Painting Gender, Constructing Theory The MIT Press Cambridge, Massachusetts London, England Marcia Brennan Painting Gender, Constructing Theory The Alfred Stieglitz Circle and American Formalist Aesthetics © 2001 Massachusetts Institute of Technology All rights reserved No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher Publication of this book has been assisted by a grant from the Millard Meiss Publication Fund of the College Art Association This book was set in Bodoni and Futura by Graphic Composition, Inc., Athens, Georgia, and was printed and bound in the United States of America Library of Congress Cataloging-in-Publication Data Brennan, Marcia Painting gender, constructing theory : the Alfred Stieglitz Circle and American formalist aesthetics / Marcia Brennan p cm Includes bibliographical references and index ISBN 0-262-02488-8 (hc : alk paper) Stieglitz Circle (Group of artists) Stieglitz, Alfred, 1864–1946— Aesthetics Modernism (Art)—United States Gender identity in art I Title N6512.5.S75 B74 2001 709'.73'09042—dc21 00-046060 For Scott Brennan Contents Acknowledgments Introduction viii Part I Embodied Formalism: The Formation of a Discourse Chapter 20 Puritan Repression and the Whitmanic Ideal: The Stieglitz Circle and Debates in American High Culture, 1916-1929 Chapter 44 Faith, Love, and the Broken Camera: Alfred Stieglitz and New York Dada Chapter 72 Alfred Stieglitz and His Critics: An Aesthetics of Intimacy Notes 272 Selected Bibliography 348 Index 370 Part II The Stieglitz Circle’s Symbolic Body Chapter 96 Arthur Dove and Georgia O’Keeffe: Corporeal Transparency and Strategies of Inclusion Chapter 136 John Marin: Framed Landscapes and Embodied Visions Chapter 156 Marsden Hartley and Charles Demuth: The Edges of the Circle Part III Contests and Counterdiscourses, circa 1930-1950 Chapter 202 Modernism’s Masculine Subjects: Alfred Stieglitz versus Thomas Hart Benton Chapter The Contest for “the Greatest American Painter of the Twentieth Century”: Alfred Stieglitz and Clement Greenberg 232 Acknowledgments This study was guided and inspired by the teaching and scholarship of Kermit S Champa He taught me that intense critical analysis and methodological questioning could converge productively with a rigorous dedication to works of art Professor Champa has been a constant source of patience and generosity as my work has developed He has influenced this study in more ways than I can enumerate, not the least of which are through the kindness and flexibility which have sustained me through every phase of the project Acknowledgments viii ix This study has also benefited immeasurably from the contributions of three other scholars Dian Kriz and Carolyn Dean offered invaluable advice and assistance from the formative stages of the project Dian Kriz taught me the value of maintaining the social and historical embeddedness of works of art Carolyn Dean provided new ways to envision the intersection of subjectivity and aesthetics within a theoretical account of American modernism Both repeatedly offered incisive and sympathetic responses to my work Michael Leja provided detailed comments on the entire dissertation with which this study began, and on the revised version of the book’s final chapter He has been an extraordinarily generous and sensitive reader, and I have learned much from his extensive knowledge of modern art and from his trenchant theoretical insights Other scholars and friends have contributed substantively to the development of this study For their many important suggestions and encouragement, I would like to thank Jay Clarke, Sarah Greenough, Estelle and Stuart Lingo, and Kathleen Pyne In different but complementary ways, Maureen Meister and David Feigenbaum brought light to moments of darkness and helped me to see my way forward The bibliography of the Stieglitz circle is both rich and extensive, and I would like to acknowledge the works of other scholars who have contributed to the development of my thinking Anne M Wagner’s remarkable study Three Artists (Three Women): Modernism