Index

Monahan, Anne

Save Cite Share

Free

Index

Anne Monahan

Horace Pippin, American Modern

Index

Author

Anne Monahan

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-20348

Index

Unless otherwise indicated, Pippin’s works are paintings. The appendix is not indexed.

Abe Lincoln as the Good Samaritan (Pippin), 144, 145, 146, 233n10, 247n3

Abraham Lincoln, the Great Emancipator, Pardons the Sentry (Pippin), 107, 142–144, 143, 146

Abraham Lincoln and His Father Building Their Cabin on Pigeon Creek (Pippin), 38, 39, 76, 77, 88, 90, 141–142, 142, 146, 233n10

Admirer, The (Pippin), 7, 88, 167–168, 169, 174, 200, 243n45

Adorno, Theodor, 6, 72–73, 91–92, 96, 99

After Supper (Pippin, drawing), 28, 55–56, 55, 121, 134, 195

After Supper (Pippin), 33, 38, 39, 51, 53–56, 54, 105, 106, 134, 135, 226n24

Agha, M. F., 95–96, 99

Alexander, Raymond Pace, 179

Alexander, Sadie Tanner Mosell, 179

Alexander, Scholley Pace, 179, 245n73

Allen, Lawrence, 241n10

American Legion, 9, 46, 65, 80

Pippin’s gifts to, 6, 50, 67, 157, 162–163, 164–165

Pippin’s role in, 37, 160

segregation in, 6, 46, 67

Amish Letter Writer (Pippin), 12, 170

Anderson, Marian, 2, 97, 108, 183, 185, 185–187

Appadurai, Arjun, 157, 182

Ariadne Asleep on the Island of Naxos (Vanderlyn), 129, 132, 133, 136, 140

“Arrival of Mrs. Brown at Charlestown . . . ,” 147, 148, 151

artists as inspiration for Pippin’s works, 128–138

artists of the people, 14–15

Art News, 95, 116–117, 200

art of the 1930s, 10–19

Arts Club of Chicago, 9, 36–38, 40, 163, 165, 180

autobiography: authenticity and, 23–25, 68–69

versus biography, 23

black family scenes (see black family scenes); and difficulties dating Pippin’s early work, 36–40

“How I Paint,” 32–36, 46, 53, 115–116

“Illustrated Notebook,” 28, 28, 32, 42–43, 44, 45, 50

“My Dear Friends”/“My life story of art,” 35–36

“My Life’s Story,” 22, 30, 32–36

“The Story of Horace Pippin,” 30, 32–36, 42–43

war memoirs, 27–32, 28. See also war paintings; World War I

Autumn Scene near Durham, N.C. (Pippin, panel), 35, 77–78, 78, 88, 90, 105, 128, 177, 231n55, 233n10

balloon technology, 45

Baltimore Afro-American, 9

Barnes, Albert C.: and Christian Brinton, 125, 173–174

and intersection of folk, modern, and Negro art, 12–13, 16

and Pippin’s advertising commission, 92

promoting Pippin’s art, including catalogue essays, 34, 116, 120, 128, 170, 172, 180, 189, 197, 201

