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Description: Nocturne: Night in American Art, 1890–1917
Index
Author
PublisherYale University Press
PublisherTerra Foundation for American Art
https://doi.org/10.37862/aaeportal.00087.019
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Index
Abbott, Lyman (Reverend), 151
Darkness and Daylight, 147
Abraham figure, 145
abstraction, 69, 70, 179, 199, 201
Achenbach, Oswald von: Festival of Santa Lucia in Naples, 2, 2
Adams, Henry, 37, 80, 148
Education, 39
Addams, Jane, 159, 182
adobe architecture, 119–20
advertisements: “‘The Best Things that Float’: Fairbank’s Fairy Soap,” 100–102, 101, 107
“Ivory Soap, 9944/100% Pure,” 135, 136
Kodak “You Press the Button, We Do the Rest,” 51, 52
Ozono “Be Not Deceived,” 135, 136
Pears Soap “The White Man’s Burden,” 101–2, 102
African Americans: caricatures of, 133, 221n2
Kemble’s depictions of, 53
marginalization of, 218n4 (ch. 4)
in military, 99–100
nocturnes, referenced in, 89
racial mixing and, 182
religious tradition, 138–39
urban space and, 167
at World’s Columbian Exposition, 225n60. See also race and racism
afterimage phenomenon, 42–43, 213n27
Aguinaldo, Emilio, 87, 106
airscape concept, 22
Alberti, Leon Battista: De pictura, 19
alterity, visual distancing of, 207. See also the Other
Amateur Photographer (review), 59
American Art Company: Times Square at Night, New York City, 194
American identity, 14, 88–89, 111. See also ethnic identities; white identity and whiteness
American Indians: American identity and, 127–28, 218n14 (ch. 4)
in census of 1890, 113
civilization notions and, 107
color schemes associated with, 85
genocide of, 89, 119, 129
in military, 100
mythology of, 127–28. See also “vanishing Indian” discourse
American Psychological Association, 75
American Society for Psychical Research, 39, 75
American West: conquest of, 10, 12, 15, 88, 111, 112, 121–22
in Remington’s art, 53
urbanization of, 122–23. See also frontier nocturne genre
anarchism, 174
angelic figures, 38, 41, 82
antimodernism, 11, 17, 167, 190, 207
antivisions: in Harrison’s aesthetic, 189
nocturnes as, 17, 67, 69, 85, 148
in pictorialist photography, 59
Appeal (daily newspaper), 89
appearance, social interpretations of, 170, 181, 182
Appearances Dey Seems to Be Against Me or I Must Hab Done It in Ma Sleep (song), 135, 137
April Fool’s Day hoax (1896), 41
architecture: Gothic, 197, 199
mission style, 119
Southwestern Indian, 119, 121
Spanish, 107, 108. See also specific types of structures
Armory Show (1913), 15, 85, 208
Arnold, Charles D.: Temple of Music at Night, at the Pan-American Exposition, Buffalo, New York, 9, 10
Art Amateur (magazine), 46, 47
art for art’s sake: among American nocturne painters, 92
Caffin on, 80
modern art and, 213n29
in photography, 58–62
Remington and, 65, 67
in urban landscapes, 199
Whistler and, 3, 4
artificial lighting, 28, 46–48, 97, 152, 154–55, 166, 223n9. See also electricity and electric lighting
Art Interchange (journal), 47
Art Journal, 9
art market, 14, 55–57, 84, 85, 207
Arts and Crafts movement, 123
Art Students League, 63
Ashcan School, 148, 149, 161, 170, 223n13
Asian art, 12, 96. See also Japanese art and culture; individual artists by name
aura, 55–58, 61, 211n8
avant-garde movement, 2, 19, 33, 59, 79
bacteria, discovery of, 34
Barbizon School, 58
Barnum, P. T., 52, 213n21
Baxter, Sylvester, 195
Bayley, Jonathan, 44–45
Beard, George, 75, 77
Bellamy, Edward: Looking Backward, 147
Bellows, George: Both Members of This Club, 225n61
Excavation at Night, 201, 203, 203
Benga, Ota, 137
Benjamin, Walter: “The Work of Art in the Age of Mechanical Reproduction,” 55–56
Benson, Frank W.: Portrait of a Lady, 207–8
Bierstadt, Albert: Among the Sierra Nevada, California, 2, 2
The Last of the Buffalo, 115, 117
“Big Foot’s Camp Three Weeks after the Wounded Knee Massacre (Dec. 29, 1890)” (photograph), 118
biological evolutionist model, 120
bison hunting, 115–17, 122
bitumen, 84
“black art” concept, 184
blackface in minstrel shows, 139–40, 205
Blakelock, Ralph Albert: abstraction by, 70
life of, 84–85
success of, 3–4, 217n81
works by: Moonlight Sonata, 4, 5, 28, 83, 84
The Vision of Life (The Ghost Dance), 129, 130
Blashfield, Edwin Howland: The Evolution of Civilization, Dome of Rotunda, 125–26, 126
blue as spiritual color, 44–45
blurriness: in crowd images, 171
Harrison on, 11
of identity in Remington, 128
as mark of social distinction, 12
nocturne artists using, 205, 207
in photography, 62
through fog, 191
in urban nocturnes, 189
in urban scenes, 148
Bosch, Hieronymus, 174
Boston elite, 78
Bowdoin College Museum of Art: Night Visions: Nocturnes in American Art, 1860–1960 (2015 exhibition), 12
Brandeis, Louis, 54
Brenner, Victor D., 64
Breughel, Pieter, 174
Breyfogle, John W., 201
bridges in urban landscapes, 193, 195–99
Brinton, Christian, 75
Brooklyn Bridge, 196–97, 199
Brotherhood of the Linked Ring (England), 59
Brush and Pencil (magazine), 94
Bryan, William Jennings, 108
Buel, J. W.: Metropolitan Life Unveiled, 180
Buffalo Bill Cody, 115
Buffalo Soldiers, 133
Burnham, Daniel, 223–24n13
Burton, Richard Francis, 164
Byrnes, Thomas: Darkness and Daylight, or, Lights and Shadows of New York Life, 152, 153, 158, 160, 170–71
Caffin, Charles: on American school of painting, 92
contributions to Camera Work, 59
on Eastern culture, 96
on music and nocturnes, 28
on Nocturne: Blue and Silver—Bognor, 75
Story of American Art by, 80
on Tryon, 81