and the Art of Hesse, Krasner, and O’Keeffe was published just before I completed my dissertation The rigor and creativity of her arguments extended my ability to see and imagine unexpected expressions of identity and unconventional corporeal structures in the artworks of Georgia O’Keeffe and Lee Krasner Barbara Buhler Lynes’s meticulous research and the vast documentary base she has assembled have been indispensable to my study of O’Keeffe Anna C Chave’s scholarship has repeatedly underscored for me the significance of the relationship between gender and power that threads through the history of art and informs O’Keeffe’s artistic production Jonathan Weinberg’s pioneering study Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde opened up new ways for me to approach issues of subjectivity and sexual difference in De- Selected Bibliography Praz, Mario The Romantic Agony Trans Angus Davidson Oxford and New York: Oxford University Press, 1970 Pyne, Kathleen Art and the Higher Life: Painting and Evolutionary Thought in Late Nineteenth-Century America Austin: University of Texas Press, 1996 “Reaction and Revolution 1900–1930.” Art in America 53 (August/September 1965): 79 Read, Helen Appleton “News and Views on Current Art.” Brooklyn Daily Eagle (March 15, 1925): 2B ——— “New York Exhibitions: Seven Americans.” The Arts (April 1925): 229–231 Read, Herbert, ed Speculations: Essays on Humanism and the Philosophy of Art By T E Hulme London: Kegan Paul, 1924 Rich, Daniel Catton, ed The Flow of Art: Essays and Criticism of Henry McBride New York: Athenaeum, 1975 “The Richard Mutt Case.” The Blind Man (May 1917): Ritchie, Andrew Carnduff Charles Demuth New York: Museum of Modern Art and Arno Press, 1969 Robertson, Bruce Marsden Hartley Washington, DC: National Museum of American Art and Harry N Abrams, 1995 Robinson, Roxana Georgia O’Keeffe New York: HarperCollins, 1989 Rodgers, Timothy Robert “Alfred Stieglitz, Duncan Phillips and the ‘$6000 Marin’.” Oxford Art Journal 15 (1992): 54–66 ——— “Making the American Artist: John Marin, Alfred Stieglitz, and Their Critics, 1900–1936.” Ph.D diss., Brown University, 1994 Rolland, Romain “America and the Arts.” Trans Waldo Frank The Seven Arts (November 1916): 47–51 Rose, Barbara, ed Pollock Painting New York: Agrinde Publications, 1980 ——— Readings in American Art 1900–1975 New York: Praeger Publishers, 1975 Rosenfeld, Paul “The Academy Opens Its Doors.” The New Republic 26 (May 4, 1921): 290–291 ——— “Alfred Stieglitz.” The Commonweal 44 (August 2, 1946): 381 ——— “American Painting.” The Dial 71 (December 1921): 649–670 Selected Bibliography 364 365 ——— “Art: A Defense of Sensibility.” The Nation 132 (May 6, 1931): 510–512 ——— “Art: An Essay on John Marin.” The Nation 134 (January 27, 1932): 122–124 ——— “Art: Murals in the Future.” The Nation 151 (November 16, 1940): 485 ——— By Way of Art New York: Coward-McCann, 1928 ——— “Charles Demuth.” The Nation 133 (October 7, 1931): 371–373 ——— “Dove and the Independents.” The Nation 150 (April 27, 1940): 549 ——— “Ex-Reading Room.” The New Republic 74 (April 12, 1933): 245–246 ——— “John Marin’s Career.” The New Republic 90 (April 14, 1937): 289–292 ——— “Marsden Hartley.” The Nation 157 (September 18, 1943): 326 ——— Men Seen: Twenty-Four Modern Authors New York: Dial Press, 1925 ——— “Paint and Circuses.” The Bookman 54 (December 1921): 387 ——— “The Paintings of Georgia O’Keeffe.” Vanity Fair 19 (October 1922): 56, 112, 114 ——— Port of New York: Essays on Fourteen American Moderns New York: Harcourt, Brace, and Company, 1924 ——— “Stieglitz.” The Dial 70 (April 1921): 397–409 ——— “The World of Arthur G Dove.” Creative Art 10 (June 1932): 426–430 ——— “The Younger Generation and Its Critics.” Vanity Fair 19 (September 1922): 53, 84, 106 Rubenfeld, Florence Clement Greenberg: A Life New York: Scribner, 1997 Ryan, Susan Elizabeth, ed Marsden Hartley: Somehow a Past Cambridge, MA and London: MIT Press, 1997 Santayana, George “The Genteel Tradition in American Philosophy.” In David A Hollinger and Charles Capper, eds., The American Intellectual