purchases, gifts, and sales of Pippin’s work, 51, 84–85, 88, 103, 112, 125, 142

Pyramid Club, Third Annual Exhibition (1943), 3, 3, 185, 186, 190

symbolic exchanges with Pippin, 9, 176–179, 185

Barnes Foundation, 128, 178, 188, 200, 201

Barr, Alfred H., Jr., 12, 13–14, 15, 205

Barracks, The (Pippin), 40, 41, 62–68, 63, 121, 247n3

Bataille, George, 196–197

Bearden, Romare, 4, 21, 77, 83, 84, 86, 108, 117, 206

Bear Hunt I and II, The (Pippin, panels), 10, 11, 36, 233n10

Bel Ami painting competition (1946), 6, 199, 202, 205

Bergson, Henri, 52

Bernier, Celeste-Marie, 4, 7, 40–41, 42, 124

Bernstein, Robin, 98

Bignou Gallery exhibition (1940), 9, 86, 88, 115, 185, 200

biography and biographies, 4–5, 7–10, 22–23, 24

“Birmingham Meeting House (Hicksite)” (Joseph Belt Studio), 124

Birmingham Meeting House (Pippin), 124–125, 126, 133, 173–174

Birmingham Meeting House in Late Summer (Pippin), 125, 127, 128, 174

Birmingham Meeting House in Spring (Pippin), 125, 126, 174, 176, 238n24

Birmingham Meeting House in Summertime (Pippin), 125, 127, 177

Birth of a Nation (film), 72

black adults and white children, 94, 98, 111–112

black family scenes, 51–62

black labor, 99, 101, 102, 113. See also cotton paintings

Bland, James A., 176, 177–178

Blitzstein, Madelin Leof, 176, 177

Bloch, Julius: depictions of Pippin by, 188–189

gift exchange with Pippin, 183, 185, 186

at Pippin’s funeral, 188, 189

on Pippin’s sales, 174, 176

on Pippin’s work, 9, 120, 121–122, 200

and Winsor sisters, 182–183

Blue Tiger, The (Pippin), 37, 40, 80, 81, 82, 118, 138, 140, 226n24

Bockrath, Mark, 120

Bond, Julian, 74

Bouquet of Flowers with China Asters and Tokyos (Rousseau), 201

Bourdieu, Pierre, 157, 160, 169, 174, 179, 196

Boym, Svetlana, 52, 54

Breton, André, 202, 203, 248n11

Brinton, Christian, 120, 165–174

and Birmingham Meeting House, 124, 125

and CCAA, 9, 80, 83, 157, 168, 200

as curator/collector, 7, 80, 84, 163, 165, 200

and “discovery” of Pippin, 165–167

and gift exchanges with Pippin, 170–174, 196

Pippin’s letters to, 167, 183

as Pippin’s mentor, 33, 81, 84, 128, 134, 157, 164, 170, 197

Brown, John, 140–141, 146–154

Bryn Mawr College, 189

Buckley, Barbara, 120

Buffalo Hunt (Pippin), 33, 36, 37, 118, 138, 162, 163, 163,170, 172, 231n50

first owner, 162, 164

burnt-wood panels: dating, 36

Pippin on, 35

return to, in 1940 and 1941, 120

See also Autumn Scene near Durham, N.C.; Bear Hunt I and II, The; Fall Landscape; Highland Dairy Farmhouse, Winter; Losing the Way; Man Seated Near a Stove; Maple Sugar Season; Old Mill, The; Saturday Night; Supper Time; Teacher’s College Powerhouse, Winter; Trapper Returning Home, The; Untitled (Winter Scene); Whipping, The

bus segregation, 74

Butler, Smedley D., 6, 50, 37, 67, 120–121, 118, 118, 157, 164–165, 170, 174, 197

cabin imagery, 51, 77, 85–88, 98, 102, 106, 233n10

Cabin in the Cotton (Pippin, ca. 1931–1937), 38, 43, 53, 70, 74–85, 75, 113, 118

chronology and location of, 71, 76–78

description of, 71, 74–76

eponymous song and film, 77, 81, 234n33

exhibition and reception, 72, 80–85, 90, 102, 136

and Lange’s photographs of Person County, 78, 79, 102

and later Cabin in the Cottons, 105, 106, 107

and Old Black Joe, 94, 98

sale of, 84–85, 88, 112, 177

Cabin in the Cotton (Pippin, 1944), 56, 71, 103–107, 104, 108–110, 112, 233n10

Cabin in the Cotton (Cotton Plantation) (Pippin), 71, 103–107, 104, 233n10

Cabin in the Sky (play and film), 106

Cahill, Holger, 12, 14, 84, 89, 116, 136, 166–167, 170, 172, 173

Capehart Panamuse record player advertising campaign, 91–98, 93, 96, 107

Carby, Hazel, 13

Cardinal, Roger, 21, 24, 40, 51–52, 58

Carlen, Robert: after Pippin’s death, 7, 10, 121, 122

on Cabin in the Cotton (1944), 105, 107

contract with Pippin, 9, 158, 160, 241n5

correspondence with Pippin, 88, 98, 125, 190

as dealer, 9, 12, 84

gallery (see Carlen Galleries); Guggenheim Fellowship application, 88–89

on Hamilton-Pippin relationship, 190–191

on Pippin’s methods, 125

and Pippin’s professional development, 128

sales records, 158, 159, 160

symbolic exchanges with Pippin, 176–179

on Vogue commission, 99, 102

Carlen Galleries, 9, 84, 125

exhibition (1940), 166, 170, 172–173

exhibition (1941), 201

Carlson, Helen, 205

Carnegie Institute annual exhibitions, 6, 11, 106, 109–110

Carrington, Leonora, 203

Cassou, Jean, 14

CCAA. See Chester County Art Association (CCAA)

Centeno, Silvia, 120

Chairs (Pippin), 195, 199

Charell, Erik, 103, 112

Charell, Ludwig, 103

Chester County Art Association (CCAA), 182

1937 annual exhibition, 9, 33, 80–83, 84, 128, 162, 166

1938 annual exhibition, 37, 40, 165

1939 annual exhibition, 168

1940 annual exhibition, 172–173

Flowers in Art, 167, 200

founders of, 165, 166

landscape painting tradition, 122–124

Lush Valleys, Landscape submission, 8, 8, 134–135

child care, 71, 76, 102, 105–106, 110–111

Children (Johnson), 17

Christ (Pippin), 2, 37, 38, 74, 118, 180

Christ before Pilate (Pippin), 40, 138, 147, 231n57

Christmas Morning Breakfast (Pippin), 51, 60

cigar boxes, 9, 33, 135

Civil War, 25, 123–124, 137, 140, 142–143, 154. See also slavery

Clark, Claude, 120, 121, 146–147, 160, 179, 180

Coates, Robert M., 16, 18, 108, 110, 199

Coiner, Charles, 92

College Art Journal, 73

Coming In (Pippin), 122, 156, 167–170, 168

Complete History of the Colored Soldiers in the World War, The, 31

Conn, Steve, 4, 152

Cooke, Lynne, 5–6

Cooks, Bridget, 16

Cooper, Richard, 195

Copeland, Huey, 73, 113

cotton paintings 71–85, 111–113

and plantation nostalgia, 71–74. See also Cabin in the Cotton; Cabin in the Cotton (1944); Cabin in the Cotton (Cotton Plantation); Old Black Joe; Uncle Tom; Vogue magazine commission

