Skip to main content Accessibility help
×
Home
Hostname: page-component-55597f9d44-pgkvd Total loading time: 0.246 Render date: 2022-08-11T04:41:41.182Z Has data issue: true Feature Flags: { "shouldUseShareProductTool": true, "shouldUseHypothesis": true, "isUnsiloEnabled": true, "useRatesEcommerce": false, "useNewApi": true } hasContentIssue true

Article contents

The Chestnuts of Edwin Austin Abbey: History Painting and the Transference of Culture in Turn–of–the–Century America

Published online by Cambridge University Press:  30 July 2009

Get access

Extract

When edwin austin abbey, with eleven other artists and all the ritual of a new male order — round table, cob pipes, stone bottles of cider — founded the Tile Club in 1877, his sobriquet was “The Chestnut.” If not boating down the Erie Canal or on holiday in Easthampton, the men would make tiles for the home, ceramic wares of Shakespeare or rustics and florals, in the style of William Morris and his decorative arts. Twenty years before Charles Eliot Norton's Society of Arts and Crafts, such Tilers as Abbey, Augustus Saint–Gaudens, and Elihu Vedder would draw on the same crafts ideal, namely, an aesthetic for hard work and the “simple” productions of artisanal labor as an antidote to urban luxury. The club would find in guild fraternalism a weekly hobby, twelve men with sardines and crackers, noms de plume and seals, to revive a handicraft seen as both republican in its ethic and fashionably medieval. If modern life meant the enervation of Veblen's foppish and leisured class, the Tile Club was an authentically male pastime.