California: Death Valley, 122
missions, 107, 121
Monterey Peninsula, 118, 123
Camera Work (journal), 59, 183–84, 201
Campbell, Helen, 159
Darkness and Daylight, or, Lights and Shadows of New York Life, 152, 153, 158, 160, 170–71
canvases, 30, 71–72
capitalism: creative destruction process in, 201
immigrants and, 167
imperialist discourse and, 113
in photojournalism, 157–58
skyscrapers as symbols of, 195
urban centers and, 112, 164, 200, 201
Caravaggio, 19
Carrington, James B., 188–89, 194, 195
Cartesian rationality, 37
Cazin, Jean-Charles, 58, 148, 187
Chase, William Merritt, 57
Chevreul, Michel Eugène, 43
chiaroscuro, 19, 20, 138
Chicago: as “Black City,” 155
as “City of Contrasts,” 152
fire (1871), 202–3
Haymarket Square Riot (1886), 174
Hull House, 159
Pullman Strike, 131
“When were you in Chicago?” joke, 202
Chicago by Day and Night: The Pleasure Seeker’s Guide to the Paris of America, 179
Chinatown neighborhoods, 164–65
Chinatown street scene (postcard), 164, 165
Chopin, Frédéric, 3
Chopin, Kate: The Awakening, 82
“Désirée’s Baby” (short story), 135, 137
Christ figure, 41, 42, 129, 138, 140
Christianity, 129, 194–95
Church, Frederic Edwin: Eruption painting, 1–2, 208
church steeples, 194–95
cities. See urban environments
City Beautiful movement, 224n13
City of Lights. See Pan-American Exposition (Buffalo, 1901)
civilization, theories of, 80, 88, 94, 107, 125–26, 218n3 (ch. 5)
civilized landscape discourse, 79, 85, 87, 93
Clark, William A., 4
Clarke, Thomas B., 44
cleanliness narrative, 101, 106, 155, 158
Coburn, Alvin Langdon: Kerfoot rendering of, 184
“New York from Its Pinnacles” (1913 exhibition), 194
works by: Fifth Avenue from the St. Regis, 194, 198, 198
Cody, William (Buffalo Bill), 115
Cohan, George M.: “The Man in the Moon Is a Coon” (song), 135
Cole, Thomas: The Course of Empire series, 109
Desolation, 109, 112, 124
Coleridge, Samuel Taylor, 69
Collier’s magazine, 52, 65
“The Cowboy, as Created in Brooklyn,” 65
colonialism, 87–88, 106
Colored American (magazine): “Be Not Deceived” advertisement, 135, 136
Colored People Day, 167
“color line” problem, 134
colors: in crowd representations, 171
as feminine, 81
impressionists’ use of, 79
race and civilization associated with, 94, 218n3 (ch. 5)
therapeutic use of, 78, 216–17n46
of urban landscapes, 78
Columbus, Christopher, 108
commercial network, artistic, 92–93. See also art market
Congdon, Charles L.: “Over-Illustration,” 54
Conrad, Joseph: Heart of Darkness, 97
consciousness, 43, 74–75, 77, 201. See also psychology
conspicuous consumption concept, 169–70
Constable, John, 58
Convent of La Rábida (Spain), 108
Cooley, Thomas, 54
Cooper, James Fenimore: Last of the Mohicans, 113
Copley, John Singleton: Watson and the Shark, 104
Corot, Camille, 2, 148
Corot, Jean-Baptiste, 58
Cortissoz, Royal, 93, 115, 117
cosmetics, 103
Courbet, Gustave, 3, 22
Coutan, Jules: Fountain of Progress, 97
Cox, Kenyon, 57, 78
The Craftsman (magazine) 189
Crane, Hart, 148
Crane, Stephen, 148
Maggie, a Girl of the Streets, 156–57, 179
“The Monster,” 141, 143, 144
Crane, W. H.: “Junction of Broadway and Sixth Avenue,” 171, 172
creative destruction concept, 201, 203
Cremorne Gardens (London), 163
Crisis (NAACP newspaper): “O Say, Can You See by the Dawn’s Early Light, What So Proudly We Hailed at the Twilight’s Last Gleaming!” 141, 142, 143
Crookes, William, 39
crowds, 171–76
Cuba: American imperialism in, 87, 123, 207
architecture in, 107
darkness metaphor applied to, 133
El Morro fortress, 98, 99, 105, 106, 107, 108
as exotic, 89
in Fairbank’s soap ad, 101
“liberation” of, 100
Philippines compared to, 106
Spanish ruins in, 108–9. See also Spanish-American War
Curtin, Jeremiah: Creation Myths of Primitive America, 127–28
Curtis, Edward S., 111, 112, 141
The North American Indian, 88, 113–14, 128
The Vanishing Race, 113, 113–14, 119
Czolgosz, Leon, 174
Dabo, Léon: airscape concept, 22
works by: The Cloud, 207–8
River, 91
Roundout, New York, 22, 23, 187
Daingerfield, Elliott, 85, 129
Dalrymple, Louis: “The High Tide of Immigration,” 157, 158
Daniel (biblical figure), 138–39, 140
darkness and light contrast: in crowd depictions, 175
in cultural representations, 10
female mind associated with, 80–81
morality represented in, 182
nocturne artists using, 205, 207
in prostitution depictions, 181
racial discourse and, 89, 97–106, 133, 134, 135, 207
as subject of paintings, 20
in Tanner’s art, 41
urban anonymity and, 148
in urban settings, 152–63, 175–76, 193, 199
“vanishing Indian” theme associated with, 113
working-class neighborhoods associated with, 158–59, 175–76
darkroom, elimination of, 61
Darwin, Charles, 79, 96, 125
Degouve de Nuncques, William: Nocturne in the Parc Royal, 14, 14
De Thulstrup, T.: “Midway Plaisance at Night,” 163, 163
Dewey, George, 101–2
Dewey, John, 77
Dewing, Thomas Wilmer: color and, 81
evolution discourse and, 79
Freer and, 93
human figures and, 77
refusal to circulate works, 56
therapeutic interpretations of, 78
women and, 82
works by: The Hermit Thrush, 28–30, 29
In the Garden (Spring Moonlight), 28, 29
The Recitation, 28, 28
discourse about the nocturnes, 30–31, 66, 67
dissimulation, 41
Dixon, Joseph K., 111, 127, 141
Skirting the Sky Line, 115, 115
The Sunset of a Dying Race, 114, 114–15
Vanishing Race, 112, 113, 114
Dixon, Maynard: Overland Monthly, covers for, 142, 143
Dixon, Thomas: The Clansman, 89
Douglass, Frederick, 131
Dove, Arthur, 201
Downes, William H., 45, 47