Country Doctor, The (Pippin), 35, 37, 78, 120, 121, 176, 177

Courbet, Gustave, 14

Courthouse—West Chester, Pennsylvania (Pippin), 123, 122–124

Cowdin, Andrea (Mrs. J. Cheever), 111, 112, 169, 237n84, 244n48

culture industry, 72–73, 111–112. See also Capehart Panamuse record player advertising campaign; Hollywood; Vogue commission

cutaway views, 62

Dague, Paul B., 164–165

Deep Are the Roots (Pippin), 140, 176, 178–179

Delaware Water Gap (Stall), 135

Den, The (Pippin), 157, 182, 190, 191–192, 193, 194–196

Dietrich, Daniel W., II, 189

discovery narratives, 4, 22–23, 71, 80, 138, 164–167, 174, 177, 181, 190

Dix, Otto, 66–67, 67

Dogfight Over the Trenches (Pippin), 38, 40, 49, 49–51, 179

Domino Game, The (Pippin), 51, 52–53, 57, 89, 247n3, and Barnes, 3, 3, 178, 188, 190

and Bloch, 185, 188

and figures in, 56, 105, 106

and Phillips, 191

and Rodman, 22

title of, 7, 134

Double V (Double Victory) campaign, 66, 86, 102

Downtown Gallery, 9, 12, 18, 56, 86, 103, 105, 106–107, 117, 158, 160, 179–180, 191

drawings, 27–29, 40, 50, 55–56, 59, 120, 122, 134, 146–147, 238n14

Du Bois, W. E. B., 12, 32, 93

Duchamp, Marcel, 201, 202, 202, 205

Durham, North Carolina, 77

Duvernois, Isabelle, 4, 120, 121

Dyer, Richard, 98

Earl, Elmer, 31

Edmondson, William, 5, 14, 14, 16, 22–23, 84, 181–182, 197, 247n121

Elk, The (Pippin, ca. 1936?), 80, 120, 163, 169, 170, 238n24

Elks Lodge (Improved Benevolent and Protective Order of the Elks of the World), 9, 160, 163

Ellison, Ralph, 73, 113

Ending of the War, Starting Home, The (Pippin), 7, 20, 33–41, 34, 36, 42–44, 45

and The Barracks, 62

and Cabin in the Cotton, 71, 74, 80

donation of, 172

exhibitions of, 84, 180

English, Darby, 3

Ernst, Max, 202, 203, 205

Estabrook, Dorothy Perkins, 125

European modernism, 201–202

Evans, Rebecca Winsor, 182–189

Exhibitions (1937–1947), 220–223

Faith Tabernacle, West Chester, 164, 242n26

Fall Landscape (Pippin, panel), 233n10

Family Supper (Pippin), 195, 233n10

Farnsworth Television & Radio Corporation, 92, 95, 96–97

Federal Arts Project, 166

Federal Writers’ Project, 84

Fields, Barbara J., 18, 19

Fields, Karen, E., 18, 19, 24, 27

Fields, Mamie Garvin, 27

15th New York National Guard. See 369th Infantry Regiment

film, 62, 72, 73, 77, 81, 92, 93, 106, 141, 200, 205

Fine, Gary Alan, 7, 21, 23

First Papers of Surrealism exhibition (1942), 3, 202

Fishing in the Brandywine, Early Spring (Pippin), 37, 142, 173

Flower (Pippin), 240n54

flower paintings, 199–201. See also Admirer, The; Chairs; Den, The; Flower; Giant Daffodils; My Backyard; Roses with Red Chair; Victorian Interior I; Victorian Interior II; Victory Vase