Tradition: A Sourcebook New York and Oxford: Oxford University Press, 1993: 97–109 Schapiro, Meyer “On Some Problems in the Semiotics of Visual Art: Field and Vehicle in Image-Signs.” Semiotica (1969): 223–242 Schwab, Arnold T James Gibbons Huneker: Critic of the Seven Arts Stanford: Stanford University Press, 1963 Schwarz, Arturo The Complete Works of Marcel Duchamp London: Thames and Hudson, 1969 Selected Bibliography Scott, Gail R., ed On Art by Marsden Hartley New York: Horizon Press, 1982 Search Light [Waldo Frank] Time Exposures New York: Boni and Liveright, 1926 Sedgwick, Eve Kosofsky Epistemology of the Closet Berkeley and Los Angeles: University of California Press, 1990 Seigel, Jerrold The Private Worlds of Marcel Duchamp: Desire, Liberation, and the Self in Modern Culture Berkeley and Los Angeles: University of California Press, 1995 Seligmann, Herbert J Alfred Stieglitz Talking: Notes on Some of His Conversations, 1925–1931 New Haven: Yale University Library, 1966 ——— “American Water Colours in Brooklyn.” International Studio 74 (December 1921): clx ——— D H Lawrence: An American Interpretation New York: Haskell House, 1971 ——— “The Elegance of Marsden Hartley—Craftsman.” International Studio 74 (October 1921): lii ——— “Georgia O’Keeffe, American.” Manuscripts (March 1923): 10 ——— ed Letters of John Marin Westport, CT: Greenwood Press, 1970 ——— “A Photographer Challenges.” The Nation 112 (February 16, 1921): 268 ——— “Port of New York.” The Dial 76 (June 1924): 544–547 “7 Americans Open in Venice.” Artnews 49 (Summer 1950): 20–23, 60 Silet, Charles L P The Writings of Paul Rosenfeld: An Annotated Bibliography New York and London: Garland Publishing, 1981 Silverman, Debora Leah Art Nouveau in Fin-de-Sie`cle France: Politics, Psychology, and Style Berkeley and Los Angeles: University of California Press, 1989 Silverman, Kaja Male Subjectivity at the Margins New York and London: Routledge, 1992 Soby, James Thrall “The Fine Arts: To the Ladies.” Saturday Review 29 (July 1946): 14–15 Soby, James Thrall, and Dorothy C Miller Romantic Painting in America New York: Museum of Modern Art, 1943 Selected Bibliography 366 367 Stearns, Harold E., ed Civilization in the United States: An Inquiry by Thirty Americans New York: Harcourt, Brace and Co., 1922 Stieglitz, Alfred “A Statement.” 145 Photographs New York: Anderson Galleries, 1921 ——— “Four Marin Stories.” Twice a Year 8–9 (1942): 153–158 ——— “Regarding the Modern French Masters Exhibition: A Letter.” Brooklyn Museum Quarterly (July 1921): 107–112 Tashjian, Dickran William Carlos Williams and the American Scene, 1920–1940 New York and Berkeley: Whitney Museum of American Art and the University of California Press, 1978 Taylor, Francis Henry “Marin’s Letters Overflow with Shrewdness and Faith.” The New York Times Book Review (December 11, 1949): sec 7: Traubel, Horace “Stieglitz.” The Conservator 27 (December 1916): 137 ——— “With Walt Whitman in Camden.” The Seven Arts (1917): 627–637 Trois siècles d’art aux Etats-Unis Paris: Musée du Jeu de Paume (May-July 1938) Turner, Elizabeth Hutton In the American Grain: The Stieglitz Circle at the Phillips Collection Washington, DC: Counterpoint, 1995 Van Vechten, Carl “Charles Demuth and Florine Stettheimer.” The Reviewer (February 1922): 269–270 Varnedoe, Kirk, and Pepe Karmel Jackson Pollock New York: Museum of Modern Art, 1998 Venturi, Lionello Art Criticism Now Baltimore: Johns Hopkins University Press, 1941 ——— History of Art Criticism Trans Charles Marriott New York: E P Dutton & Co., 1936 Wagner, Anne M Three Artists (Three Women): Modernism and the Art of Hesse, Krasner, and O’Keeffe Berkeley and Los Angeles: University of California Press, 1996 Watson, Forbes “Charles Demuth.” The Arts (January 1923): 78 ——— “Seven American Artists Sponsored by Stieglitz.” The World (March 15, 1925): 5M Watson, Steven Strange Bedfellows: The First American Avant-Garde New York: Abbeville, 1991 Selected Bibliography Weaver, Jane Calhoun, ed Sadakichi Hartmann: Critical Modernist Berkeley and Los Angeles: University of