Type
Research Article
Copyright
Copyright © Cambridge University Press 1999

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bacon, Mardges. “Towards a National Style of Architecture: The Beaux–Arts Interpretation of Colonial Revival.” The Colonial Revival in America. Ed. Axelrod, Alan. New York: W. W. Norton, 1985.Google Scholar
Benjamin, Walter. Illuminations. Intro. Hannah Arendt. New York: Schoken, 1968.Google Scholar
Benton, Thomas Hart. An American in Art: A Professional and Technical Autobiography. Lawrence: University Press of Kansas, 1969.Google Scholar
Betsky, Celia. “Inside the Past: The Interior and the Colonial Revival in American Art and Literature, 1860–1914.” The Colonial Revival in American. Ed. Axelrod, Alan. New York: W. W. Norton, 1985.Google Scholar
Brooklyn, Museum, The. The American Renaissance, 1876–1917. New York: Brooklyn Museum, 1979.Google Scholar
Brooks, Van Wyck. “The Wine of Puritans.” Van Wyck Brooks: The Early Years — A Selection from His Works, 1908–1925. Ed. Sprague, Claire. Boston: Northeastern University Press, 1993.Google Scholar
Bryant, William Cullen. “Shakespeare: An Address on the Unveiling of Shakespeare's Statue in Central Park, May 22, 1872.” Orations and Addresses. New York: G. P. Putnam, 1873.Google Scholar
Caffin, Charles H.American Masters of Painting. New York: Doubleday, Page, 1903.Google Scholar
Cahill, Holger. “Mural America.” Architectural Record 82 (09 1937): 6368.Google Scholar
Cook, Clarence. The House Beautiful. New York: Scribner, Armstrong, 1878.Google Scholar
Cortissoz, Royal. “Abbey's Last Mural Paintings.” Scribner's Magazine 51 (01 1912): 116.Google Scholar
Cortissoz, Royal. “Abbey's Latest Mural Paintings.” Scribner's Magazine 44 (12 1908): 656–68.Google Scholar
Cortissoz, Royal. “The Art of Edwin Austin Abbey.” Scribner's Magazine 85 (02 1929): 230–38.Google Scholar
Cox, Kenyon. The Classic Point of View: Six Lectures on Painting. New York: Charles Scribner's Sons, 1912.Google Scholar
Dow, Joy Wheeler. American Renaissance. New York: William T. Comstock, 1904.Google Scholar
Dunn, Esther Cloudman. Shakespeare in America. New York: Benjamin Blom, 1968.Google Scholar
Edwin A. Abbey, N.A., R.A.Nation 93 (08 10, 1911): 129–30.Google Scholar
Edwin Austin Abbey: An Exhibition Organized by the Yale University Art Gallery. New Haven: Yale University Art Gallery, 1973.Google Scholar
Emerson, Ralph Waldo. Representative Men. London: John Chapman, 1850.Google Scholar
Fiske, John. American Political Ideas: Viewed from the Standpoint of Universal History. New York: Harper and Brothers, 1903.Google Scholar
Gayley, Charles Mills. Shakespeare and the Founders of Liberty in America. New York: Macmillan, 1917.Google Scholar
Hamilton, George Heard. “The Edwin Austin Abbey Show.” Carnegie Magazine 15 (06 1941): 8386.Google Scholar
Hills, Patricia. “Picturing Progress in the Era of Westward Expansion.” The West as America: Reinterpreting Images of the Frontier, 1920–1920. Ed. Truettner, William H.. Washington, D.C.: Smithsonian Institute, 1991: 97147.Google Scholar
Holmes, Oliver Wendell. Our Hundred Days in Europe. Boston: Houghton, Mifflin, 18871889.Google Scholar
Howells, William Dean. The Seen and Unseen at Stratford-on-Avon: A Fantasy. New York: Harper and Brothers, 1914.Google Scholar
Hubbard, Elbert. Little Journeys to the Homes of Eminent Artists. Book 2. New York: 1912.Google Scholar
Hutton, Laurence. Talks in a Library with Laurence Hutton. Recorded by Isabel Moore. New York: G. P. Putnam and Sons, 1905.Google Scholar
James, Henry. “Our Artists in Europe.” Harper's New Monthly Magazine 79 (06 1889): 5066.Google Scholar
James, Henry. Picture and Text. New York: Harper and Brothers, 1893.Google Scholar
Jones, Howard Mumford. “The Renaissance and its American Origins.” Ideas in America. Cambridge: Harvard University Press, 1944.CrossRefGoogle Scholar
Lears, T. J. Jackson. No Place of Grace: Antimodernism and the Transformation of American Culture, 1880–1920. New York: Pantheon, 1981.Google Scholar
Levine, Lawrence W.Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge: Harvard University Press, 1988.Google Scholar
Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1993.Google Scholar
Low, Will H.The Mural Painter and His Public.” Scribner's Magazine 41 (02 1907): 253–56.Google Scholar
Lucas, E. V.Edwin Austin Abbey, Royal Academician: The Record of His Life and Work. 2 Vols. New York: Charles Scribner's Sons, 1921.Google Scholar
Mitnick, Barbara J. “Paintings for the People: American Popular History Painting, 1875–1930.” Picturing History: American Painting 1770–1930. Ed. Ayres, William. New York: Rizzoli, 1993: 157–75.Google Scholar
Mumford, Lewis. “An American Epic in Paint.” New Republic 50 (04 6, 1927): 197.Google Scholar
Murals and Men.” Art Digest 9 (09 1, 1935): 6.Google Scholar
Murals, Citizenship and Labels.” American Magazine of Art 28 (01 1935): 5355.Google Scholar
Nemerov, Alexander. Frederic Remington and Turn-of-the-Century America. New Haven: Yale University Press, 1995.Google Scholar
Oakley, Lucy. Unfaded Pageant: Edwin Austin Abbey's Shakespearean Subjects — From the Yale University Art Gallery and Other Collections. New York: Miriam and Ira D. Wallach Art Gallery and Columbia University, 1994.Google Scholar
Pennsylvania Capitol Preservation Committee. The Pennsylvania Capitol: A Documentary History. Harrisburg: Capitol Preservation Committee, 1987.Google Scholar
Saint-Gaudens, Homer. The American Artist and His Times. New York: Dodd, Mead and Company, 1941.Google Scholar
Shean, Charles M.Mural Painting from the American Point of View.” Craftsman 7 (10 1904): 1827.Google Scholar
Simpson, Marc.Windows on the Past: Edwin Austin Abbey and Francis Davis Millet in England.” American Art Journal 22 (1990): 6589.CrossRefGoogle Scholar
Smith, F. Hopkinson. American Illustrators. Part 1. New York: Charles Scribner's Sons, 1892.Google Scholar
Stott, Annette. “Dutch Utopia: Paintings by Antimodern American Artists of the Nineteenth Century.” Smithsonian Studies in American Art 3, no. 2 (Spring 1989): 4761.CrossRefGoogle Scholar
Studing, Richard. “Two American Shakespeareans in Art: Albert Pinkham Ryder and Edwin Austin Abbey.” Gazette Des Beaux-Arts 110 (09 1987): 8190.Google Scholar
Sturgis, Russell. “The Pre-Raphaelite and Their Influence.” Independent 52 (01 18, 1900): 181–83.Google Scholar
Thistlethwaite, Mark. “A Fall from Grace: The Critical Reception of History Painting, 1875–1925.” Picturing History: American Painting 1770–1930. Ed. Ayres, William. New York: Rizzoli, 1993.Google Scholar
Twain, Mark. The Complete Essays of Mark Twain. Ed. Neider, Charles. New York: Doubleday, 1963.Google Scholar
Twain, Mark. The Mammoth Cod and Address to the Stomach Club. Intro. G. Legman. Milwaukee: Maladicta, 1976.Google Scholar
Twain, Mark. Mark Twain's Notebooks and Journals. Ed. Anderson, Frederick. Berkeley: University of California Press.Google Scholar
White, Hayden. “The Modernist Event.” The Persistence of History: Cinema, Television and the Modern Event. Ed. Sobchack, Vivian. New York: Routledge, 1996.Google Scholar
White, Richard Grant. “The Anatomizing of William Shakespeare.” Atlantic Monthly 54 (09 1884): 313–26.Google Scholar
Whitman, Walt. “Poetry To-Day in America–Shakspere–the Future.” Specimen Days and Collect. New York: Dover, 1995.Google Scholar
Wiebe, Robert. The Search for Order, 1877–1920. New York: Hill and Wang, 1967.Google Scholar

Save article to Kindle

To save this article to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

The Chestnuts of Edwin Austin Abbey: History Painting and the Transference of Culture in Turn–of–the–Century America
Available formats
×

Save article to Dropbox

To save this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you used this feature, you will be asked to authorise Cambridge Core to connect with your Dropbox account. Find out more about saving content to Dropbox.

The Chestnuts of Edwin Austin Abbey: History Painting and the Transference of Culture in Turn–of–the–Century America
Available formats
×

Save article to Google Drive

To save this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you used this feature, you will be asked to authorise Cambridge Core to connect with your Google Drive account. Find out more about saving content to Google Drive.

The Chestnuts of Edwin Austin Abbey: History Painting and the Transference of Culture in Turn–of–the–Century America
Available formats
×
×

Reply to: Submit a response

Please enter your response.

Your details

Please enter a valid email address.

Conflicting interests

Do you have any conflicting interests? *