Flowers (Pippin), 199

Flowers in Art, 167, 200

folk art, 11–13, 181

Fortune, 86, 97–98

Foster, Stephen, 92, 93, 95, 97, 109, 110

Fox, R. Atkinson, 135

Fox Hunt (Homer), 129, 131

Fox in the Snow (Wyeth), 129, 131

Francis, Jacqueline, 11, 135, 206

Frank Leslie’s Illustrated Newspaper, 147, 149, 150, 151

Fried, Michael, 47, 66, 154

Frost, Rosamund, 116–117, 200, 237n5

Fugett, Joseph and Hazel, 162, 169, 242n21

Future of Nostalgia, The (Boym), 52

Gardner, Alexander, 143, 144

Garfield, John, 177, 178

Gas Alarm Outpost, Argonne (Pippin), 37, 42, 47–49, 48, 118, 121

gas masks, 40–42, 42, 49

Gauthier, M. Maximilien, 116

Genette, Gérard, 83

Georgia Cotton Crop (Thrash), 85, 86

Getaway, The (Pippin), 118, 129, 130, 135, 182, 189

Giant Daffodils (Pippin), 198, 199

gifts and symbolic exchanges, Pippin and, 157–197

benfits of, 157–160, 196–197

within the black community, 179–182

and Bloch, 185, 188

and Brinton, 165–167, 170–174

and Hamilton, 189–196

shifting emphasis to sales in 1940s, 174–179

and Stewart, 167–169

symbolic economy with Carlen and Barnes and connections, 176–179

West Chester social networks (1930s), 80, 160–165

and the Winsor Sisters, 182–189

Gingrich, Jane Kendall. See Hamilton, Jane Kendall

Giving Thanks (Pippin), vi, 88, 89, 231n55, 233n10

Glamour, 102

Glover, F. Waldo, 143

Gone with the Wind (film), 72

Gordon, Ruth, 178

Goshen, New York, 8, 26, 31, 51, 52, 53–54, 56, 58, 59, 60, 62, 80

Greatest Temptation of Saint Anthony, The (Pippin), 202–205, 204

Great Migration, 71–72, 75, 77

Greenwood, Marion, 109–110

Guggenheim Fellowship application, 88–89, 167, 173, 177, 180–181

Halpert, Edith Gregor, 7, 9–10, 12, 22, 86, 99, 102, 106, 107, 158, 178, 241n10. See also Downtown Gallery

Hamilton, Jane Kendall, 56, 157, 189–196, 199, 247n118, 246n104

Harnett, William, 12

Harpers Ferry, 140

Hartman, Saidiya V., 94

Heller, George, 178–179

Henderson, Harry, 4, 77

Hicks, Anne Irwin, 164, 242n26

Hicks, Edward, 12, 138, 139, 147

Highland Dairy Farmhouse, Winter (Pippin, panel), 35, 122. See also Old Mill, The (Pippin, panel)

Hirshfield, Morris, 3, 5, 202, 203

History of the American Negro in the Great World War (Sweeney), 31

history paintings, 140. See also Abe Lincoln as the Good Samaritan; Abraham Lincoln, the Great Emancipator, Pardons the Sentry; Abraham Lincoln and His Father Building Their Cabin on Pigeon Creek; John Brown Going to His Hanging; John Brown Reading His Bible; Old Abe’s First Book; Trial of John Brown, The

Hoe Cake, The (Pippin), 51, 233n10

Hollywood, 73, 111–112, 177–179, 199, 202

Holy Mountain paintings (Pippin), 7, 36, 62, 91, 91, 106, 134, 138, 139, 152, 155, 160, 195

Horace Pippin (Bloch, painting), 188, 246n98

Horace Pippin (Bloch, drawing), 188, 189, 246n98

Horace Pippin: A Negro Artist in America (Rodman), 4, 22

“Horace Pippin’s Autobiography, First World War” (Pippin), 27–28, 28. See also “Illustrated Notebook”

Horkheimer, Max, 72–73, 91–92, 95–97, 99

“How I Paint” (Pippin), 32–36, 46, 53, 115–116

“How to Look at Modern Art in America” (Reinhardt), 206, 207

Hurston, Zora Neale, 13, 108, 200

“Illustrated Notebook” (Pippin), 27–30, 28, 31, 32, 42–43, 44, 45, 50

“Indian maidens” imagery, 135

In Meditation, Fancy Free (Fox), 135

In the Heart of the Black Belt (Lawrence), 97–98

“Iron pot for heating water . . .” (Lange), 79

Jaffe, Mr. and Mrs. Ben, 177

Jaffe, Sam, 103, 112

Janis, Harriet (Hansi), 202

Janis, Sidney, 16, 32, 33–34, 140, 142, 201–202, 205

Jena, Jeanette, 109, 110

Jewell, Edward Alden, 107–110, 133, 136, 205

John Brown Going to His Hanging (Pippin), 26, 31, 107, 108, 146–148, 150, 151–153, 154

John Brown Reading His Bible (Pippin), 107, 146, 147, 148, 233n10

Johnson, Everett (autodidact), 16

Johnson, Everett (legionnaire), 80, 83, 162

Johnson, Henry, 31, 46–47, 162–163

Johnson, William H., 16, 17, 86, 89, 141

Kane, John, 11, 13, 14, 33, 117, 121, 138

Kennedy, John F., 67

Kienitz, John Fabian, 73, 97

Knowledge of God, The (Pippin), 7, 91, 91, 134, 152, 160

Kuniyoshi, Yasuo, 109

Lady of the Lake, The (Pippin), 39, 51, 87, 118, 120, 121, 129, 132, 133–137, 155, 195, 233n10

