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Kasson, Joy S.

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Index

Joy S. Kasson

Marble Queens and Captives: Women in Nineteenth-Century American Sculpture

Index

Author

Joy S. Kasson

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-31610

Index

Adam (biblical figure), 188, 190

Addams, Jane, 241

Akers, Benjamin Paul, 169

Alger, Horatio: Ragged Dick, 8

Allston, Washington, 13, 123, 205

Art gallery, private, 25–29

Artistic Houses, 22–25

Auerbach, Nina, 167

Bailly, Joseph: Paradise Lost, 22, 187–90, 188

biographical information, 187

The First Prayer, 187–90, 189

Baldwin, George C., 186–87

Ball, Thomas: biographical information, 6

Bancroft, George, 99

Banks, Thomas: Monument to Penelope Boothby, 110, 111

Barbarians (mysterious Other), 51, 58, 59, 66, 84, 87

Barnum, P. T., 33

Bartholomew, Edward Sheffield, 181

Fallen Eve, 181, 182

Bartolini, Lorenzo, 11, 19, 53

Becker, George: Rizpah Defending the Bodies of Her Sons, 42, 236–37, 239

Beecher, Henry Ward, 183

Benefactors, art patrons as, 12–17

Bernardin de Saint-Pierre, Jacques-Henri: Paul et Virginie, 133, 134

Bourdieu, Pierre, 18, 24–25

Brackett, Edward Augustus: biographical information, 6, 122–23

visual sources for Shipwrecked Mother and Child, 128–33

compared to Poe, 138–40

compared to Sigourney, 139–40

—Poetry: “Annabelle,” 126

“Sleep and Death, An Illustration of a Group of Sculpture,” 126

“The Wreck,” 127

—Sculpture: Shipwrecked Mother and Child, 56, 101–02, 102, 126–27, 134–40

Nydia: 123

“Excelsior,” 123, 124

“The Guardian Angel,” 123, 124

“The Ascension,” 123, 125

Braga, Enrico: Cleopatra, 234, 238

Brown, Charles Brockden: Wieland, 77

Browning, Elizabeth Barrett: on The Greek Slave, 69, 70, 82, 141–42

friend of Harriet Hosmer, 142, 146

Browning, Robert: friend of Harriet Hosmer, 142, 146

friend of William Wetmore Story, 205–07

“My Last Duchess,” 207

The Ring and the Book, 207

Bryan, Thomas Jefferson (art patron), 25

Bushnell, Horace, 183, 185

Byron, George Gordon, Lord, 49, 52, 190, 210

Cambos, Jules: The Erring Wife, 234, 235

Canova, Antonio, 1, 19

Pauline Bonaparte Borghese as Venus Victorious, 19

Cupid and Psyche, 19, 22

Psyche, 196

The Mother of Napoleon, 211–12, 213

Caliph of Baghdad, The (opera), 52

Captivity: theme in sculpture, 19, 73–100, 119, 135–37, 148, 154, 158, 190, 200, 215, 231, 240, 242