drawing, 81
Dreiser, Theodore, 148
Sister Carrie, 151, 156, 180
Du Bois, W. E. B., 89, 134
Dunbar, Paul Laurence: “The Haunted Oak,”
Dwight, Henry O., 106–7
Eakins, Thomas, 38, 94, 133
Crucifixion, 213n25
Hiawatha, 220n19
Eastman, George, 51, 60. See also Kodak cameras
Eaton, Charles Warren: Winter Night, 91
Eddy, Arthur Jerome, 64
Edison, Thomas, 47
Edison Company, 129
Edison Studios, 99
Egypt, 126
“the Eight” (group of artists), 223n13. See also Ashcan School
electrical sublime. See technological sublime concept
electricity and electric lighting: capitalism and, 201
in Homer’s art, 46–47, 99
nighttime experience and perceptions, effect on, 9, 10, 156
photography’s use of, 34
racial discourse and whiteness relating to, 101, 102–3, 106, 138
realism in painting, effect on, 48
Remington’s art and, 12
in urban landscapes, 152, 154, 156, 191, 193, 199
at World’s Fairs, 97
Emerson, Henry Peter, 61
Naturalistic Photography for Students of the Art, 58–59
Engels, Friedrich, 199
Enlightenment, 97, 101, 107–8, 127
Ensor, James, 174
entropy theory, 79, 80, 173
ethnic identities, 88, 92, 182, 225n55. See also the Other; race and racism
Europe: avant-garde painters in, 19, 85
female figure portrayals in, 82
symbolist movement in, 12–13, 49, 82
evolution, theories of, 79, 135, 137–38
exoticism, 89, 106, 120, 163–65
Exposition Universelle de Paris (1900), 37, 80, 97, 224n15
Fairbank Company advertisement, 100–102, 101, 107
“fakelock” forgeries, 84, 217n81
Fakirs, Society of American, 4
female figures: ambiguity of, 71
in Dewing, 77
femme fatale, 82
in Homer, 214n53
overexposed, 140
silhouettes, 71, 81–82, 182–83
solitary woman, 179, 180, 181, 209
in Thulstrup, 163
female sexuality, 82, 163
femininity and female mind: in Eastern art, 96
theories related to, 80–85. See also psychology
Fenollosa, Ernest: East and West, 95, 96
“Fighting the Flames” (Coney Island show), 156, 163
Filipinos, depictions of, 100, 102, 133. See also Philippines
film noir, 52, 209
Flammarion, Camille, 80
Fleischmann, Louis, 175–76
fog in landscapes, 25, 61, 188, 191
foreign policy changes, 87
France: government in, 7, 45, 135
salon painting in, 30
Second Empire paintings, 222–23n6. See also Paris
Franciscan missions, 120
Fraser, William A.: Wet Night, Columbus Circle, New York, 189, 189, 190
Freer, Charles Lang, 27, 56, 78, 93
Freneau, Philip, 112
Freud, Sigmund, 82, 85
Friedrich, Caspar David, 114
frontier nocturne genre, 111–12. See also Western nocturne genre
frontiersman figure, 121, 122
frontier theory, 88
Gabriel (angel), 138
Galveston floods (1900), 202
Gast, John: American Progress, 125, 125
gate or portal motif, 70, 123
gaze: alternative mode of perception and, 26
contingent, 41–44
domination through, 161
identities and, 181
legitimacy of, 30
mass images, mediated by, 54–55
nocturne changing nature of, 26
paradoxical aesthetics and, 20, 22, 25–26
pluralistic notion of, 185
prostitution and, 181
public space and, 169–71
silhouettes as frustrating to, 181–82
subjectivity (or interiority), 57, 67, 69, 189
urban landscapes and, 152, 154, 185, 199, 208–9
vanishing effect and, 117–18
water’s optical properties and, 22
genealogy and heraldry clubs, 127
genius, theories of, 80–85, 217n75
Genthe, Arnold: A Grocery Shop, Chinatown, San Francisco, 164, 165
Steps That Lead to Nowhere (After the Fire), 70, 70, 123
Geske, Norman, 84
Ghost Dancers religious movement, 129–30
ghosts: American Indians associated with, 128–31. See also supernatural phenomena
Gibson, Charles Dana, 53
Gilfoyle, Timothy, 179, 180
Gillette, John M., 147
Gilman, Charlotte Perkins: “The Yellow Wallpaper,” 216–17n46
Glackens, William, 223n13
glazing technique, 71–72
gold rush (1849), 143
Gorky, Maxim: In Dreamland at Night, Coney Island, N.Y., 154, 154, 155
gospel songs, 138–39
Gothic style, 94
Grand Canyon, urban landscapes juxtaposed with, 194
Grant, Madison: The Passing of the Great Race, 88, 137
Greaves, Walter, 3
Griffith, D. W.: Birth of a Nation, 89
Grimshaw, John Atkinson: Shipping on the Clyde, 3, 4
Guérin, Jules Vallée: The Washington Arch in Washington Square, 188, 188, 190
hackney cab driver, 176, 178, 182
Hale, Nathan, 77
Hales, Peter B., 160
halftone pictures, 21, 52–53
Hall, G. Stanley, 77
Halley’s Comet, 34
Halstead, Murat, 155
Harlem Renaissance, 167
Harper’s New Monthly Magazine, 52, 53, 53–54
Harper’s Weekly, 171
“Ideal Way of Lighting a Room,” 39, 39
Harrison, Alexander, 74
Harrison, Lowell Birge: on mood, 74
on nocturne detail, 11, 25–26
on photography and painting, 57
on “racial individuality” in art, 93–94
“The Sub-Conscious Servant,” 85
“The True Impressionism” (chapter), 57
works by: The Flatiron Building on a Rainy Night, 26, 189, 189–90
Soaring Clouds, 91
A Wintry Walk, 25, 25, 26
Hartmann, Sadakichi, 59, 69, 77, 96, 195–96
“A Plea for the Picturesqueness of New York,” 188
harvest moon, 123
Hassam, Childe, 44, 180
Cab Stand at Night, Madison Square, 179, 179
Fifth Avenue Nocturne, 179, 180, 183
Nocturne, Railway Crossing, Chicago, 176, 177
Haussmann, Georges-Eugène, 223n6
Hauswaldt, Hans: Diatoms, 34, 36
Hawaii, annexation of, 143
hearing perception, 28, 30
Hearst, William Randolph, 52, 99
Helmholtz, Hermann von, 58
Popular Lectures on Scientific Subjects, 43
Henri, Robert, 148, 223n13, 225n61
Henry, O.: “A Madison Square Arabian Night,” 165
Higginson, Ella: The Vanishing Race, 113
Hine, Lewis Wickes, 161, 224n28
“River at Night: Looking down on the Jones and Laughlin Mills from the Pittsburgh Side,” 191