“Lady of the Lake, The” (poem), 133–134

Landshoff, Hermann, 203

Lange, Dorothea, 78, 79, 102, 234n16

Last Moments of John Brown, The (Hovenden), 140, 141, 152, 154

Lauck, Gerold M., 92

Laughton, Charles, 84–85, 88, 103, 112, 177

Lawrence, Jacob, 10, 86, 89, 97–98, 140–141, 182, 206

Lee, Doris, 109, 110

Lejeune, Philippe, 21, 23, 24, 27, 44, 68–69

Lentz-Smith, Adriane Danette, 66

Leof, M. V., 176, 177

Lerner, Gerda, 23

Lewin, Albert, 199, 202, 205

Lewis, Virginia, 182, 183

Life, 95, 96

Lilies, The (Pippin), 201

Lincoln, Abraham, 140, 141–146

Lloyd, Lally (Mrs. H. Gates), 169, 244n48

Locke, Alain, 9, 12–13, 16, 18, 68, 84, 86, 163, 170, 179–181

Loeb, Philip, 178

Loeb, Richard, 143–144

Loew, David, 202

log cabins. See cabin imagery

Loper, Edward, 117, 122, 176, 179, 184–185

Losing the Way (Pippin, panel), 36, 78, 121, 231n49

Lush Valleys, Landscape (Pippin), 8, 8, 118, 129, 133, 134–135, 134, 182, 189

lynchings, 72, 91, 91, 137, 151–152, 154–155

Major-General Smedley D. Butler, U.S.M.C., Retired (Pippin), 6, 37, 50–51, 67, 118, 118, 120–121, 157, 164–165, 174, 197

Man Seated near a Stove (Pippin, panel), 12

Maple Sugar Season (Pippin, panel), 233n10

Marian Anderson Singing (Pippin), 2, 184, 185, 187, 246n92

Marshall, Jennifer Jane, 22–23

Marshall, Kerry James, 205, 248n21

Masters of Popular Painting: Modern Primitives of Europe and America (MoMA), 9, 14, 16, 32, 84, 115, 116, 136, 165, 166

Mauss, Marcel, 157, 196

Mazia, Violette de, 125, 126

McCausland, Elizabeth, 115

Meisner-Graf, Lotte, 185

memory painting and memory painters, 21, 24, 40–41, 51–52, 58–59, 68

Metaphors of the Self: The Meaning of Autobiography (Olney), 24, 68

Migration of the Negro series (Lawrence), 86, 89, 97–98

Milkman of Goshen, The (Pippin), 51, 53, 54–56, 55, 58, 178

Miller, Dorothy C., 12, 33, 84, 166–167

Miss Louisa (Edmondson), 14

Mitchell, W. J. T., 83

modernism, 1, 2, 3, 5, 84, 86, 107, 158, 200, 205–206

Modern Negro Art (Porter), 182

modern primitives, 3, 11–12, 14–16, 18–19, 81–82, 84, 110, 116, 136, 199, 224n1

Moses, Anna Mary Robertson (Grandma), 14, 21, 40

Mr. Prejudice (Pippin), 40, 42, 66, 67, 91, 140, 152, 155, 176

mulatto, 25, 54, 228n15

Museum of Modern Art (MoMA), 11, 13–14, 15, 16, 98. See also Masters of Popular Painting: Modern Primitives of Europe and America

My Backyard (Pippin), 103, 200

“My Dear Friends”/”My life story of art” (Pippin), 35–36

“My Life’s Story” (Pippin), 22, 30, 32–36

naïve art/artists (naïveté), 14, 23, 84, 109, 116, 153, 181, 182, 202

Nathan Holmes American Legion Post, 9, 46, 162, 163, 169

National Exhibition of Advertising Art (1944), 96, 97

Native American theme, 135

nature as source material, 121–128, 199–201

Naylor, Douglas, 109–110

Negro art shows, 10, 18, 180, 224n3

Negro Artist Comes of Age, The (Locke), 181

“Negro Artist’s Dilemma, The” (Bearden), 21, 83

Negro in Art, The (Locke), 180, 181

“Negro sharecropper house” (Lange), 79

neo-primitives, 107–109

neo-spirituals, 108

Neuberger, Roy, 106, 112

New Negro movement, 9, 16, 18, 68, 76, 80, 83, 86, 181

Newsweek, 185

New Yorker, 16, 18, 95, 108

New York Illustrated News, 147, 148, 151

New York Times, 107, 136, 205

New York Tribune, 152

Noyes, Mrs. C. Reinold, 169, 170, 244n48

nostalgia, 51–52, 56, 71–74, 77

Nude in the Window (Hirshfield), 203

N. W. Ayer and Son, 92, 97

Odets, Clifford, 177, 178

Oehler, Sarah Kelly, 77

Old Abe’s First Book (Pippin), 107, 144, 145, 146, 233n10

Old Black Joe (Pippin), 71, 91–98, 93, 96, 137, 241n71

as advertising campaign, 91–92, 178

and Cabin in the Cotton (1944), 107, 110

carpetbag in, 147

compared to Cabin in the Cotton (Cotton Plantation), 105

compared to Lawrence’s commission for Fortune, 97–98

compared to Uncle Tom, 110–111

compared to Study for Vogue Magazine, 99, 101

description of, 94

exhibition and reception of, 107–108

Kienitz’s attack on, 73–74, 97

song composer, and singer, 92–93

and wartime culture industry, 94–97, 96

Old King Cotton (Pippin), 71, 99, 100, 101–103, 107, 112, 233n10, 241n71

Old Mill, The (Pippin, panel), 120–121, 122, 231n49, 238n18

Olney, James, 24, 68

Omi, Michael, 18

On Guard (Pippin), 162

Outpost Raid, Champagne Sector (Pippin), 37, 41, 41, 46–47, 49, 50–51, 68, 162–163, 170