Centennial Exhibition (Philadelphia), 31, 38–45, 190, 232, 233, 234–40, 241

Čermák, Jaroslav: Episode in the Massacre of Syria, 55–56, 56, 62

Chantrey, Francis: The Sleeping Children, 110, 112, 126

Resignation, 117, 119

Chauncey, Charles (art patron), 14

Child, Lydia Maria, 146, 152, 155, 157

Christianity: and The Greek Slave, 49, 51, 58, 69

and The White Captive, 79–81, 82–83

and Virginia Dare, 87

and The Indian Girl, 89–91

and Pocahontas, 93

and The Wept of Wish-ton-Wish, 96–97

and The Willing Captive, 99

and consolation literature, 104–06

and graveyard sculpture, 112–14

and Beatrice Cenci, 120

and Shipwrecked Mother and Child, 137

Cinderella, 44

Clarke, James Freeman, 61, 183

Class: expectations and sculpture, 12

wealth and, 15

Cleopatra, 153, 208–17, 234–36

Clésinger, Auguste: Woman Bitten by a Snake, 130, 132

Clevenger, Shobal Vail (sculptor), 14

Cole, Thomas, 7, 30–31

Commercial culture: Tuckerman on, 9

ideal sculpture and, 18

women’s role in, 19–20

and The Greek Slave, 65, 68

and themes of liminality, 78

and The White Captive, 82

and liberal theology, 184–85

Consolation literature, 104–06, 112–13, 125, 137–38, 167

Contexts for viewing art: private home, 21–25

private art galleries, 25–29

artist’s studio, 29–30

public exhibitions, 30–32

Control and self-control: themes in writings of art critics, 17, 18

in The White Captive, 81–82

Cooper, James Fenimore: patron of Greenough, 13–14, 15

The Last of the Mohicans, 76, 91

The Wept of Wish-ton-Wish, 93–98

The Crater, 96

The Pioneers, 96

The Deerslayer, 168

Copley, John Singleton: Paul Revere, 9–10

Watson and the Shark, 131, 132

Cortot, Jean-Pierre: Pandora, 196, 197

Cosmopolitan Art Association, 46, 66, 70, 210

Cott, Nancy, 63

Cousin, Jean: Eva Prima Pandora, 191, 195

Craven, Wayne, 139

Crawford, Thomas: biographical information 6, 11

as success story, 8

Demosthenes, 28

Flora, 28

moral function of art in, 32

Babes in the Wood, 126

Crocker, Edwin B. (art patron), 18, 25

Crow, Wayman (art patron), 14, 146

Crystal Palace Exhibition (London), 31, 46, 58, 65–66

Crystal Palace Exhibition (New York), 31

Culler, Jonathan, 33

Cultural capital, 18, 25

Cultural leadership: advocated by art patrons, 16

Cushman, Charlotte, 11, 19

Cushman, Clara, 60, 68

D’Angiers, David: Barra, 129, 131

Dark lady (literary convention), 168, 170, 181, 201, 208–10, 215, 218, 231

Death: theme in art, 19, 128–33

suggested in The White Captive, 79

in nineteenth-century culture, 102–04

and consolation literature, 104–06

in the works of Edgar Allan Poe, 106–07

and graveyard sculpture, 107–22

and the poetry of Edward Augustus Brackett, 126–28

and Shipwrecked Mother and Child, 134–40

De Bay, Auguste-Hyacinthe: First Cradle, 190, 192

Delacroix, Eugène: The Massacre at Chios, 128, 130

Medea, 221–23, 224

Delaplanche, Eugène: 179

Eve After the Fall, 173

Eve Before the Fall, 173, 174

Dewey, Orville: praise for The Greek Slave, 58–59

influence of, 82, 142

on Eve Tempted, 176

and liberal theology, 183

Dexter, Henry: Emily Binney, 109–13, 114, 116–17, 122

Dijkstra, Bram, 167

Dillingham, William (art patron), 14

Domestic dislocation: theme in sculpture, 19

theme in The Greek Slave, 63–65

theme in captivity subjects, 73

in The White Captive, 74–76, 79

in Sigourney, “Virginia Dare,” 85–87

in The Willing Captive, 99

in consolation poetry, 104–06

in Shipwrecked Mother and Child, 138

in Hosmer’s sculpture, 151, 160

and Sarah Hale, 185–86

in Medea, 240

as persistent theme, 243

Douglas, Ann, 104

Douglas, Mary, 48

Dreiser, Theodore, 241

Dunlap, William: History of the Rise and Progress of the Arts and Design in the United States, 7, 14