Why Night Shifts Are “Necessary”: Wrapping and Mailing After Midnight, 157, 158, 159
Hiroshige, Utagawa (Ando), 96
Bamboo yards, Kyōbashi Bridge, No. 76, 12, 13
Hodler, Ferdinand: Night, 14, 14
Hogan, Ernest: All Coons Look Alike to Me, 135, 136
Hokusai: Great Wave off Kanagawa, 95
“hold to light” postcards, 164, 224n48
Homer, Winslow: African American figures and, 133
Prout’s Neck, Maine in works by, 45, 46–47
Spanish-American War and, 220n6
works by: The Gulf Stream, 104, 104–5
I Protest/Putnam House/The Portland papers say that there will be a battery put on Prout’s Neck Maine, 105, 105
Kissing the Moon, 95, 95
Moonlight, Wood Island Light, 46, 46, 47
Searchlight on Harbor Entrance, Santiago de Cuba, 97–106, 98, 111, 112, 120, 207–8
Summer Night, 4, 7, 45–49, 91, 99, 214n66
Homestead Riots at Carnegie Steel works (1892), 174
homosexuality, 214n53
Hopper, Edward: Night Windows, 208, 208–9
horizon lines: blurring of identities through, 128
in Murano, 20
placement of, 22
in Remington, 66
“vanishing Indian” narrative linked to, 114, 115
Hornaday, William, 115, 117, 121–22
Hough, Emerson: “Wild West Faking,” 64
Howells, William Dean, 193
Between the Dark and the Daylight, 75
A Hazard of New Fortunes, 170, 184, 208
Hudson River School: aesthetic of, 2, 3, 25
Harrison on, 11
ideological content of, 87, 206, 207
Inness and, 26
Hughes, Rupert, 156, 180–81, 182
Huston, John, 209
Huysmans, Joris-Karl, 7
hypervisibility, 41, 54, 82, 111, 141, 154
identity. See American identity; ethnic identities
illustration art, 53, 63, 64, 215n21
imagination of beholder, 26, 30, 67, 70, 129
immigration: “Anglo-Saxon’s burden” and, 224n42
imperialist attitudes toward, 218n14 (ch. 4)
urban centers and, 122, 147, 152, 157, 164, 166–67, 225n55
white identity threatened by, 88, 111
imperialism: civilization discourse and, 107
economic, 207
ethnicity and, 87–88
exoticism and, 164
racist discourse and, 87–88, 97–106, 111, 133
Twain on, 108
impressionism: artificiality revealed by, 26
as art of light, 19–20
Harrison on, 57
nocturne artists’ opposition to, 79
Trumble on, 58
Indian Wars, 100, 133
industrial landscapes, 190–93
Infanta Eulalia (Spain), 108
Inness, George, 44–45, 79
Home at Montclair, 25, 25
Moonrise, 26, 27, 45
interiority, 69–70, 72, 74, 84
invisibility: electric light and, 49
proliferation of images and, 54
racial discourse and, 89, 91, 112, 134, 141
science and technology redefining, 33–36
Islam, 126
Italy, 126
Ivory Soap advertisement, 135, 136
Jackson, John Edwin: “Day and Night the Recreation Piers Are Full of Life,” 175
Jacobs, Walter: Mister Moon: Kindly Come Out and Shine (song), 143, 143–44
James, Henry: appearance in works by, 170
at Ellis Island, 166–67
on New York, 148, 164
provisional darkness concept and, 203
on skyscrapers and sublime landscapes, 193–95, 202
on Whistler, 7
works by: Portrait of a Lady, 75, 77
James, William, 39, 78, 216n33
Principles of Psychology, 43, 74, 77
Japanese art and culture, 12, 81, 94–96
Jewel City, 155
Jim Crow laws, 133, 138
Johnson, Frank Tenney, 65
The Silence of Night, 215n53
Johnson, J. H., 30
Johnston, Frances Benjamin, 48, 48
John the Baptist, 140
Jordan, David Starr, 41
Joyce, James: “Araby,” 224–25n49
Kaplan, Amy, 99–100, 133
Käsebier, Gertrude, 184
Kellogg, Paul Underwood, 224n28
Kemble, Edward, 53, 167, 221n2
Keppler, Joseph Ferdinand: “The Peeping Toms of the Camera,” 54–55, 55
Kerfoot, John Barrett, 59
“Black Art,” 183
Kipling, Rudyard, 87, 97
Kiyochika, Kobayashi: Before Tarō Inari Shrine at Asakusa Ricefields, 12, 13
Knock-Turn, Paralyzo (artist unknown), 22, 22
Knoedler Gallery, 64, 65
Knoedler, Roland, 44, 104
Knox, Thomas Wallace: Darkness and Daylight, or, Lights and Shadows of New York Life, 152, 153, 158, 160, 170–71
Koch, Robert, 34
Kodak cameras, 51–52, 57, 59, 60–61
advertisement, 51, 52
Kohlman, Charles: Appearances Dey Seems to Be Against Me or I Must Hab Done It in Ma Sleep (song), 135, 137
Kothe, Lenore: “Artistic Homes of San Francisco,” 120
Krausz, Sigmund: Street Types of Chicago, 170, 176, 181, 181
Ku Klux Klan, 141
labor unions, 174
Ladies’ Home Journal, 52
landscapes: art for art’s sake in, 199
bridges in, 193, 195–99
civilized landscape discourse, 79, 85, 87, 93
colors in, 78
electricity and electric lighting in, 152, 154, 156, 191, 193, 199
fog in, 25, 61, 188, 191
gaze in, 152, 154, 185, 199, 208–9
industrial, 190–93
moonlight in, 3, 15
nocturne genre vs. traditional landscape painting, 21–22
race and racism in, 93
railroad tracks in, 195, 196
rural, 15, 148, 187–93
shadows in, 176–85
tonalism in, 74, 193, 197
urban nocturnes redefining landscape aesthetic, 187–93, 199, 201
wilderness, 11
Langley, Samuel, 37
Laudendale, Hay wood, 94
Lavater, Johann Kaspar: Essays on Physiognomy (Essais sur la physiognomie), 176
Lawrence, Jacob, 167
Lears, T. J. Jackson, 11. See also antimodernism
Le Bon, Gustave, 174
The Crowd: A Study of the Popular Mind (Psychologie des foules), 171, 255n16
Lee, Gerald Stanley, 171
legibility through images, 170, 171
leisure culture, 93, 154–57, 158
Les XX group, 12
Leyland, Frederick, 29
Life (magazine): “The Message from Mars Received by Nikola Tesla,” 103, 103–4
Like Breath on Glass (2008 exhibition, Clark Art Institute), 12
Lincoln, Abraham, 137, 145
Literary Digest, 137, 138, 173, 174
Little Italy neighborhoods, 164
Lombroso, Cesare, 217n75
The Man of Genius (Uomo di genio), 82–83
London: Cremorne Gardens, 163
London, Jack, 223n8