California Press, 1991 Weber, Brom, ed Hart Crane: A Biographical and Critical Study New York: Bodley Press, 1948 ——— The Letters of Hart Crane 1916–1932 New York: Hermitage House, 1952 Weinberg, Jonathan Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde New Haven and London: Yale University Press, 1993 Weiss, Jeffrey The Popular Culture of Modern Art: Picasso, Duchamp, and AvantGardism New Haven and London: Yale University Press, 1994 Whelan, Richard Alfred Stieglitz: A Biography Boston: Little, Brown and Company, 1995 Whitney Museum of American Art, History, Purpose, and Activities New York: Whitney Museum, 1935 Wight, Frederick S Arthur G Dove Berkeley and Los Angeles: University of California Press, 1958 Williams, William Carlos “America, Whitman, and the Art of Poetry.” The Poetry Journal (1917): 31 ——— The Autobiography of William Carlos Williams New York: Random House, 1951 ——— In the American Grain New York: New Directions, 1956 Wilson, Edmund The American Earthquake: A Documentary of the Twenties and Thirties Garden City, NY: Doubleday, 1958 ——— Classics and Commercials: A Literary Chronicle of the Forties New York: Farrar, Straus and Company, 1950 ——— “An Imaginary Conversation: Mr Paul Rosenfeld and Mr Matthew Josephson.” The New Republic 38 (April 9, 1924): 179–182 ——— “Paul Rosenfeld.” The New Republic 43 (June 3, 1925): 48 ——— “The Progress of Psychoanalysis.” Vanity Fair 16 (August 1920): 86 ——— The Shores of Light: A Literary Chronicle of the Twenties and Thirties New York: Farrar, Straus, and Young, 1952 Selected Bibliography 368 369 ——— The Triple Thinkers: Twelve Essays on Literary Subjects New York: Oxford University Press, 1963 Wilson, Richard Guy, et al The Machine Age in America, 1918–1941 New York: Brooklyn Museum and Harry N Abrams, 1986 Wolfe, Judith “Jungian Aspects of Jackson Pollock’s Imagery.” Artforum 11 (November 1972): 65–73 Wölfflin, Heinrich Classic Art: An Introduction to the Italian Renaissance Trans Peter and Linda Murray Ithaca: Cornell University Press, 1952 ——— Principles of Art History: The Problem of the Development of Style in Later Art New York: Dover Publications, 1950 Wood, Paul, et al Modernism in Dispute: Art Since the Forties New Haven and London: Yale University Press, 1993 Worringer, Wilhelm Abstraction and Empathy: A Contribution to the Psychology of Style Trans Michael Bullock New York: International Universities Press, 1980 ——— Form in Gothic Trans Herbert Read London: G P Putnam’s Son, 1927 Wright, Willard Huntington The Creative Will: Studies in the Philosophy and the Syntax of Aesthetics New York: John Lane Company, 1916 ——— “Modern Art: Four Exhibitions of the New Style of Painting.” International Studio 60 (January 1917): xcvii ——— Modern Painting: Its Tendency and Meaning New York: Dodd, Mead and Company, 1915 Index Abstract expressionism, 232, 240– 241, 252 Adams, Henry, 27 America & Alfred Stieglitz, 92–93, 202–205, 213, 228 American Caravan, 279 (n 40) Anti-Semitism, 212–213, 332 (n 35), 333 (nn 38, 41), 335 (n 59) Apples, symbolism of, 76–77, 82, 293 (n 10) Arensberg, Walter and Louise, 47– 48, 53, 55, 60 Anderson, Sherwood, 30, 31, 34–35, 37–39, 41, 42, 67, 73, 89, 105, 132, 295 (n 32), 316 (n 8) Balken, Debra Bricker, 112, 303 (n 56) Index Barnes, Albert, 186 Barnes, Djuna, 160 Barr, Alfred H., Jr., 225, 240–241, 243, 245, 246, 340 (n 26) Battersby, Christine, 255, 257 Baudelaire, Charles, 291 (n 74) 370 371 Cane, Florence, 295 (n 36), 307 (n 91), 308 (n 111), 317–318 (n 26) Chamberlain, John, 329 (nn 4, 8) Champa, Kermit, 51, 322 (n 68), 327 (n 117) Benson, E M., 243 Charcot, Jean-Martin, 274 (n 21) Benton, Thomas Hart, 16, 222, Chauncey, George, 191, 316 (n 3) 224–225, 227–229, 248–250 Chave, Anna, 281 (n 61), 306–307 gender and symbolic embodiment (n 86), 310 (n 130), 347 in painting, 206–212, 216–221, 228–229, 231, 249–250 relation to Stieglitz, 203–207, 209–211, 213–214, 220, 228– 231 works: Arts of Life in America murals, 214–222, 227, 249, 333 (n 110) Cheney, Sheldon, 51, 97, 99–100, 108, 109, 112, 141, 214, 219, 220, 299 (n 