Dupré, Giovanni: The Dead Abel, 129, 131

Saffo Dolente, 213–14

Dusseldorf Gallery (New York), 33–34, 70

Elliott, William Harvard (art patron), 13

Emerson, Ralph Waldo, 7, 183, 205

Erasmus, 195

Eroticism: encased in moral narrative, 57

response to The Greek Slave, 59–61, 72

in The White Captive, 84–85

suppressed in Shipwrecked Mother and Child, 135, 139

in depictions of Eve, 173–74, 179

in art at the Centennial Exhibition, 234

Étex, Antoine: Cain and His Family, 190, 191

Eve (biblical figure): Eve Tempted, 6, 48–49, 74, 173–78

traditions of representation, 173

Eve Disconsolate, 178–81

Repentant Eve, 181

and liberal theology, 184

domestic interpretation, 186–90

Lydia Sigourney, “Eve,” 187

Everett, Edward: as art patron, 17

praises The Greek Slave, 57

Fair lady (literary convention), 168, 178, 181, 201, 215, 218

Family: survival, 4

theme in response to The Greek Slave, 63–65

and captivity subjects, 73

and The White Captive, 74, 78, 79–80

and The Willing Captive, 98–100

and consolation literature, 104–06

in Beatrice Cenci, 119, 122

in Shipwrecked Mother and Child, 138

and liberal theology, 184–87

and Eve, 188–90

in Story, Medea, 218

in Legouvé’s Médée, 223–30

in burlesque Medea, 231

and Rizpah, 236–37

as persistent theme, 243

Fiction, sentimental: anxiety reflected in, 4

Film: criticism applied to ideal sculpture, 37–38, 66

Fish, Hamilton: as art patron, 17

and The White Captive, 81

political biography, 81–82

fear of disorder, 82

and The Indian Girl, 89

Foley, Margaret, 234

Freud, Sigmund: 37, 61, 243

“On Narcissism: An Introduction,” 62

Fuller, Margaret, 127, 205

Gadamer, Hans-Georg, 33

Garden cemetery movement, 109

Garland, Hamlin, 241

Gay, Peter, 3–4, 59–60

Gaze: and gender, 37–45,

and The Greek Slave, 51, 55, 66

and The White Captive, 83–85

and The Wept of Wish-ton-Wish, 97–98

and Shipwrecked Mother and Child, 135–36

and Hosmer’s sculpture, 150

Gender: assumptions embodied in sculpture, 2

expectations for sculptors, 12

structures revealed in act of looking, 37–45

and The Greek Slave, 48, 70

and The White Captive, 80

shapes response to ideal sculpture, 141–42

expectations challenged by Hosmer, 142–46

themes in Hosmer’s sculpture, 146–51

Genitalia, female: and sculpture, 68, 84–85

Gerdts, William, 89

Géricault, Théodore: Raft of the Medusa, 131, 133

Gibbon, Edward, 153

Gibson, Charles Dana, 241

Gibson, Henry: art patron, 22, 188

Gibson, John: 11, 19, 97, 108–09, 115, 145, 146, 152, 156, 157, 161

Monument to Sarah Byron, 108–09, 109

Gilman, Charlotte Perkins, 3, 241–42

Gilmor, Robert (art patron), 13, 15

Gombrich, E. H., 33

Gorer, Geoffrey, 102–03

Gould, Thomas Ridgeway, 169

Grant, John, 57

Graveyard sculpture, 107–22