Lorrain, Claude, 3, 21–22
Los Angeles Herald: “The Church Spire to Be a Thing of the Past,” 195
Luks, George Benjamin, 223n13
Allen Street, 165–67, 166
lunatic genius cliché, 80, 82–84
Lynch, Kevin, 170
lynchings, 89, 133–34, 140–45
Maine, depictions of, 4. See also Homer, Winslow
Mallarmé, Stéphane, 12, 30, 212n27
Manifest Destiny, 2
Manila Bay battle (1898), 101–2, 106
Marey, Étienne-Jules, 214n66
Marx, Karl, 199
masculinity, interpretations of, 81, 96
The Masses (socialist magazine), 161
mass images, 21, 51–55
materiality, 12, 71–72
Mathews, Arthur: Eve, 70–71, 72
McCay, Winsor: “Little Nemo in Slumberland” (comic strip), 75, 76, 205, 206
McKinley, William, 87, 106, 174
mediums of parapsychology, 81, 217n71
Meisenbach, Georg, 52
mental life, cultural interest in, 75, 80. See also psychology
Merleau-Ponty, Maurice, 26–27
metaphor as mode of racist discourse, 92
metaphysics, 37
Metcalf, Williard Leroy: May Night, 70, 71, 71
microscopy and microphotography, 34
Middle Ages, 126
Midway Plaisance concessions, 155–56, 163
Millet, Francis Davis, 44
Mindanao Island (Philippines), 106, 107
minstrel shows, 139–40, 205
“missing link” theory, 137
Mitchell, J. A., 130–31
Mitchell, S. Weir, 77
modernism, 15, 208, 213n29
modernity (Western), 12, 58, 78, 124, 207
Mondrian, Piet, 99
Monet, Claude, 58
moon, photographic images of, 34, 36
“The Moon, the Coon, and the Little Octoroon” (song), 135
Mooney, James, 129
moonlight: in Blakelock’s works, 4, 84
Harrison on, 26
in Homer’s works, 99
in Inness’s works, 46
in Remington’s works, 128, 131
in Steichen’s works, 72
in traditional landscape painting, 3, 15
Moore, George: Modern Painting, 78
Morgan, Irvin J.: “The Indians requiem” music piece, 127
Morrison, Toni, 134, 144, 218n1 (ch. 5)
Playing in the Dark: Whiteness and the Literary Imagination, 92
Mount Popocatépetl, 1–2
movement, representations of, 48, 72, 209
Muir, John, 93
Muirhead, James, 152
Mumford, Lewis, 188
Mumler, William H., 40–41, 213n21
Murphy, Herman Dudley: Murano, 20, 20, 22, 56, 187
music, nocturnes’ affinities with, 28, 78
Muslim (“Moro”) population of Philippines, 106–7
Muybridge, Eadweard, 58, 214n66
Animal Locomotion, 48
“Dancing—Fancy,” 48, 49
“The Horse in Motion,” 34, 37
Myers, Jerome: The Night Mission, 207–8
National Academy of Design, 44, 64
National Association for the Advancement of Colored People (NAACP), 133
Native Americans. See American Indians
natural elements, 188–90, 193
Navajo Indians, 119
Navy (U.S.), 101
negative promotional strategy of nocturnes, 207
nervousness, treatments for, 77–78
Newcomb, Simon, 39
New York City: Broadway, 156
Camera Club of New York, 59
Central Park, 188
City Vigilance League, 147
Coney Island, 149, 154–56, 163, 176, 202
Edison Pearl Street power station, 227n39
El feature (Greenwich Village), 172, 174, 198
Flatiron Building, 188, 189–90, 193
Greenwich Village, 172
Jewish neighborhoods, 126, 164, 166
Judson Tower, 189
Knoedler Gallery, 64–65
as “lighted wonder,” 199
Luna Park, 149, 155, 156, 163
Macbeth Gallery, 64
Madison Square Park, 188
Metropolitan Museum, 64, 207–8
Penn Station, 201
Photo-Secession (1906 exhibition), 184
Society of Illustrators, 53
Statue of Liberty, 9, 101
Tenement Commission, 224n20
Wall Street, 195
Washington Park, 188
New York Sun, 46
New York Times: on Cuba, 100
on Dewing, 81
on Dr. Gabriel experiments, 42–43
Fakirs salon parody (1902), 4
on Homer, 46, 48
on Johnson, 30
on Remington, 65, 66
New York World (newspaper), 99
Niagara Falls, 9, 102
nickelodeons, 52
night scenes, 12, 41, 63
night vision, 26
noble savage figure, 127
Nordic identity, 93, 94
North American Review, 75
the occult, 37–41, 75, 148, 201
Old West depictions, 4. See also Remington, Frederic
Olmsted, Frederick Law, 95, 187, 188
one-drop rule, 134, 135
openness and closure themes, 30, 70–72
optical toys, 213n27
Orientalist imaginary, 164–66, 199
the Other: American Indians as, 131
caricature of, 205
colonized peoples as, 100
darkness associated with, 85, 102
fear of, 88
immigrants as, 157, 164, 167
mistrust of, 170
in photojournalism, 161
poeticized, 164
relating to, 185. See also ethnic identities; race and racism
Ottman, William and Charles: “Burning of Administration and Mines Buildings, with Eastern View of Court of Honor and Peristyle,” 130, 131
Outlook (magazine), 107
Overland Monthly (magazine), 119, 142, 143
Ozono advertisement, 135, 136
Paine, Albert Bigelow: “The Bread Line” (short story), 226n27
Panama-Pacific International Exposition (San Francisco, 1915), 155
Pan-American Exposition (Buffalo, 1901), 56, 94, 97, 102, 155, 163
paranormal. See supernatural phenomena
Paris: as “birthplace of Symbolism,” 214n67
as center for artistic exchange, 92
École des Beaux Arts, 64
Musée d’Orsay, 45, 49
nocturnal paintings of, 182, 223n6
Parrish, Maxfield, 53
participation of observers, 26–28
Pasteur, Louis, 34
Payne, John, 164
Pears Soap advertisement, 101–2, 102
Penfield, Edward: Harper’s New Monthly Magazine cover, 53, 53
Pennell, Joseph, 145
Perard, V.: “Newspaper Row, New York, on Election Night,” 172
Perry, Matthew, 96
Peters, Charles Rollo: American identity in works by, 88–89
circle of artists in California, 87
night landscapes, specializing in, 3–4
Paintings of the Night (1899 exhibition), 64
San Francisco, depictions of, 123
Spanish-American War, inspired by, 220n6
subjectivity in works by, 69
Western depictions by, 111
works by: Portals of the Past, 124
San Fernando Mission, 4, 6, 70, 112
