washington, Booker T., 107
Washington, George (Greenough), 88
Watching the Woodpecker (Brown), 205, 207
Wayne, John, 87
We Both Must Fade (Spencer), 208
Webster, Daniel, 67, 231
“Wedding Ceremony,” 256
West, Benjamin, 9, 31, 76
West, Mae, 178
What’s Your Name? (Brown), 223
Whigs, 46, 67–70, 78, 101
philosophy, 67–68, 88–89. See also Clay, Henry
White Jacket (Melville), 105
Wide, Wide World, The (Warner), 168, 169
William Rush Carving His Allegorical Figure of the Schuylkill River (Eakins), 15
Wilson, Harriet, 126
Wollstonecraft, Mary, 19–21, 23, 49
Woman in Business (Stephens), 287
Woman Reading (Janssens-Elinga), 251
“Woman Who Dared” [Susan B. Anthony], 212
Women and Economics (Gilman), 248
Wood Boat (Bingham), 67, 94, 96
Woolf, Virginia, 271
Wordsworth, William, 128, 142, 154, 214
World a Department Store, The (Peck), 319
 
“Ye Olden Times Log Cabin,” 311
“Yellow Wallpaper, The” (Gilman), 254, 271
Young Girl in a New York Garden (Brown), 223, 224
Young Husband: First Marketing (Spencer), 183, 185, 186, 187, 189, 191
Young Wife: First Stew (Spencer), 171, 173, 180, 183
Young Woman at Her Toilet (Bellini), 243
Young Woman Standing before a Mirror (van Mieris), 235
Young, Brigham, 79
 
Zola, Emile, 13, 287
 
The details that appear at the beginning of each chapter are from the following works: chapter 1, John Vanderlyn, Ariadne Asleep on the Isle of Naxos (fig. 3); chapter 2, George Caleb Bingham, Boone Escorting Settlers through the Cumberland Gap (fig. 34); chapter 3, Robert S. Duncanson, Blue Hole, Little Miami River (fig. 61); chapter 4, Lilly Martin Spencer, Self-Portrait (fig. 107); chapter 5, Seymour Guy, Making a Train (fig. 115); chapter 6, William Harnett, After the Hunt (fig. 170).
Yale Publications in the History of Art
Index