Greenough, Horatio: biographical information, 6, 11, 13–14

finances, 12

Medora, 13, 110–11, 113, 114, 122, 130, 135

Chanting Cherubs, 14, 19, 49

Angel and the Child, 31

on narrative function of art, 32

on proper viewing, 36

George Washington, 50

depiction of Indians, 76

praise for Shipwrecked Mother and Child, 123, 135–36

Greenough, Richard: biographical information, 6

Greenwood, Grace [Sara Jane Lippin-cott]: on emotion in art, 35

on death and consolation, 109

on Shipwrecked Mother and Child, 123, 136–37, 141

on demonic woman, 203–04, 218, 237

Groseclose, Barbara, 116

Hale, Sarah J., 185–86

Harem, 51–56, 158, 170

Harrison, Jane, 191

Haseltine, James Henry, 234

Havemeyer, T. A., 55

Hawthorne, Nathaniel: and American sculptors in Italy, 11–12, 30

The Marble Faun, 11, 30, 119, 154, 215–16

French and Italian Notebooks, 30

and narrative moralism, 32

House of the Seven Gables, 78

and Harriet Hosmer, 144–45, 153–54, 161

The Blithedale Romance, 153, 168

The Wonder Book, 201

and Beatrice Cenci, 210

and William Wetmore Story, 210, 215–16

Hawthorne, Sophia Peabody, 145

Health, nineteenth-century anxiety about, 63, 103

Hemingway, Ernest, 103

Henry, Edward Lamson: The Parlor of Mr. and Mrs. John Bullard on Brooklyn Heights, 24

Hesiod, 191, 195

Home: theme in response to The Greek Slave, 63

theme in Southwick, “The White Captive,” 77–78

in Zenobia, 160

and liberal theology, 184–87

Homer, Winslow. The Lifeline, 133

Undertow, 133

“The Wreck of the Atlantic–Cast up by the Sea,” 133, 135

Hosmer, Harriet: biographical information, 6, 11, 12, 145–46

and Hawthorne, 11, 144–45, 161

and Charlotte Cushman, 19

and graveyard sculpture, 115–17

and Guido Reni, 117, 210

challenges gender expectations, 142–46

reception, 151, 155–61

use of workmen, 155–57

and liberal theology, 183

—Works: Medusa, 24, 146–48, 147, 150

Zenobia, 28, 31, 142, 143, 151–61

Judith Falconnet, 115–17, 116, 122

Beatrice Cenci, 117–22, 120, 146, 150

Puck, 144

Hesper, 146

Oenone, 146, 149–50, 149

Daphne, 146, 150

Thomas Hart Benton, 161–63

The Queen of Naples, 163

Queen Isabella, 164–65, 164

Howells, William Dean, 241

Hurtt, F. W. (art patron), 22

Identity, national: debate, 7

Identity, personal: threatened by captivity, 77

affirmed in Southwick, “The White Captive,” 78

in Virginia Dare, 88

in The Indian Girl, 91

and The Wept of Wish-ton-Wish, 97–98

and The Willing Captive, 100

and Lydia Sigourney, 106

and Edgar Allan Poe, 106–07

and graveyard sculpture, 115, 117

and Beatrice Cenci, 120–22

and Shipwrecked Mother and Child, 139

and demonic woman, 203–04

and Medea, 231. See also Women, Nature of

Indians (Native Americans): attitudes toward, in response to The White Captive, 74, 79, 81, 82