Untitled (Nocturnal Landscape with Adobe Building), 118, 119, 119–20
Philippines: American imperialism in, 87, 89, 123, 207
in Sapolio ad, 101
Spanish-American War, 106–7
Treaty of Paris (1898), 109. See also Filipinos, depictions of
philosophical tonalism, 216n33
photography: art for art’s sake in, 58–62
artistic aura and, 56, 61, 211n8
“black art” technique, 184
camera as weapon, 160
commercial value of, 62
Crary on, 33
objectivity and, 55, 57, 59
photojournalism, 157–59
pictorialist techniques, 61–62
proliferation of images and, 54
realism in painting affected by, 48
“second technological age” of, 34, 36
subjectivity in, 60–61
supernatural phenomena explored using, 39–40. See also Kodak cameras
photogravures, 21, 59, 62
photojournalism, 157–59. See also Hine, Lewis Wickes; Riis, Jacob August; Sloan, John
photopic (day) vision, 26
Photo-Secession (1906 exhibition, New York City), 184
Photo-Secession movement, 59, 61, 184
photo studio decor, 48, 48
Phrygian cap, 101
physics, 37
Picasso, Pablo, 99
pictorial tradition, 20, 59–60, 61–62, 67, 148, 149
picturesque: of Spanish architecture, 107, 119–121
in urban representations, 163–67
Pittsburgh, depictions of, 190–91
Pittsburgh Dispatch, 129–30
Pittsburgh Survey (sociological study), 190, 191
Plessy v. Ferguson (1896), 133–35
poet painters, 44
Pontellier, Edna (character in The Awakening), 82
positivism, 79
Pound, Ezra, 199
“To Whistler, American,” 9, 211n18
Poussin, Nicolas, 19
Preminger, Otto, 209
private vs. public space, 54, 169–71, 208, 226n42
profil perdu, 28, 182, 209
progress, notions of, 123, 125–26. See also civilization, theories of; science and technology
prostitution, 179–82
provisional darkness, 203
psychology, 15, 74–79
Puck (magazine) and Puck’s Library, 1, 54–55, 55
Pueblo civilization and architecture, 119, 121, 122
Puerto Rico, 87, 101, 109
Pulitzer, Joseph, 52
Pullman, George, 147
pure (or true) art concept, 56, 58
Pyle, Howard, 53
race and racism: caricatures of African Americans, 133, 221n2
color schemes and, 94
concept formation of, 218n6 (ch. 4)
darkness and light paradox related to, 89, 97–106, 133–35, 207
in imperialism, 87–89, 91–92, 111
in landscapes, 93
segregation, 15, 182
Tanner’s treatment of, 82
white discourse, 108. See also ethnic identities; the Other; white identity and whiteness
racial violence, 89, 100, 102–4. See also lynchings
radiography, 34, 36
railroad strikes (1893–1894), 174
railroad tracks in landscapes, 195, 196
rain in urban nocturnes, 190
realism: decorative art vs., 96
in Henri’s works, 148
in Homer’s works, 45–49
political realism, 3
Tanner’s avoidance of, 42
technological intrusion upon, 45–49
religion and faith, 38, 39, 41–42, 79, 129
Rembrandt, 71, 94
Remington, Frederic: American West, depictions of, 53, 63, 88
art for art’s sake and, 63, 67
color, use of, 66
in Cuba, 99
death of, 65
human figures in works by, 118
illustration, career in, 63–64, 65
Knoedler Gallery exhibits, 64–65, 115
photograph of, 65
on urbanization of American West, 122
“vanishing Indian” theme in works by, 111, 112
works by: Against the Sunset, 128
Call for Help, 66
Cheyenne Scouts Patrolling the Big Timber of the North Canadian, 67
Dismounted: The Fourth Troopers Moving the Led Horses, 66, 66
The End of the Day, 121, 122
Friends or Foes? (The Scout), 128, 128
The Hungry Moon, 115, 116, 117
Indian Scouts in the Moonlight, 67
The Luckless Hunter, 115, 116, 128
Night Halt of the Cavalry, 66
A Pack Train, 4, 66, 67
Scare in a Pack Train, 131, 131
Snow Trail, 66
The Stranger, 128
Sunset on the Plains, 114, 114–15
Renan, Ernest: Life of Jesus (Vie de Jésus), 42
Revolutionary War, 127
Richmond Planet: “Imperial Whitener,” 103, 103
Riis, Jacob August: documentary practice of, 159–61
imagery of urban night in, 158
photojournalism by, 149, 156
on urban landscape, 152, 164–65
works by: How the Other Half Lives, 157, 159, 224n43, 225n53
Lodgers in Bayard Street Tenement, Five Cents a Spot, 157, 159
Ripley, William Z., 157, 167, 224n42
Roberts, Charles G. D.: New York Nocturne, 196, 196
Roltair, Henry, 202
Röntgen, Wilhelm, 33
Rood, Ogden, 43
Roosevelt, Theodore, 87, 88, 93, 100, 108, 126
The Winning of the West, 121
Rorschach test, 184
Rough Riders, 100
Rousseau, Théodore, 2
rural landscapes, 15, 148, 187–93
Ruskin, John, 7, 26, 30, 31
Ryder, Albert Pinkham, 84
Under a Cloud, 83, 84
“dirty pictures,” 12
Siegfried and the Rhine Maidens, 83
The Toilers of the Sea, 83
Sacramento Daily Record-Union: “Looking into the Unseen,” 33–34, 35
Said, Edward, 167
Saint-Gaudens, Augustus: The Puritan, 127, 127
St. Louis Republic, 106
Saint Paul Globe: “The Lighted Wonder of the World,” 199, 200
“Will Steel Cities in the Air Come Next?” 196, 196
Salomé (biblical figure), 140
Salt Lake Herald: “Ghost Photographs Excite Interest of Psychists,” 40, 40
Saltus, Edgar, 198
Sampson, William T. (Admiral), 99
San Francisco Call (newspaper): “Artistic Homes of San Francisco,” 119, 120
“The Evolution of the Mud House,” 120, 121
San Francisco earthquake (1906), 70, 123, 202
Sapolio soap advertisement, 101, 101–2, 107
Scandinavian schools, 94
Schley, Winfield Scott (Admiral), 99
Schumpeter, Joseph, 201
Schuyler, Montgomery, 197–98
science and technology, 33–49
artistic status and representation affected by, 55, 57
color, science of, 44–45
incursion of, 9, 14, 48, 49
knowledge and belief hierarchies vs., 37–41, 213n8
mass images and, 54
physiology of sense-organs discovered, 43–44
thermodynamics, 79