10) Clark, T J., 344 (n 77) Clark University (Worcester, MA), 104 (n 42), figs 7.2, 7.3, 7.4, 7.5; Coates, Robert M., 237, 269 Figure Organization No 3, Cole, Robert J., 175 207–209, fig 7.1; Homestead, Columbia University, 73 225; Self-Portrait, 227–228, Corn, Wanda M., 277 (n 23), 282 230, fig 7.8 Bersani, Leo, 322 (n 68) Blind Man, 55–56 Bourne, Randolph, 27, 30, 296 (n 42) (n 1), 292–293 (n 2), 297 (n 47), 315 (n 2) Courbet, Gustave, 186, 346–347 (n 106) Cowley, Malcolm, 23, 40, 41 Boyd, Ernest, 41–42 Crane, Hart, 23, 37–40, 42, 179–180 Brancusi, Constantin, 281 (n 61), Craven, Thomas, 210–214, 218, 221, 296 (n 44) Brill, Abraham A., 104 222–225, 228, 229, 231, 331 (n 25) Brook, Alexander, 122 Brooks, Van Wyck, 26, 29, 30, 33, 36, 37, 39, 74, 87, 296 (n 42), 327 (n 111) Daniel, Charles, 160, 193, 315 (n 2), 324 (n 92) Daumier, Honoré, 334–335 (n 56) Brown, Jonathan, 335 (n 60) De Casseres, Benjamin, 27 Bürger, Peter, 286 (n 33) De Duve, Thierry, 59, 287 (n 41), Caffin, Charles H., 175 De Kooning, Willem, 245 Camera Work, 13, 72, 104, 106 Dell, Floyd, 27, 41 Camfield, William, 53 D’Emilio, John, 315–316 (n 3) 289 (n 56) Index Demuth, Charles, 8, 223–224, 227, 236, 253 compared to Marin, 145, 157, 184– 186 engagement with Henry James, 183, 193–197 gender and symbolic embodiment 116, 117–119, 121–122, 145, 155, 158, 165, 210, 236, 258 relation to O’Keeffe, 98–102 relation to Stieglitz, 97, 99–102, 108–109, 115, 138 works: Cow, 20–22, fig 1.1; Golden Storm, 112, 113, 114, 115, fig in painting, 157–159, 181–185, 4.3; Portrait of Alfred Stieglitz, 190–193, 196–197, 199 108–109, 303 (n 48), fig 4.1; and New York Dada, 48, 60, 157, 188–189, 325 (n 99) poster portraits, 157, 186, 188–189 relation to O’Keeffe, 126–127, 157, 225 relation to Stieglitz, 156–157, 181, 186–189, 199 Rising Tide, 235; Silver Sun, 115, 116, fig 4.4, plate 3; Waterfall, 110, 112, 114, 115, 119, fig 4.2, plate Dreier, Katherine, 51, 63–65, 169 Du Bois, Guy Pène, 182 Duchamp, Marcel, 47, 48, 50–69, 71, self-portraits, 191–199 130, 153, 157, 169, 186, 188, works: At a House in Harley Street, 284 (n 16), 325 (n 99) 193–197, fig 6.12, plate 8; Eggplant, 187–188; Poster Portrait: readymades, 52–53, 55–60, 63, 69, 285 (n 19), 286–287 O’Keeffe, 186–187, 293 (n 10), (nn 33, 36), 291 (n 71) fig 6.8; Purple Pup, 197–199, Rrose Sélavy, 289–290 (n 58) fig 6.13; Roofs and Steeple, works: Anemic Cinema, 50; The 225–226, fig 7.7; Turkish Bath Bride Stripped Bare by Her (1915 and 1918 versions), Bachelors, Even (The Large 191–193, 195, figs 6.10, 6.11; Glass), 47, 50, 60–66, 68, 69, Vaudeville, 189–191, fig 6.9 71, 130, 153–154, 288 (n 46), Descartes, René, 63, 289 (nn 50, 55) fig 2.5; Chocolate Grinder, 62, De Zayas, Marius, 46, 47, 138, 161, 290 (n 58); Fountain, 47, 50, 163 Dodge, Mabel, 104 Doss, Erika, 330 (n 14), 333 (n 45), 343 (n 59) Douglas, Ann, 103 51, 53–59, 60, 62, 63, fig 2.4; Nude Descending a Staircase, 50 Duncan, Charles, 78, 128, 186, 324 (n 88) Durand-Ruel Gallery, 292 (n 1) Dove, Arthur, 8, 20, 33, 34, 35, 87, 89, 141, 150, 157, 186, 188, Eakins, Thomas, 241 223, 225, 227, 228, 258 Eddy, Arthur Jerome, 107 gender and symbolic embodiment in painting, 97, 98–102, 107–109, 111–112, 114, 115, Eldredge, Charles C., 76, 293 (n 10) Ellis, Havelock, 8, 103, 105–107, 157, 158–159, 167, 182 Index Embodied formalism, 3, 5, 8–9, 13– 14, 16, 22, 26, 34, 35, 91, 97, 372 373 Fry, Roger, 12 Fulton, Deogh, 167 99–103, 105–107, 111–112, 114, 115, 117–119, 121–123, Gallatin, A E., 140, 183–185 126, 138, 141–144, 150–155, Gerber, David A., 332 (n 35) 158, 166–167, 185, 199, 221, Gibbs, Jo, 237 223–224, 233–234, 236–241, Gibson, Ann Eden, 347 (n 109) 243, 244, 246–248, 254, 256– Gorky, Arshile, 242, 245, 246 258, 263, 266, 268–271 See “Gothic” art, 252–254, 257, 344 also Transparency in art critique of, 23, 36, 42–43, 98, 179, 181, 199, 203–205, 212–213, 221, 224, 233, 236–238, 240, 246, 254, 257–258 defined, 8–9 and sexual difference, 157–163, 165–168, 172, 181, 199 Expressionism, 117, 118, 169, 176, 299 (n 10), 305 (n 74) (nn 76, 77) Grad, Bonnie, 277–278 (n 25) Greco, El (Domenikos Theotokopoulos), 160, 223–224, 335 (n 60) Greenberg, Clement, 14, 56, 57, 233, 260, 299 (n 10) aesthetic theory, 13–16, 233–234, 241–242, 244, 246–259, 269– 271 relation to Stieglitz, 233–241, 246, 248, 250, 257, 258, 259, 270– Farber, Manny, 251 271 Farnham, Emily, 315 (n 2) Greenough, Sarah, 129, 130 Fer, Briony, 346 (n 105) Grosz, Elizabeth, 314 (n 40) Fiedler, Conrad, 11 Guggenheim, Peggy, 250 Force, Juliana, 336 (n 70) “Forum Exhibition of Modern American Painters,” 107, 209 Foucault, Michel, 316 (n 3) Frank, Robin Jaffee, 324 (n 88) Frank, Waldo, 8–9, 15, 16, 25, 27, Hagen, Angela E., 197, 324 (n 89) Hale, Nathan G., 27, 103–104 Hapgood, Hutchins, 90, 104, 106–107, 129, 130 Hartley, Marsden, 8, 31–32, 87, 89, 28, 30, 31, 32, 33, 67, 68, 73– 152, 163, 169, 170–172, 181, 78, 82, 89, 92–93, 103–105, 186, 191, 195, 197, 209, 235, 111–112, 114, 126–127, 135, 203, 236 236 and Berlin, 172–176, 179, 180 Freud, Sigmund, 8, 102–107, 122, exhibitions (1916), 174–176 127, 130, 142, 144, 157–159, exhibitions (1937), 170, 181 302 (n 36), 306 (n 81) gender and symbolic embodiment Freyburg, Karl von, 174–176, 179, in painting, 157–161, 163– 180, 181 Fried, Michael, 346–347 (n 106) 168, 170–172, 180–181, 183, 199 Index Hartley, Marsden (cont.) and New York Dada, 48–49, 157, 168–170, 319 (n 40) on O’Keeffe, 6, 121, 129–130, 133, Jones, Amelia, 346 (n 101) Joselit, David, 56 Josephson, Matthew, 40–41, 243 Jules, Mervin, 321 (n 60), 322 (n 69) 134 relation to Stieglitz, 97, 156–157, Kalonyme, Louis, 73, 144, 184, 260 161, 163, 168, 171, 175–176, Kandinsky, Wassily, 117, 305 (n 72) 179, 199 Kant, Immanuel, 13, 15, 64, works: Adelard the Drowned, 254–257, 270, 344–345 (n 78) 176–177, 179, fig 6.6; Eight Kennerley, Mitchell, 129, 130 Bells Folly, 179; Landscape, New Kootz, Samuel M., 152, 168, 184 Mexico, 160, 163–165, fig 6.3; Krafft-Ebing, Richard von, 318–319 Pears, 163–164, fig 6.2; Portrait (n 30) of a German Officer, 173–176, Krasner, Lee, 245, 257, 263 179, fig 6.4; Sustained Com- Kraushaar Gallery, 326 (n 109) edy—Portrait of an Object, 176, Krauss, Rosalind, 69, 291 (nn 71, 178, 179–181, fig 6.7, plate 7; 74), 347 (n 115) Tinseled Flowers, 161–162, fig 6.1; The Warriors, 58 Hartmann, Sadakichi, 280 (n 41) Lafayette Baths (New York City), 191, 326 (n 102) Heap, Jane, 36–37, 39–40, 42 Lafferty, René, 294 (n 14) Helm, MacKinley, 243, 259–260, 262 Lake George (New York), 76, 77, 78, Hess, Thomas B., 243 Hoffman, Frederick J., 27, 35, 102– 103 Homer, Winslow, 241 Homosexual communities, 191, 193, 315–316 (n 3) Hulme, T E., 344 (n 74) Huneker, James Gibbons, 9–15, 23– 27, 270 Hyrcan tiger, 309 (n 116) 119, 128, 239 Larsen, Darrell, 193 Lawrence, D H., 28–29, 105, 294 (n 19) Lee, Vernon (Violet Paget), 12 Leja, Michael, 342 (n 58), 347 (n 108) Little Galleries of the Photo Secession (“291”), 7, 15, 30, 32–33, 39, 44, 46, 50, 51, 53, 59, 72, 73, 74, 77, 81, 90, 91, 97, 99, 106, Istar, 275 (n 5) 136, 138, 139, 140, 156, 168, 174, 176, 187, 202–203, 205, James, Henry, 183, 193–197, 327–328 (nn 111, 119) Jay, Martin, 289 (nn 50, 55) Jewell, Edward Alden, 237–238, 328–329 (n 4) 208, 209, 211, 212, 213, 236, 296–297 (n 44), 328 (n 2), 338–339 (n 8) Little Review, The, 36–39, 42 Loeb, Harold, 36 Index Lowe, Sue Davidson, 50, 105 Lynes, Barbara Buhler, 134, 302 (n 38), 310 (n 131) 374 375 McCausland, Elizabeth, 115, 297 (n 46) Mellquist, Jerome, 172, 235–236 Mencken, H L., 24–25, 28 Macdonald-Wright, Stanton, 207, 208, 209, 331 (n 22) Marin, John, 8, 14, 22, 69, 87, 89, 90, 99, 100, 108, 153–154, 157, 171, 186, 188, 205, 209, 236, 245 and abstract expressionism, 232– 233, 236, 241–250, 258–259, 263 Metropolitan Museum of Art, 134, 135, 223, 244 Michelangelo Buonarroti, 207, 209, 220, 222–223, 334–335 (n 56) Miller, Henry, 139 Minuit, Peter See Rosenfeld, Paul Mumford, Lewis, 32, 71, 73, 151– 152, 203, 214, 307 (n 89) exhibitions (1936), 225, 235, 243 Munson, Gorham, 23, 40 framing elements, 143, 145–151, Museum of Modern Art, 132, 206, 155, 185, 258–259, 262–263, 224–225, 227, 234–235, 238, 268 239, 