outsider art, 5, 16, 19, 21, 155

PAFA. See Pennsylvania Academy of the Fine Arts

paints, 120–121

Park Bench, The (Pippin), 112, 112–113, 178

Pascal, Roy, 23

Paul B. Dague (Pippin, drawing), 121

Paul B. Dague, Deputy Sheriff of Chester County (Pippin), 6, 37, 38–39, 39, 50, 67, 74, 120–121, 157, 164–165, 174, 197

Peaceable Kingdom theme (Hicks), 138, 139

Pennsylvania Academy of the Fine Arts (PAFA), 111, 128, 129

Peterson, Clinton J., 31–32

Peto, John F., 12

Philadelphia Inquirer, 118, 118, 185

Philadelphia Main Line, 6, 111–112, 125, 158, 170, 182

Philadelphia Museum of Art, 172, 189

Philadelphia Record, 72, 82

Philadelphia Tribune, 9

Phillips, Duncan, 191, 199

pipe-smoking women, 56, 57, 58, 105

Pippin, Bertha (sister), 26, 56, 58

Pippin, Christine (sister), 25, 26, 56, 229n18, 229n20

Pippin, Harriet (mother), 25–26, 54, 56, 152–153, 228n14, 228n15, 228n16, 229n19

Pippin, Horace: artist’s statements, 32–36, 208–210

biography, 8–10 (see also autobiography; biography and biographies)

birth and childhood, 8 (see also Goshen, New York); creative process (see process)

death and funeral, 188–189, 189

“discovery” of, 80, 165–167

exhibitions, 220–221, 224n3, 225n4

family (see Pippin family); military service (see World War I); use of “Harris,” 26, 229n21

works, complete list of, 211–219

Pippin, Jennie Ora Featherstone (wife), 8–9, 77, 160, 184, 234n14

Pippin, John (brother), 25–26

Pippin, Joseph (Harriet’s husband), 25, 228n14, 228n16

Pippin family, 25–26, 56, 58–60, 228n14, 228n15, 228n16, 229n17, 229n18

Pittsburgh Post-Gazette, 109

Pittsburgh Press, 109–110

plantation nostalgia, 71–74, 77, 82–83, 113

plein aire tradition, 124. See also Birmingham Meeting House paintings; Courthouse—West Chester, Pennsylvania; West Chester, Pa.

Porter, James A., 18, 86, 97, 179, 182

Portrait of Dr. Christian Brinton (Pippin, unknown support), 121

Portrait of Dr. Christian Brinton (Pippin), 121, 157, 170, 171, 172, 173

Portrait of Marian Anderson (Pippin), 2, 184, 185, 186, 246n92

Portrait of Marian Anderson Singing (Van Vechten), 185, 187

Portrait of My Wife (Pippin), 39, 87, 174, 175, 176

Portraits, 1–2, 14, 50, 118, 122, 153

as gifts, 67, 157, 164

in genre scenes, 56, 57–60. See also Christ; Coming In; Major-General Smedley D. Butler, U.S.M.C., Retired; Marian Anderson Singing; Paul B. Dague; Paul B. Dague, Deputy Sheriff of Chester County; Portrait of Dr. Christian Brinton; Portrait of Marian Anderson; Portrait of My Wife; Self Portrait; Self-Portrait II

Potted Plant in Window (Pippin), 169

Preston, John L., 148

“Pretty Jane Presents–! Chaperoned Because of Her Beauty . . .” (Associated Press), 189–190

primitives, 107–109, 115–116. See also modern primitives

print sources, 118–119, 138–154

and Brown paintings, 140–141, 146–154

and Gas Alarm Outpost, Argonne, 48, 48–49

and The Greatest Temptation of St. Anthony, 204–205

and Lincoln paintings, 140, 141–146

and Major-General Smedley D. Butler, U.S.M.C., Retired, 118, 118

and Marian Anderson, 185, 185–187

and Outpost Raid, Champagne Sector, 46–47

and Woman of Samaria, 118, 119

process, 115–155

“How I Paint,” 32–36, 46, 53, 115–116, 210

materials and techniques, 37, 120–121

and realism, 116–117

retouching and revision, 37, 39–40

sources (see sources and references)

professional network, 128–129

Proposed Design for James A. Bland Memorial (Pippin), 176, 177–178

Putnam County Courier, 31–32

Pyramid Club, 3, 3, 162, 188

race: and Pippin’s critical reception, 16, 18–19, 73, 81–83, 84, 97, 107–110, 179–182