conventional images of, 76

narratives of Indian captivity, 76–77

in the story of Virginia Dare, 86–88

and women, 89–100

in Cooper’s The Wept of Wish-ton-Wish, 96–98

in The Willing Captive, 98–100

Ingres, Jean-Auguste-Dominique: 52–53

Odalisque with the Slave, 53

International Exhibition of 1862 (London), 31, 208

Interpretation: importance for spectators of ideal sculpture, 33–37

Invalidism, 146

Italy, American sculptors in, 11, 13, 14, 88, 115, 155–57, 205

Ives, Chauncey: biographical information, 6

finances, 12

patronage, 14

The Willing Captive, 98–100

reception, 100, 170, 201

Undine Receiving Her Soul, 169–70, 171

Pandora, 190, 193, 194, 200–02

James, Henry, 2, 11, 21, 32, 48, 142, 207, 208

Jameson, Anna, 152, 208

Jarves, James Jackson, 16–17, 36–37, 68

Kaeppeler, Suzanne, 60

Keats, John, 167, 206

Kellogg, Miner: agent for Powers, 57–58

The Greek Girl, 57

The Oriental Princess; or, After the Bath, 57

Portrait of a Circassian, 57

Keyser, Nicaise de: Murder of the Innocents, 232, 233

Klein, Melanie, 243

Kolodny, Annette, 76

La Motte-Fouque, Friedrich de: Undine, 169–73

Lacan, Jacques, 243

Lander, Louisa: biographical information, 6, 11–12

Hawthorne and, 11–12, 30

finances, 12

Virginia Dare, 85, 87–88

Evangeline, 87

Undine, 169

Lawrence, Amos (art patron), 13, 15

Legouvé, Ernest: Médée, 223–30

Leland, Charles, 134–35, 137

Lenox, James (art patron), 25

Levi-Strauss, Claude, 66

Levine, Lawrence, 35, 230

Lewis, Edmonia: biographical information, 6

statue of Cleopatra, 234

Lewis, E. Anna, 60, 63, 141

Liberal theology, 182–87

Liminality; anthropological concept, 78

in nineteenth-century American literature, 78

in ‘The White Captive, 78–79

in Virginia Dare, 87–88

in captivity subjects, 88

in The Last of the Tribes, 93

in The Willing Captive, 99–100

in consolation poetry, 113

in Shipwrecked Mother and Child, 139

in Hosmer’s sculpture, 148

in Pandora, 200

in Cleopatra, 215–16

in Story’s work, 218

in Medea, 221. See also Transitions

Longworth, Nicholas (art patron), 5–6, 14, 15, 122–23

Lustful Turk, The (pornographic novel), 52

Lytton, Edward Bulwer: Last Days of Pompeii, 123

Lucretia, 203–04

McAllister, Charles (art patron), 14, 15

MacMonnies, Frederick: Bacchante and Infant Faun, 241

Matteson, Tompkins H.: A Sculptor’s Studio, 9–10, 10

Mayer, Constance: The Shipwreck, 131–33

Mayne, Judith, 39

Mead, Larkin (sculptor), 14

Medea (classical subject), 218

Medea (Greek painting), 221, 222

Medea; or the Best of Mothers, with a Brute of a Husband, a Burlesque in One Act, 230–31