240, 243, 245, 246, 253, gender and symbolic embodiment 338 (n 7) in painting, 99, 106, 119, 137–139, 141–155, 158, 165, Naifeh, Steven, 342 (n 58) 167, 184–185, 243, 244, 258, Namuth, Hans, 264–265, fig 8.4 259, 260, 262–263, 269 Naumburg, Margaret, 76, 82, 92, 296 relation to Stieglitz, 97, 136–145, 153, 243–245 works: Deer Isle, Maine series, 143; (n 42), 307 (n 91) New York Dada, 15–16, 44–71, 153, 157, 168–170 The Fog Lifts, 235; Lower Man- Noland, Kenneth, 347 (n 110) hattan, 145, 146, 148–149, 151, Norman, Dorothy, 50, 69, 82, 89, 144, fig 5.2, plate 5; Maine Islands, 187, 203, 206, 234–235, 244, 145, 147, 149, fig 5.3, plate 6; 245, 263 Movement—Sea or Mountain, as You Will, 260–263, fig 8.3 Mason, Alty, 176, 179, 180, 181, 321 (n 61) Mather, Frank Jewett, Jr., 108, 109, 168, 184, 333 (n 38) Matta Echaurren, Roberto, 63–65 Matthias, Blanche, 133 McBride, Henry, 3, 49, 53, 59, 81, 82, 108, 126–127, 130, 135, 140, 167, 175, 184, 185, 193–195, 197, 216, 229, 239, 269 O’Keeffe, Georgia, 8, 22, 55, 67, 77, 87, 89, 90, 92, 114, 116, 139, 141, 150, 157, 186, 188, 208, 225, 235, 236, 246 exhibitions (1923), 2–8, 122, 128 exhibitions (1946), 235–240, 246, 257 flower paintings, 5, 7, 123–127, 237, 239, 307 (n 89) gender and symbolic embodiment in painting, 3, 5–8, 97, 98–102, Index O’Keeffe, Georgia (cont.) 107, 111, 116–117, 118–123, works: Ici, C’est Ici Stieglitz, 44– 47, 51, fig 2.1 126–127, 141, 155, 158, 165, Pollock, Griselda, 335 (n 57) 166–167, 236–239 Pollock, Jackson, 14, 232–233, 241– psychoanalytic interpretation of art- 242, 244–251, 259, 263, 269 works, 5–6, 106, 122, 126–127 gender and symbolic embodiment relation to Dove, 98–102 in painting, 246, 249–254, relation to Rosenfeld, 76, 78, 86, 256–258, 263, 264, 266, 268– 127–134 relation to Stieglitz, 46, 96–98, 108, 121, 127–135, 136, 138, 139 270 works: Conflict, 251; Departure, 248; Full Fathom Five, 242, response to critics, 127–135 246, 247, 249, 342 (n 54), fig Stieglitz’s portrait photographs of, 8.1; Going West, 248, fig 8.2; 7–8, 71, 77, 78, 81–86, 96–97, 121, 134, figs 3.3, 3.5, 3.6, 3.7 works: Alligator Pears, 87; Apple The Key, 244; Mad MoonWoman, 251; Number 1, 1948, 235, 266–267, fig 8.5; Number Still Life, 87, 293 (n 10); Black 12 (1949), 246; Sea Change, Spot, 87; Blue and Green Music, 242; Wounded Animal, 251 3, 4, 6–7, fig I.1; Cityscape with Praz, Mario, 317 (n 21) Roses, 225–226, fig 7.6; Corn, Psychological research, 274 (n 21) Dark I, 123, 125, 126, 239, fig Puritanism, 15, 22–29, 34, 35, 43, 4.7; Dark Iris No I, 127; Dark 47, 73, 103–104, 152, 194, 237, Iris No III, 87; Flower Abstrac- 276–277 (n 17), 277 (n 23), tion, 123–124, 126, fig 4.6; From the Lake #3, 119–121, 278 (nn 26, 27), 280 (n 48) Pyne, Kathleen, 123, fig 4.5, plate 4; From the Pelvis Series, 235; Inside Red Read, Helen Appleton, 5–6, 13 Canna, 7, 86, plate 1; Lake Read, Herbert, 253, 344 (n 74) George Landscape, 87 Regionalist art, 204, 206, 209, 210, Oppenheim, James, 30 213–224, 227–229, 231, 248, 249, 250 Parker, Rozsika, 335 (n 57) Repression See Puritanism Penitentes See Santo paintings Robinson, Roxana, 239 Peters, Sarah Whitaker, 134 Rodgers, Timothy, 312 (n 16) Philadelphia Museum of Art, Rodman, Selden, 229 338–339 (n 8) Phillips, Duncan, 114, 116, 145, 245, 304 (nn 62–63), 312 (n 16) Picabia, Francis, 47, 49–51, 66, 67, 68, 282–283 (n 1), 290 (n 62) Rolland, Romain, 30, 279 (nn 31–32) Rönnebeck, Arnold, 181 Rosenfeld, Paul, 3, 5, 6, 7, 16, 20, 22, 23, 25, 26, 30, 31, 32, 33, 34– Index 376 43, 51, 87, 99–101, 103, 108, Smith, Gregory White, 342 (n 58) 109, 114, 116, 119–122, 126, Soby, James Thrall, 239, 253 138, 139, 142, 143, 144, 159– Société Anonyme, 51, 63, 169 169, 171–172, 182, 184–185, Society of Independent Artists, 50, 194, 203, 209–210, 219–221, 223, 229, 235, 236 Port of New York, 35, 69, 88–92, 100, 105, 106, 109, 111, 116– 377 51, 53, 55, 56, 59 Spingarn, J E., 280 (n 47) Stearns, Harold E., 31 Stieglitz, Alfred, 2–3, 6–8, 13, 117, 123, 131–132, 137, 142– 24–26, 29, 30, 32–33, 35, 39, 143, 145, 148, 152–153, 159, 72–93, 96–98, 100, 