urbanization and, 148, 193–98
visibility and invisibility redefined by, 17, 33–36, 51
X-ray technology, 10, 33–34, 36, 40, 102–3, 213n7. See also electricity and electric lighting
Scientific American: “Photography of the Interior of the Eye,” 43, 43
scientific and rational vision, principle of, 44
scientific racism, 88
scotopic (night) vision, 26
Scribner’s Magazine, 52
“A New York Nocturne,” 196, 196
seascapes, 74
Seattle, Chief, 112, 126, 129, 220n9
self, notion of, 75, 77
sexual practices and social change, 179
shadows in urban landscapes, 176–85
Share, Henry Pruett: “The Silhouette Artist,” 176
Sheeler, Charles, 223n12
American Landscape, 192, 193
Sherman, Frederic Fairchild, 70, 81
Shields, Scott A., 123
Shinn, Everett, 223n13
Fire on 24th Street, 161–63, 162
Fire Scene in the Bowery, 161–62, 162
Fleischmann’s Bread Line, 175–76
Girl on Stage, 181–82
Sickert, Bernhard, 30
silhouettes, 171, 176–85, 188
Simmel, Georg, 169
Sinclair, Upton: The Jungle, 158, 222n1
skyscrapers, 124, 188, 193–99, 201, 202, 226n13
slavery, 106, 107, 138, 182
Sloan, John: at Ashcan School, 223n13
Hopper influenced by, 208
Sheeler compared to, 223n12
works by: The Coffee Line, 175, 175, 176
Election Night, 173, 174, 176, 198, 225n21
Night Windows, 184–85, 185
Roofs, Summer Night, 161, 161
Six O’Clock, Winter, 171–74, 173, 198
Throbbing Fountain, Night, 193, 194
Smith, Henry A., 126, 220n9
Smith, Randolph Wellford: Benighted Mexico, 97
smokestacks, 222n1
snow: Carrington on, 189
in Emerson’s photographs, 58
in Hartmann, 188
in nocturnes, 22, 25, 148
in Remington, 121
in Shinn, 176
social reform movement, 158–59
Society of American Artists, 20, 44
Society of American Fakirs, 4
Solitude (sculpture), 94
Spain: Infanta Eulalia, 108
Spanish-American War, 12, 98, 99–100, 106–9, 220n6
Spanish empire, 87, 107–9, 112, 119
spatial relationships in nocturnes, 22, 26–27, 47, 72
Spencer, Herbert, 79, 88, 124–25
spirit photography, 41, 213n21. See also supernatural phenomena
spiritualism, 75, 216n18, 216n20
split image concept, 213n8
Statue of Liberty, 9, 101
Steichen, Edward Jean: Kerfoot rendering of, 184
Photo-Secession catalogue, front cover, 184
Photo-Secession movement and, 59, 61
pictorialism of, 114
points of view in images by, 198
trees, use of, 84
works by: Brooklyn Bridge, 196–97, 197
The Flatiron, 176, 178, 188, 193
Lady in the Doorway, 70, 71
Moonlit Landscape, 72
Nocturne, 72, 73
The Pond—Moonlight, 211n8
The Pond—Moonrise, 72, 74, 74
Self-Portrait, 59, 60
The Yellow Moon, 72, 73
Steichen, Lilian, 71
Stella, Joseph: Battle of Lights, Coney Island, 191, 192, 193
Pittsburgh, 190, 190, 190–91
Stellman, Louis J.: “Ghost Picture of San Francisco,” 123, 125
A Portal of the Past, 123–24
The Vanished Ruin Era collection, 123
Sterner, Albert: “Quantity not Quality,” 56, 56–57, 62
Stevenson, Robert Louis: The New Arabian Nights, 164–65
Strange Case of Dr. Jekyll and Mr. Hyde, 85, 170
Stieglitz, Alfred: commercial value of art by, 62
Kerfoot rendering of, 184
pictorialism of, 114
on portable cameras, 60
works by: American Amateur Photographer, 59
From the Back Window, 291, 201, 202
Camera Notes, 59
The Glow of Night—New York, 61, 62, 176
The Hand of Man, 61, 62
Icy Night, New York, 61, 61
Reflections: Night—New York, 61, 63, 176
“What is 291?” series, 201
stream of consciousness, 77
Stück, Franz von, 82
subconscious mind, 85
subjectivity (or interiority), 57, 67, 69, 189
of vision, 17, 44, 57, 67, 69, 70, 72, 74
in photography, 60–61
sublime concept. See technological sublime concept
Sue, Eugène: Mystères de Paris, 152
sunrise, 123
sunset, 114, 115, 117
supernatural phenomena, 38–41, 75, 213n17
surveillance, 152, 160–61, 223n9
Swedenborg, Emanuel, 44
symbolism, 12–13, 214n67
Tanner, Henry Ossawa, 87
Eakins and, 213n25
exile in France, 138
inward vision in art by, 43
at Pan-American Exposition, 94
racial prejudices, affected by, 134–35
racial symbolism in works by, 82
religious painting, approach to, 42, 44, 139–40
silhouettes of trees by, 144–45
at World’s Columbian Exposition (1893), 213n15
works by: Abraham’s Oak, 144, 145
And He Vanished Out of Their Sight, 42
The Annunciation, 38, 38, 39, 41, 42, 138
Daniel in the Lions’ Den, 138, 140
The Disciples See Christ Walking on the Water, 22, 24, 42
Nicodemus, 138, 139
The Raising of Lazarus, 135, 138
Salomé, 82, 83, 138, 140, 182
The Two Disciples at the Tomb, 41, 41–42
Taylor, Frederick Winslow: Principles of Scientific Management, 174
technological sublime concept, 193–98, 199, 201
technology. See science and technology
telegraph, 213n17
Tesla, Nikola, 38–39, 41, 103
Thayer, Abbott, 78
therapy, art as, 77–79
Thompson, Frederick, 156
Thompson, William (Lord Kelvin), 79
Thousand and One Nights (book), 164–65, 167, 225n49
Tietjens, Eunice, 94, 134, 135
Tiffany, Louis C., 214n34
Tissot, James: The Annunciation, 38, 39
Titian, 71
tonalism: Caffin on, 81
human presence and, 149
interiority of landscape explored in, 74
psychological aspects of, 77, 78
in rural landscapes, 193, 197
in urban nocturnes, 148
Whistler’s emulators termed, 9
touch perception, 28, 30
traditionalists, 11
traffic imagery, 172
Treaty of Paris (1898), 109
trees: in Blakelock, 84
in Fraser, 190
in Guérin, 190
in Harrison, 189
in Hartmann, 188
horizons and, 72
lynching sites and, 144, 145, 222n33
Trumble, Alfred, 57–58, 79
Tryon, Dwight William: Caffin on, 81
escapist effect of art by, 78
Freer and, 56, 93
as poet painter, 44
subjectivity in works by, 70