Melville, Herman: 7

Moby Dick, 78

Pierre, 168, 201

Michaelangelo, 173, 196, 200, 236

Milton, John: Paradise Lost, 173, 181

Monti, Rafaelle, 170

Moore, Mrs. Bloomfield (art patron), 22–23

Moore, Thomas, 52

Morrison, Toni, 103

Motherhood: in The Greek Slave, 63

in Southwick, “The White Captive,” 77–78

in The Wept of Wish-ton-Wish, 97–98

in The Willing Captive, 99–100

in poetry of Lydia Sigourney, 105–06

in graveyard sculpture, 108–09

in Shipwrecked Mother and Child, 137

in Zenobia, 160

and Eve, 187–90

in Story, Medea, 221, 232

in Legouvé, Médée, 223–30

in burlesque Medea, 230–31

in Murder of the Innocents, 233

in Rizpah Protecting the Bodies of Her Sons, 236–37

and women of power, 243

Mott, John: Andromache, 234

Mount Auburn Cemetery, 109, 116, 138, 204

Mozart, Wolfgang Amadeus: Abduction from the Seraglio, 52

Mozier, Joseph: biographical information, 6

mentioned, 18

Pocahontas, 93, 94

The Wept of Wish-ton-Wish, 93–98, 95

reception, 97, 173

Undine, 170–73, 172

Mulvey, Laura, 37

Narrative: as component of ideal sculpture, 2, 18, 30, 32, 45, 243–44

and The Greek Slave, 48–56, 72, 74

and The White Captive, 74–76, 79

and The Last of the Tribes, 91–93

and The Willing Captive, 99

and Shipwrecked Mother and Child, 127, 134–37

and Zenobia, 154–55, 158–61

and Eve Tempted, 176

and Repentant Eve, 181

and Pandora, 200–01

and Cleopatra, 214–16

and Medea, 231

Nissenbaum, Stephen, 63

Nostalgia: as theme in The Greek Slave, 65

theme in captivity subjects, 73

in The White Captive, 79

in Virginia Dare, 87–88

in The Last of the Tribes, 91

in Zenobia, 160

Nude: female in art, 36–37, 84–85, 242

in The Greek Slave, 50–51, 55, 58, 60

in The White Captive, 80–81, 82–85

in Shipwrecked Mother and Child, 127–28, 138–39

and James Pradier, 207

Oatman, Olive, 76

Orientalism, 52–55

Ovid: as source for sculpture, 147–48

Palmer, Erastus Dow: biographical information, 6, 73–74

as success story, 8

status, 9–11

on moral function of art, 32

influence of Powers on, 73–74

Flora, 73–74

The Indian Girl, or the Dawn of Christianity, 89–91, 90

Grace Williams Memorial, 113–15, 114

Sleep, 114–15, 115

—The White Captive, 75

relationship to The Greek Slave, 74

success of, 74

narrative and, 74–76, 79–80

nudity in, 82–83

Pamphlets: as guides to viewing, 31, 45

guide to The Greek Slave, 57–59

guide to The White Captive, 79–80

guide to Shipwrecked Mother and Child, 137

guide to Zenobia, 158

guide to Pandora, 200

Pandora (mythological figure), 191–95

“Panther Captivity, The,” 76–77

Parker, Theodore, 183, 184–85

Parkman, Francis, 99

Patmore, Coventry, 3, 243

Patronage: for ideal sculpture, 12–18

women as patrons, 19

Perkins, Thomas Handasyd (art patron), 13, 15

Perrault, A.: The Bather, 234, 236

Phallic woman: Harriet Hosmer as, 144–45

Grace Greenwood fears, 204

Medea as, 237–38

Piloty, C. von: Thusnelda, 159–60, 179

Poe, Edgar Allan: liminal women, 78

“The Raven,” 106, 167

and death, 106–07, 117

“Berenice,” 107

“The Fall of the House of Usher,” 107, 243

“Annable Lee,” 126

compared to Brackett, 138–39

and woman’s other face, 167–69

“Ligeia,” 167–69, 202, 210, 242

Pornography, 52–55, 60

Possession: artworks as, 24, 28

viewing and, 66

Poussin, Nicolas: The Plague at Ashdod, 128, 129

Power, as an attribute of women: and The Greek Slave, 69–72

and The White Captive, 80–82

and Virginia Dare, 88

spiritual response to adversity, 142

in Hosmer’s sculpture, 148–50, 161–65

Anna Jameson on, 152

and Zenobia, 153, 155, 160–61

in Poe, 167–69

in Pandora, 201

