PRESIDING DIVINITIES: IDEAL SCULPTURE IN ... - Indiana University

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Fig. 18 - Hiram Powers Proserpine, 1849 marble, 25 in. high Private Collection Fig. 19 - Erastus Dow Palmer The White Captive, modeled 1857-58 Marble, 65 in. high Metropolitan Museum of Art, New York Fig. 20 - Drawing Room of Hamilton Fish, published in Artistic Houses: Being a Series of Interior Views of a Number of the Most Beautiful and Celebrated Homes in the United States with a Description of the Art Treasures Contained Therein, vol.2 (New York: D. Appleton, 1883), 94. Fig. 21 - Roman copy after Doidalsas of Bithynia “Crouching Venus,” 3 rd Century BCE The Pius-Clementine Museum of Sculpture The Vatican, Rome, Italy Fig. 22 - E. P. Stephanoff, engraved by J. N. Gimbrede “Home” Steele engraving, Published in Godey’s Lady’s Book 22 (December 1841), frontispiece Fig. 23 - Hiram Powers A Country Woman, 1839 Marble, 23 in. high Corcoran Gallery of Art, Washington, D.C. Fig. 24 - Hiram Powers Anna Hazard Barker Ward, modeled 1837-38 plaster, 24 5/8 in. high Smithsonian American Art Museum, Washington, D.C. Fig. 25 - Hiram Powers Ginevra (first version), 1841 Marble, 24 in. high Cincinnati Art Museum Fig. 26 - Hiram Powers Proserpine (first version), 1843 Marble, 24 in. high Philadelphia Museum of Art xii
Fig. 27 - After Thomas Sully “Fanny” Steel engraving published in The Gift (Philadelphia: Carey & Hart, 1839), frontispiece Fig. 28 - Unknown illustrator Hand-colored steel engraving Published in Godey’s Lady’s Book (August, 1854), frontispiece Fig. 29 - Hiram Powers Proserpine, c.1850 Marble, 21 1/4 in. high Greenwich Gallery, Greenwich Connecticut Fig.30 - W.J.C., published by H. R. Robinson Misery Acquaints a Man with Strange Bedfellows, 1848 Lithograph on wove paper, 26.6 x38 cm Prints and Photographs Division, Library of Congress Fig. 31 - Edward Lamson Henry Parlor on Brooklyn Heights of Mr. and Mrs. John Bullard, 1872 Oil on panel, 15 3/8 x 17 5/8. in. Manoogian Collection Fig. 32 - Unknown illustrator “What Dandies Do,” wood engraving published in Graham’s American Monthly Magazine of Literature, Art, and Fashion, 40 (May 1852), 471 Fig. 33 - Hiram Powers Martha Endicott Peabody Rogers, 1845 marble, Peabody Essex Museum, Salem, Mass. Fig. 34 - John Dodge Adelicia Acklen, 1852 Watercolor on ivory, 3 x 2 " in. Belmont Mansion Museum, Nashville, Tennessee xiii
Page 1 and 2: PRESIDING DIVINITIES: IDEAL SCULPTU
Page 3 and 4: © 2006 Lauren Keach Lessing ALL RI
Page 5 and 6: ACKNOWLEDGEMENTS I am fortunate to
Page 7 and 8: I received graduate assistantships
Page 9 and 10: sentimental domesticity. Using seve
Page 11: Fig. 9 - Bierstadt Brothers (Charle
Page 15 and 16: Fig. 45 - Randolph Rogers Ruth Glea
Page 17 and 18: Fig. 63 - Joseph Mozier Pocahontas,
Page 19 and 20: Fig. 80 - Joseph Dunlap Eagles Inte
Page 21 and 22: CHAPTER 1 INTRODUCTION On an April
Page 23 and 24: the wrists, she stands on the aucti
Page 25 and 26: were more closely associated with t
Page 27 and 28: divinities” over domestic life. I
Page 29 and 30: ought for domestic interiors until
Page 31 and 32: ut buyers kept them in business. Fu
Page 33 and 34: that Powers’ ideal busts, includi
Page 35 and 36: fiction, I have taken my view of id
Page 37 and 38: female, public as well as private i
Page 39 and 40: SECTION I DOMESTICATING THE IDEAL/
Page 41 and 42: heroic, nude Zeus. 5 Most people wh
Page 43 and 44: CHAPTER 2 RICHARD KIP AND SARAH ROG
Page 45 and 46: family altar, the Graces demonstrat
Page 47 and 48: only very conservative American par
Page 49 and 50: York in 1848, before their new mans
Page 51 and 52: mid-1840s and not in Lafayette Plac
Page 53 and 54: Richard K. Haight, an intelligent m
Page 55 and 56: European high art and culture and a
Page 57 and 58: Canova’s work, if not common, wer
Page 59 and 60: during the nineteenth century. 45 A
Page 61 and 62: sculpture she is describing here) a
Page 63 and 64:
Petersburg). In Greek mythology, th
Page 65 and 66:
The version of The Three Graces bel
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the Duke hired the architect Jeffer
Page 69 and 70:
Adelicia Acklen self-consciously mo
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an American woman at the time, and
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century. 83 The bone of contention
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Three Graces also carried with it,
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form of a proffered laurel crown) t
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setting. As Deborah Ann Schafer has
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niche, presiding over the elaborate
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CHAPTER 3 HIRAM POWERS’ BUST PROS
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intended the first sculpture, which
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Jarves. While Jarves believed that
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copy of the bust. 15 One need only
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sculpture of a pagan goddess be inc
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…the walls were almost covered wi
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tastes were one of the few points o
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Art Museum), which the federal gove
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ust, which ostensibly represents a
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Proserpine, drawn from the first-ce
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so much, that jealous of Mentha, sh
Page 105 and 106:
oad, smooth forehead flows down int
Page 107 and 108:
it certainly tells a story of an ex
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The second factor that created the
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communicated gentleness and her del
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Fuller, Elizabeth Cady Stanton, and
Page 115 and 116:
at Europe, which was published the
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how to look at them and appreciate
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from the door, affording room only
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Some intrepid Americans displayed t
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medallions and a model of the tomb
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family members and friends. Among t
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on the subject of race, he believed
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chivalry and honor. Recently, Cassa
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with religious themes, Mary and Hor
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SECTION II CREATING AN IDEAL SELF I
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elaboration of their interiors, mid
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the genteel, spiritual and domestic
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CHAPTER 4 ADELICIA ACKLEN’S COLLE
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As a range of scholars have argued,
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Throughout her young adult life, Ac
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Graver still for Acklen was the rea
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the Confederate general in command
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Belmont In 1853, Adelicia and her s
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character. 28 Thus, Belmont’s sym
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Belmont’s aura of lavish domestic