and truth and realism, 21–22

and use of term “primitive,” 16

racecraft, 18, 115–116

racism in World War I war efforts, 67

realism, 1–2, 52–53, 116–117, 154, 199

Red Scare, 178–179

Refugees (Pippin), 176–177, 247n3

Reinhardt, Ad, 206, 207

Repast of the Lion, The (Rousseau), 15

Robbins, Caroline, 184

Roberts, Needham, 31, 46

Robeson, Paul, 92, 93, 97, 118

Rockefeller, Abby Aldrich, 11

Rodman, Selden: on The Barracks, 67

on Bel Ami painting competition, 205

on Cabin in the Cotton, 77

and Cabin in the Cotton (Cotton Plantation), 106–107

dating early works, 37, 38

on The Hoe Cake, 51

Horace Pippin: A Negro Artist in America, 4, 22

on John Brown Going to His Hanging, 152–153

on Pippin-Brinton relationship, 172

on Pippin’s methods, 120, 121, 133

on sources, 118, 120

on war paintings, 40

Rogers, John, 137

Rohrbach, Augusta, 153

Roses in a Jar (Pippin), 200

Roses with Red Chair (Pippin), 200, 201

Rosskam, Edwin, 86

Rousseau, Henri, 14, 15, 201, 201

Russian War Relief program, 176–177

Sandburg, Carl, 143

San Francisco Museum of Art, 9, 37, 128

Saturday Night (Pippin, panel), 51, 59, 121, 244n64

Saturday Night Bath (Pippin), 51, 59–60, 61, 121, 177, 247n3

Saying Prayers (Pippin), 51, 60, 89, 106

Schapiro, Meyer, 14

School Studies (Pippin), 51, 56, 60, 60, 89, 105, 106, 158

Scott, Hope (Mrs. Edgar), 169, 244n48

Scott, Walter, 133–134

Scott, William, 143

selective tradition, 5, 113

Self Portrait (Pippin), x, 1–2, 25, 30, 31, 35

Self-Portrait II (Pippin), 191–192, 192, 195, 246n110

self-taught artists (autodidacts): versus academically trained, 248n21

and copying, 117

and discovery narratives, 23

diverse perspectives on, 1–5

as division of modern art, 13–14

Janis’s focus on, 201–202

as modern primitives, 10–11

and Pippin’s “How I Paint,” 115–116

as self-made, 1, 140, 244n2

use of terms, 224n1

wealth and social standing and, 111–112

who were black, 16, 181, 232n101

“SENTRY BOX OUTSIDE REGIMENTAL headquarters,” 47, 48

sharecropping, 75, 234n16

Shell Holes and Observation Balloon, Champagne Sector (Pippin), 33, 37, 44–46, 45, 84, 199

Sims, Lowery Stokes, 21

skin tones, 25, 38–39, 43, 50, 54, 87–88, 90, 99, 170, 228n15

Sky Hooks (Kane), 117

slave narratives, 83

slavery, 71–72, 73, 83, 137

Brown paintings, 140–141, 151–152

Old Black Joe, 91–98, 93

Uncle Tom, 110–112, 111

Whipping, The, 90, 90–91

Sleepers (Pippin), 51, 56, 57, 158, 190–191, 195

social realism, 52, 72, 76–77, 140

Song of the South (film), 72

sources and references, 117–155

and Brown paintings, 140–141, 146–154

and Lincoln paintings, 140, 141–146

nature, 121–128

other artists, 128–138

overview, 117–120

print (see print sources)

“space of death,” 94

Sparhawk-Jones, Elizabeth, 9, 84, 128, 129

Spartanburgh, South Carolina, 77, 78

“Spirituals and Neo-Spirituals” (Hurston), 108

Squirrel Hunter, The (Pippin), 118, 173

Stall, J. H., 135

Steinberg, D. and Mrs. William, 128, 177

Stewart, Carol Harriman (Mrs. Plunket Stewart), 88, 122, 156, 157, 167–169, 168, 170, 173, 174, 197, 244n48

Stieglitz, Alfred, 3, 16

still-life paintings, 200–201. See also Chairs; Den, The; Flower; Flowers; Giant Daffodils; My Backyard; Victorian Interior I; Victorian Interior II; Victory Vase

Stormy Weather (film), 62

“Story of Horace Pippin as Told by Himself, The” (Pippin), 30, 32–36, 42–43

Story of Young Abraham Lincoln, The (Whipple), 141

Straley, George, 166, 167, 170, 172

Studio, The (journal), 200

Study for “The Barracks” (Pippin), 40, 41, 62–68, 63, 121

Study for Vogue Magazine (Pippin), 71, 99, 100, 101, 102, 121, 233n10

Sun, The, 205

Sunday Morning Breakfast (Pippin), 51, 56, 58, 58, 59, 89, 105, 106, 121, 247n1

Supper Time (Pippin, panel), 51, 56, 59, 59, 88, 89, 105, 121, 231n55

supports, 120

surrealism, 6, 199–202, 205, 206

Swanee River (film), 92, 93

Sweeney, W. Allison, 31

symbolic exchanges. See gifts and symbolic exchanges

Teacher’s College Powerhouse, Winter (Pippin, panel), 35, 122, 161, 161–162, 163, 231n49, 242n15, 242n17