Grace Greenwood on, 204

in Cleopatra, 216–17

in Story, Medea, 221

in Legouvé, Médée, 228

in burlesque Medea, 230–31

Powerlessness, as an attribute of women: and The Greek Slave, 49, 68–70

and The White Captive, 80–81

in Virginia Dare, 88

in Shipwrecked Mother and Child, 136–37

in Oenone, 150

in The Death of Cleopatra, 210

Powers, Hiram: career summarized, 5–6,

as success story, 8

finances, 12

patronage, 14, 17

California, 30

praised for emotional effect, 35

The Last of the Tribes, 91–93

comments on Zenobia, 155

Eve Disconsolate, 178–81, 179

La Pensarosa, 179–80, 180

and Swedenborgianism, 183

—Eve Tempted: success, 6

seen as shocking, 48–49, 74; 175

liminality, 176

debt to Thorwaldsen, 176

reception, 176–78

—Greek Slave: adhered to classical models, 2

success of, 6

exhibition at Crystal Palace, 31, 46, 58

debate over nudity, 36

proper response to, 37

and cultural construction of gender, 46–72

extent of audience, 46–48

American tour, 50

and Orientalism, 52–55

guides to viewing, 57–79

female viewers and, 59

sexual fantasy and, 60–61

submissiveness, 61–62

aloofness, 62

vulnerability, 63

domestic disruption and, 63–65

and American slavery, 65–67

themes of power and powerlessness in, 68–72

spectators and, 70–72

and Beatrice Cenci, 120

and Zenobia, 154

and Venus of Knidos, 206

Pradier, James: Odalisque, 53, 54

nudes, 207

Sappho, 212–13, 214

Medea, 223, 225

Phryne, 234

Praxiteles, 206–07

Preston, John (art patron), 14, 15, 50

Preston, William Campbell (art patron), 14, 15

Prinsep, V. C.: The Death of Cleopatra, 49–50, 234, 237

Psyche (mythological figure): 196–200

Reception of artworks by audiences: in moral and intellectual context, 32–37

significance of the act of looking, 37–45

The Greek Slave, 56–68, 70–72

The White Captive, 78–81, 83–84

Virginia Dare, 87

The Indian Girl, 89–91

The Wept of Wish-ton-Wish, 97

The Willing Captive, 100

Emily Binney, 109, 112–13

Judith Falconnet, 116

Beatrice Cenci, 120–22

Shipwrecked Mother and Child, 134–40

Zenobia, 151, 155–61

Undine Receiving Her Soul, 170

Undine, 173

Eve Tempted, 176–78

Eve Disconsolate, 181

Pandora, 201

Cleopatra, 215–17

Medea: 232–34

Reed, Luman (art patron), 25

Reni, Guido: Beatrice Cenci (attributed), 117, 121, 210

The Death of Cleopatra, 210–11, 211, 212

Repression: in response to nude, 37

Resignation: in The Greek Slave, 51, 62

in Southwick, “The White Captive,” 77, 79

in The White Captive, 79

in Beatrice Cenci, 119–20

in Shipwrecked Mother and Child, 136–37

Hosmer rejects, 163

linked with fear of transformation, 242

Rinehart, William Henry: biographical information, 6, 12, 14

Sleeping Children, 126

Ristori, Adelaide, 223–30, 234

Robb, James, 57

Rogers, John: on Louisa Lander, 12

on The Greek Slave, 68

Rogers, Randolph: Nydia the Blind Flower Girl of Pompeii: 2, 23, 28, 159

biographical information, 6, 12, 14, 17

women as patrons, 19

Rossetti, Dante Gabriel, 196, 204, 207

Rowlandson, Thomas, 52, 84

Ruskin, John, 3, 32, 84–85

Said, Edward, 54

Saint-Gaudens, Augustus, 241

Sculptors, female: importance of Europe, 11

Sculpture, ideal: defined, 1–2

Segal, Erich, 103

Sexuality: attitudes toward, in The Greek Slave, 59, 63, 73

in nineteenth-century America, 63, 243

in The White Captive, 74, 79, 81, 84–85

and Poe, 107

and Beatrice Cenci, 119

and Shipwrecked Mother and Child, 138–39

and Zenobia, 158

and Eve, 173, 179

and Cleopatra, 208, 216–17

Shakespeare, William: Antony and Cleopatra, 208

Lady Macbeth (character), 231

Shelley, Percy Bysshe, 49, 119