114, 160, 163, 166, 182–183, 188, 236 202–203, 209, 212–214, 227 aesthetic theory, 3, 5, 8–10, relation to O’Keeffe, 127–134 13–16, 38, 65–66, 97–107, 116, relation to Stieglitz, 73–83, 86–93, 118–119, 121–122, 138, 158, 100, 114, 128, 139 on Stieglitz’s relation to his camera, 66–68, 71, 83 Rugg, Harold, 203 Russell, Morgan, 207 Ryan, Susan Elizabeth, 180 Ryder, Albert Pinkham, 241, 296 (n 42), 340 (n 29) 203–204, 221, 231, 236, 242, 244, 269–271 exhibitions (1921), 7, 33, 49, 66, 68, 81–82, 96, 121, 134, 168, 212 exhibitions (1925), 92, 101, 126, 141, 157, 167, 186, 188–189 and New York Dada, 44–71, 153, 188–189, 284 (n 16) Sandburg, Carl, 35, 281 (n 65), 296 (n 42) Santayana, George, 29–30 Santo paintings, 180, 321–322 (n 66) relation to Benton, 203–207, 209– 211, 213–214, 220, 223, 228– 231 relation to his camera, 44–47, Savonarola, Girolamo, 335 (n 59) 66–71, 82–83, 97, 108, 204 Schapiro, Meyer, 305–306 (n 77) relation to Demuth, 156–157, 181, Sedgwick, Eve Kosofsky, 318–319 (n 30) Seligmann, Herbert J., 6, 28, 50, 51, 67, 73, 87, 116, 122, 138, 139, 140, 142, 167, 211 Seven Arts, 30–31, 35, 74, 77, 80, 92, 93 Silverman, Kaja, 322 (n 68) Simonson, Lee, 174, 176, fig 6.5 Sloan, John, 335 (n 59) Smith, David, 242, 246 186–189, 199 relation to Dove, 99–102, 108– 109, 114, 115, 118, 138, 156 relation to Greenberg, 233–241, 246, 248, 250, 257–259, 270– 271 relation to Hartley, 156–157, 161, 163, 168, 199 relation to Marin, 136–145, 156, 243–245 Index Stieglitz, Alfred (cont.) relation to O’Keeffe, 96–98, 121, 126–135, 138, 156 works: Apples and Gable, Lake George, 76, fig 3.2; composite Van Vechten, Carl, 183, 328 (n 119) Varnedoe, Kirk, 342 (n 54), 347 (n 109) Venturi, Lionello, 243, 344 (n 74) Victorianism See Puritanism portrait of Georgia O’Keeffe, 7, 8, 71, 78, 81–86, 96–97, 121, 134, figs 3.3, 3.5, 3.6, 3.7; Wagner, Anne M., 300 (n 15), 310 (n 128), 345 (n 86) Equivalents, 8, 69–71, 97, fig Walker, Hudson, 171, 318 (n 26), 2.6; Fountain, 50, 57–59, fig 321 (nn 60, 62), 322 (n 69) 2.4; Francis Picabia, 48–49, 58, Weed, Clive, 99 fig 2.2; Marcel Duchamp, Weinberg, Jonathan, 179–180, 191, 49–50, fig 2.3; Paul Rosenfeld, 193, 321 (n 60), 322 (n 69), 39, 78–81, fig 3.4; Portrait of 326 (nn 101, 102, 106, 107) John Marin, 137, 235, fig 5.1; Weiss, Jeffrey, 288 (n 46) Waldo Frank, 75, 76–77, fig 3.1 Westport (Connecticut), 33–34, 73, Stieglitz, Emmeline, 46 76, 87, 99, 161 Stieglitz, Katherine (“Kitty”), 46 Wheeler, Monroe, 240 Strand, Paul, 6, 66, 130 Whitman, Walt, 29–31, 32, 33, 34, Strand, Rebecca, 39, 130–131 Sweeney, James Johnson, 132, 240, 250–251 Symbolist art, 13, 161, 274 (n 21), 291 (n 74) Synchromism, 207–209, 222, 330 (n 13), 334–335 (n 56) 35, 137, 138, 185 Whitney Museum of American Art, 214, 219–221, 224–225, 227, 336 (nn 70, 71) Williams, William Carlos, 28, 31, 35, 47, 296 (n 42) Wilson, Edmund, 26, 32, 40–41, 74, 87, 88, 101, 104, 105, 126, Taylor, Francis Henry, 244 141–142, 167 Torr, Helen, 99 Wölfflin, Heinrich, 11–12 Transparency in art, 5, 7, 10–15, 23, Wood, Beatrice, 53, 55, 57 86, 101, 107–108, 109, 111, 118, 121–122, 138, 140, 149, 150– 151, 154, 158, 169, 179, 185, 189, 199, 237, 257, 305 (n 74) See also Embodied formalism Traubel, Horace, 31, 32–33, 291 See Worringer, Wilhelm, 11–12, 253–254, 344 (n 74) Wright, Willard Huntington, 182, 207, 209, 299 (n 10), 330 (n 13), 334–335 (n 56) Wright, William, 264, 268 Little Galleries of the Photo Secession Untermeyer, Louis, 30, 41 Yale University, 73, 74 .. .Painting Gender, Constructing Theory The MIT Press Cambridge, Massachusetts London, England Marcia Brennan Painting Gender, Constructing Theory The Alfred Stieglitz... States of America Library of Congress Cataloging-in-Publication Data Brennan, Marcia Painting gender, constructing theory : the Alfred Stieglitz Circle and American formalist aesthetics / Marcia Brennan... strengthened my work in ways too numerous to mention This page intentionally left blank Painting Gender, Constructing Theory Introduction During the autumn of 1922 Alfred Stieglitz was busy making preparations