Temptation of Saint Anthony, 202, 204, 204–205

theatricality, 47, 49, 154

They Taught Themselves (Janis), 33–34

Thompson, Krista, 73, 113

Thrash, Dox, 85, 86

369th Infantry Regiment, 8, 31–32, 46–47, 48, 62, 67

Time, 85, 95

Touching Up (Small Version) (Kane), 13

Trapper Returning Home, The (Pippin, panel), 233n10

Traylor, Bill, 4, 16, 23, 197

Trial of John Brown, The (Pippin), 107, 146, 147, 149, 178

Trout Fisherman (Pippin), 163–164

Truth, Sojourner, 153, 153, 241n69

12 Million Black Voices (Wright and Rosskam), 86

Uncle Tom (Pippin), 71, 110–112, 111, 137

Uncle Tom’s Cabin (Stowe), 110–111

Unterstand (Foxhole) (Dix), 66–67, 67

Untitled (Winter Scene) (Pippin, panel), 233n10

Upton, Melville, 137

Usseau, Arnaud d’, 178

Vanderlyn, John, 129, 136

Van Vechten, Carl, 177–178, 185, 187, 188

Victorian Interior I (Pippin), 191, 194, 194, 195, 202, 247n3

Victorian Interior II (Pippin), 62, 202, 247n3

Victory Vase (Pippin), 66, 86, 102, 103, 178, 247n3

Vigeveno, James, 10, 237n85

Vogue magazine commission, 72, 98–103, 100. See also Old King Cotton; Study for Vogue Magazine

Wade, Richard, 10, 160, 244n60

Waiting (Pippin), 51, 86–88, 87, 162, 177, 179, 233n10

Walker, Hudson, 9, 84, 128

Walker, Zachariah, 137

Waring, Laura Wheeler, 128, 188

war memoirs, 8, 27–32, 28, 35, 46, 49, 64–66, 68, 80, 98, 121. See also war paintings; World War I

war paintings, 40–51, 62–68, 84, 136. See also Barracks, The; Dogfight Over the Trenches; Ending of the War, Starting Home, The; Gas Alarm Outpost, Argonne; Outpost Raid, Champagne Sector; Shell Holes and Observation Balloon, Champagne Sector; Study for “The Barracks”

Wash, The (Pippin), 233n10

WCCC. See West Chester Community Center

Weaver, Mr. and Mrs. H. Ralph, 164

Weber paints, 35, 37, 116, 120

West, Cornell, 205

West Chester, Pa. (Pippin), 122

West Chester, Pennsylvania, 8–9, 80, 123–124, 160–164

West Chester Community Center (WCCC), 9, 33, 80–81, 83–84, 128, 162, 164

West Chester Garden Club, 167, 200

Whipping, The (Pippin, panel), 90, 90–91, 179, 231n55

Whipple, Wayne, 141, 142–143, 144, 146

Whitney Museum of American Art, 162, 163

Williams, Josephine Reason, 161, 162, 163, 169

Williams, Raymond, 5, 72, 97, 113

Willow Brook Farm, 189, 191, 194

Wilson, Judith, 4, 77, 178

Winant, Howard, 18

Winslow, Homer, 129, 131

Winsor, Curtin and Elizabeth (Betty), 174, 176, 182

Winsor, Ellen, 182–189

Woman Taken in Adultery, The (Pippin), 138

Woman of Samaria (Pippin), 118, 119, 121, 122, 138

works by Pippin: complete list, 211–219

dating, 36–37

prices of, 7, 106, 158–160, 162, 163, 167, 174, 179, 180, 182, 200, 202, 247n3, 247n3

titles of, 134, 134–135. See also specific objects

World War I, 8, 26, 51, 62

battlefield sketches, 40, 65

black soldiers’ manliness and fitness, 66–67

gas masks, 40–42, 42, 231n62, 232n88

injury, 2, 8, 9, 23, 30, 42–43

Pippin’s reception related to, 21, 109, 118, 183

Pippin’s war memoirs, 27–32, 28, 35, 46, 49, 64–66, 68, 80, 98

racism in, 27, 67

369th Infantry Regiment, 8, 31–32, 46–47, 48, 62, 67

war paintings as memory paintings, 40–41. See also American Legion; Butler, Smedley D., Major-General; Dague, Paul B.; Johnson, Henry; Roberts, Needham; war memoirs; war paintings

World War II, 34, 36, 40, 62, 66, 86, 109, 137, 138, 155, 167, 178

Pippin’s veteran’s status during, 109

and Pippin’s wartime commissions, 91–92, 95–99, 101, 102, 103, 155. See also Deep are the Roots; Holy Mountain paintings; Knowledge of God, The; Mr. Prejudice; Old Black Joe; Refugees

Russian War Relief Program; Victory Vase; Vogue commission (the study and Old King Cotton)

Wounded Scout: A Friend in the Swamp (Rogers), 137

Wright, Richard, 86

Wyeth, N. C., 16, 81, 84, 128, 129, 131, 166

Zachariah (Pippin), 137, 231n55

Zilczer, Judith, 4, 138

Previous chapter Next chapter

Base text size -

Chapter images ()