Sigourney, Lydia: on The Greek Slave, 69

“Virginia Dare,” 85–87

consolation poetry, 104–06

Poems, 104–06

“The African Mother at Her Daughter’s Grave,” 105

and the Binney child, 112

“Not Dead, But Sleepeth,” 113

and Edward Sheffield Bartholomew, 181

“Eve,” 187

Simms, William Gihnore, 209–10

Slavery, American: and The Greek Slave, 65–67

and The White Captive, 83

Southwick, M. Louisa: “The White Captive,” 77–78

Spectacle: artworks as, 24, 28

woman as, 38–45

Steward, John (art patron), 14

Stewart, A. T. (art patron), 17–18, 25–29, 159–60

Stone, Lawrence, 103

Story, William Wetmore: biographical information, 6, 12, 17, 204–05

at International Exhibition of 1862, 31, 208

narrative function of art, 32, 207

and liberal theology, 183

and Hawthorne, 210, 215–16

reception, 215–17, 232–34

and Adelaide Ristori, 223–30

—Literary Works: Graffiti D’Italia, 205–07, 216–17, 218–21

Roba di Roma, 223

Excursions in Art and Letters, 231

—Sculpture: Cleopatra: 30, 207–17, 209

The Libyan Sibyl, 208

Hero Searching for Leander, 210

Little Red Riding Hood, 210

Marguerite, 210

Judith, 217

Salome, 217

Sappho, 217

Dalilah, 217–18, 219

Medea, 218–40, 220

Stowe, Harriet Beecher: and narrative moralism, 32

emotion in art, 55–36

Uncle Tom’s Cabin, 103–04

height, 145

Studio, artist’s: as arena for viewing, 29–30

Sturgis, Russell (art patron), 17

Sumner, Charles: caning of, 81–82

Swedenborgianism, 183

Tennyson, Alfred, Lord: as source for sculpture, 148, 149–50

Thorwaldsen, Bertel: 1, 11, 19, 48, 84, 176, 196

Aphrodite with the Apple, 176, 177

Tompkins, Jane, 103–04

Transcendentalism, 183

Transformation: theme in sculpture, 19

in The Greek Slave, 55, 69–72

in The Indian Girl, 89–90

in Pocahontas and The Wept of Wish-ton-Wish, 93–98

in Shipwrecked Mother and Child, 136–37

in Hosmer’s sculpture, 148

in Undine, 169–73

in Eve Tempted, 176, 178

in Medea, 221

persistent fear of, 243

Transitions: cultural change, 78

life cycle, 78. See also Liminality

Tuckerman, Henry: Book of the Artists, 7–9, 16, 17, 68

anxiety about commercial spirit 8–9, 68

on narrative function of art, 32

on Kellogg, 57

on The Greek Slave, 62, 87

on Palmer, 74

on The White Captive, 76, 80–81, 87

and liberal theology, 183–84

Tuckerman, Joseph, 183, 184

Unitarian Church, 183–85

Vanderbilt, W. H. (art patron), 25

Vanderlyn, John: The Death of Jane McCrea, 76

Veblen, Thorstein, 24

Von Höyer, W.: Psyche, 196, 199, 200

Walters, William Thompson (art patron), 14, 15

Ware, William, 153

Wertmüller, Adolph Ulrich: Danaè and the Shower of Gold, 49

West, Benjamin: Death on the Pale Horse, 128, 128, 134

The Deluge, 131

Westmacott, Richard: Psyche, 196, 198

Wharton, Edith, 84

Whitney, Anne: biographical information, 6

Williams, James Watson (art patron), 19

Williams, John, 99

Woman’s sphere: reflects economic and social structures, 3, 65

Woman, fallen, 4, 173–81

Women, nature of: encoded in sculpture, 2

implied by the process of viewing, 37–45

and The Greek Slave, 48

and the captivity theme, 88, 91, 99–100

and Shipwrecked Mother and Child, 136–37

questioned by Poe, 167–69

and Eve Tempted, 176–78

and Eve Disconsolate, 178–81

and liberal theology, 184–87

and Pandora, 200–01

and Medea, 240

anxiety about, 242. See also Identity, Personal

Women, role of: changing, 2, 19, 241

exemplified as spectacle, 66–68

Women, subjects for art, 18–19

Wright, Frances, 3

Yeats, William Butler, 139

Zenobia (historical figure), 152–53

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