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for the Nashville Union referred to
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Once installed in her home, they ma
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At the back of the entrance hall, d
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fever.” 55 Although Rogers was a
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… sweet Ruth among the meadows! S
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private mansions.” 69 A partial l
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domestic sphere and the activities
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In Rome, Acklen also purchased two
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When Acklen’s brother, Oliver Hay
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the sculpture may have alluded to A
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albums, wax flowers, figurines and
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studios, recalled that she visited
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1873 article claimed that The Peri
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Corcoran Gallery of Art). Crawford
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eveal light colored walls, tapestry
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woman” as an earth-bound angel—
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CHAPTER 5 LEGRAND LOCKWOOD’S COLL
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treasurer and chief stockholder of
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and a vineyard. An effusive article
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Like Lienau, these men worked with
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Around the same time, Lockwood also
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Although the walls of the entrance
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the name Rebecca, and married the E
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Her rounded limbs are dimpled at el
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eventually loses all memory of her
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International Exhibition of 1862, t
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show “the influence of the savage
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eport by a special Congressional co
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eformers embraced railroads as beni
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that such “pilgrimages” to priv
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This observer, and also Anne Bolin
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Larkin Mead, a native of Brattlebor
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The Discovery of America (1837-43;
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Benson Lossing, in his 1851 history
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einforced Mead’s missionary and m
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squatting in the dirt before their
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It’s likely that Rogers (a Presby
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century increasingly defined themse
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it became parts of a larger ensembl
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nature and proper place. 8 As their
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direction. 3 Given how well the sta
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domestic sphere. 8 Looking back on
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affecting. 14 Emma Huidekoper, an A
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Clearly, the toppled Corinthian cap
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sculpture attests, Rogers' gamble p
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Unlike Guarnerio’s hapless victim
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In contrast to, “the statues that
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understanding them by "being" rathe
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What shall I do for thee, my land,
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domesticated that past, infusing it
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a novel, several children’s stori
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called the house a “flower by the
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half of the nineteenth century avoi
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Bronzes were also far less valuable
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whose acts, and speech, and manners
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of others.” 81 Standing in Moore
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in artistic interiors as passive to
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Not only could Clara Moore relate t
Page 271 and 272:
CHAPTER 7 “SWEET ASSURANCE OF SYM
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Merope plummeting to earth, leaving
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shifting. The dramatic, neo-baroque
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sculpture’s base underscored the
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floating drapery seems poised above
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abroad to good purpose,” and who
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een carried off as spoils, there is
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wrote of Rogers’ sculpture, “I
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Fiske, with enough money to travel
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drive led around the house, past th
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had actual, built-in stages, upon w
Page 293 and 294:
The 1870s and 80s were marked by a
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was due, in part, to the doleful, c
Page 297 and 298:
estlessness and dissatisfaction tha
Page 299 and 300:
ecame a cheap substitute for touris
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eclaim the building in 1869, and th
Page 303 and 304:
Eliot Norton—championed the latte
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W. Benjamin went on to praise Barye
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sphere (competition, aggression, co
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Eagles, Joseph Dunlap. Views of Ith
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Aylesworth, John R. “Specimens of
Page 313 and 314:
Dick’s Parlor Exhibitions. New Yo
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Haight, Sarah Rogers. Jane Brush an
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“Life of Horace Greeley, J. Parto
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Rogers, Samuel. The Italian Journal
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American Arts at the Art Institute
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Brumbaugh, Thomas Brendle. “Horat
Page 325 and 326:
Culkin, Katherine Louise. "`Slight
Page 327 and 328:
Gale, Robert L. Thomas Crawford: Am
Page 329 and 330:
Howard, June. “What is Sentimenta
Page 331 and 332:
Lewis, James R. “Images of Captiv
Page 333 and 334:
The Parian Phenomenon: A Survey of
Page 335 and 336:
Schofield, Mary Anne. “Romance Su
Page 337 and 338:
Tucker, Louis Leonard. “Hiram Pow
Page 339 and 340:
Lauren Keach Lessing 6740 Granada L
Page 341:
Co-chair, panel session, "The Probl
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