works by: Night: A Harbor, 22, 23, 91, 187
Rising Moon, 56
Sea: Night, 91
Turner, Charles Yardley, 94
Turner, Frederick Jackson, 88, 111, 121, 126
Twachtman, John, 78
Twain, Mark, “To the Person Sitting in Darkness,” 108, 109, 220n77
Tyndall, John, 79
“tyranny of the pictorial,” 54
ugliness aesthetic, 190, 193
Union League Club: Paintings of the Night (1899 exhibition), 64
University of Pennsylvania, 75
upside-down house attraction, 202
urban environment: in art, 15
assimilation in, 225n55
contrasts of, 152–63
crowds, 171–76, 225n14, 225n16
identities in, 183, 225n55
nighttime recreation in, 154–57
ominous representations of, 190, 223n8
public space and, 170, 224n37
spectacle and entertainment in, 147, 155, 169, 223n9
transforming nature of, 147, 187–88, 193, 201–2
visibility of social relations in, 10, 54, 151
Western expansion of, 112, 122
urban nocturnes: dualities in, 152
landscape aesthetic, redefining, 187–93, 199, 201
new urban realities reflected in, 147–49, 152
otherness in, 166
vagueness, 74–75, 77, 80, 82
Valéry, Paul, 9
Van der Neer, Aert: River View by Moonlight, 3, 4
Van Dyke, John, 9, 92, 93, 125
Art for Art’s Sake, 69, 78
Textbook of the History of Painting, 96
“vanishing Indian” discourse, 10, 88, 111–31, 133, 220n9. See also American Indians
Van Meter, H. H.: The Vanishing Fair, 131
Vaux, Calvert, 188
Veblen, Thorstein, 169–70
Theory of the Leisure Class, 155
Vernet, Claude Joseph: Night, a Port in Moonlight, 3, 4
Victorian society, 12
Virgin Mary, 37, 39, 129
viruses, discovery of, 34
visibility and invisibility paradox: color line problem and, 134
in Homer, 49
in Inness art, 45
interpretation of nocturnes, in relation to, 31
in “Little Nemo” comics, 205
mass images transforming, 54
racial discourse and, 89, 102
in science and technology, 10, 14, 17, 33–36, 51
of whiteness in nocturnes, 91
visual perception: afterimages and, 42
physiology of, 43–44, 58
technological inventions and, 34
transforming parameters of, 28, 31, 33
Wagner, Richard, 212n14
Wallace, A. R., 137–38
Wanamaker, Rodman, 112, 127
Warren, Samuel, 54
Washington, D.C.: Library of Congress, 126
National Gallery, 12, 63
waterscapes, 22, 48
weavism, 212n20
Wells, H. G.: The Future in America, 172
Whistler, James McNeill: aesthetic perspective of, 20, 27, 30–31, 33, 58, 64, 66, 69, 212n14
Arrangement in Flesh Colour and Grey (1884 exhibition), 27
Arrangement in White and Yellow (1883 exhibition), 27, 28
art for art’s sake, 3, 4, 92, 213n29
career, 4, 7–9
on color, 81
death of, 9
evolution discourse and works by, 20
Freer and, 93
industrial landscapes by, 190
Japanese art influencing, 95, 96
The Jungle cover art, compared to, 222n1
moonlight in art by, 44
“Mr. Whistler’s ‘Ten O’Clock’” lecture, 10, 92, 123, 148
nocturne genre epitomized by, 4, 7, 19, 56
preference for “semantic void,” 30
Ruskin lawsuit, 7, 26, 30
spiritualist interpretation of works by, 216n20
Steichen and, 59
Thames River depictions by, 2, 10, 12, 96, 123
therapeutic interpretations of art by, 78
in “To Whistler, American” poem, 211n18
Venice depicted in works by, 2
“Whistler Memorial” (1904 exhibition, Boston), 9
works by: Arrangement in Black and Grey: Portrait of the Artist’s Mother, 7, 213n14
Connie Gilchrist, 207–8
Edward G. Kennedy, 207–8
Harmony in Blue and Gold: The Peacock Room, 27–28
Lady in Grey, 207–8
Nocturne: Blue and Gold—Old Battersea Bridge, 12, 13, 28, 197
Nocturne, Blue and Silver: Battersea Reach, 2, 3
Nocturne: Blue and Silver—Bognor, 75
Nocturne in Black and Gold: The Falling Rocket, 7, 8, 30, 162–63
Nocturne in Blue and Gold: Southampton Water, 28
Nocturne in Blue and Gold: Valparaiso, 21, 22, 28
Nocturne in Green and Gold, 207–8
Nocturnes, Marines and Chevalet Pieces, 72
White City (Columbian Exposition of 1893): African Americans excluded in, 167
electric cables in, 227n39
ephemeral nature of, 131
modern city, as emblem of, 155–56
structures of, 97, 198. See also World’s Columbian Exposition (Chicago, 1893)
white identity and whiteness: American Indians, in relation to, 112, 130
civilization and light, associated with, 88, 125–26
color schemes representing, 94
contradictions of, 108
electricity associated with, 101, 102
invisibility of, 91–92
“white man’s burden,” 87, 97, 102. See also race and racism
white studies, 91, 218n1 (ch. 5)
Whitman, Walt, 148
Wiggins, Carleton, 214n34
wilderness landscapes, 11
women, roles of, 217n71. See also female figures; female mind, theories related to
working-class neighborhoods, 157–59, 161
World’s Columbian Exposition (Chicago, 1893): American art at, 92
American imperialism reflected at, 107–8
electric lighting at, 224n15
Japanese art section, 95
as nighttime amusement, 155
“Street in Cairo” attraction, 163
Tesla at, 38, 41
tourism at, 170
Van Dyke hierarchy of art at, 93
white ideals of, 130–31. See also White City
world’s fairs: American ideals at, 149
art market, promoting, 14
Buffalo (1901), 97
electric lighting at, 9
imperialism, as stage for, 88
Japan represented at, 96
as nighttime amusement, 155
nocturnal city portrayed at, 223n8
St. Louis (1904), 97
San Francisco (1915), 97. See also specific fairs by name
Wounded Knee massacre (1890), 88, 112, 117, 129
Wovoka (Paiute prophet), 129
Wyant, Alexander: Moonlight and Frost, 91
Wyeth, N. C., 53
Rural Delivery (Where the Mail Goes, Cream of Wheat Goes), 123, 124, 193
X-ray technology, 10, 33–34, 36, 40, 102–3, 213n7
yellow fever, 34
yellow journalism, 99
Yosemite, 194
zoopraxiscope, 48