"Historical understanding is like a vision, or rather like an evocation of images." Taking Johan Huizinga at his word, this course is about the use, abuse, lapses, and strengths of visual "documents" as subject, evidence, and method in studying the past. The class will explore the ways the study of visual culture illuminates and alters the research and analysis of major areas and themes in nineteenth-century U.S. social, political, and cultural history. We will investigate the manner in which different visual media documented, articulated, and embodied conditions, relations, ideas, identity, and issues from the early republic to the age of imperialism—with occasional forays to explore the comparative, transnational, and digital. While structured chronologically, the course readings and discussions are organized to consider a range of historiographic approaches and methods and to critically evaluate the impact and efficacy of using visual evidence.
•Wendy Bellion, Citizen Spectators: Art, Illusion, and Visual Perception in Early National America.
•Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, 1992).
•David Jaffee, A Nation of Goods: The Material Culture of Early America (Philadelphia, 2010).
•__________, “One of the Primitive Sort: Portrait Makers of the Rural North, 1760-1860” in The Countryside in the Age of Capitalist Transformation: Essays in the Social History of Rural America, ed., Steven Hahn and Jonathan Prude (Chapel Hill, 1985), 103-40.
•Margaretta M. Lovell, Art in a Season of Revolution: Painters, Artisans, and Patrons in Early America (Philadelphia, 2005).
•Christopher J. Lukasik, Discerning Characters: The Culture of Appearance in Early America (Philadelphia, 2011).
•Maurie D. McInnis and Louis P. Nelson, eds., Shaping the Body Politic: Art and Political Formation in Early America (Charlottesville, 2011).
•Laura Rigal, The American Manufactory: Art, Labor, and the World of Things in the Early Republic (Princeton, 2001).
[Thursday following Monday Schedule]
EURE, JULIANA SON
BROOKS, CARLA COLON
WAR I –
EMILY BROOKS, DANIELLE WETMORE
*RESEARCH PAPER TOPIC DUE
WAR II: CASE STUDY
EURE, SARAH LITVIN
•Joshua Brown, Beyond the Lines: Pictorial Reporting, Everyday Life, and the Crisis of Gilded Age America.
•Michael L. Carlebach, The Origins of Photojournalism in America (Washington, D.C., 1992).
•Michael Clapper, “‘I Was Once a Barefoot Boy!’: Cultural Tensions in a Popular Chromo,” American Art 16:2 (Summer 2002): 17-39.
•Melissa Dabakis, Visualizing Labor in American Sculpture: Monuments, Manliness, and the Work Ethic, 1880-1935 (Cambridge, 1999).
•James M. Dennis, The Strike: The Improbable Story of an Iconic 1886 Painting of Labor Protest (Madison, 2011).
•Amanda Frisken, Victoria Woodhull's Sexual Revolution: Political Theater and the Popular Press in Nineteenth-Century America (Philadelphia, 2004).
•__________, “Obscenity, Free Speech, and ‘Sporting News’ in 1870s America,” Journal of American Studies 42 (2008): 537-77.
•Michele Martin, Images at War: Illustrated Periodicals and Constructed Nations (Toronto, 2006).
•Mark J. Noonan, Reading the Century Illustrated Month Magazine: American Literature and Culture, 1870-1893 (Kent, 2010).
•Christopher Phelps, “The Strike Imagined: The Atlantic and Interpretive Voyages of Robert Koehler's Painting The Strike,” Journal of American History 98:3 (December 2011): 670-97.
– DANIELLE WETMORE
•Fiona Deans Halloran, Thomas Nast: The Father of Modern Political Cartoons.
•Roger A. Fischer, Them Damned Pictures: Explorations in American Political Cartoon Art (North Haven, 1996).
•Ian Gordon, Comic Strips and Consumer Culture, 1890-1945 (Washington, D.C., 1998).
•Jennifer A. Greenhill, Playing It Straight: Art and Humor in the Gilded Age (Berkeley, 2012).
•Thomas Milton Kemnitz. “The Cartoon as a Historical Source,” Journal of Interdisciplinary History 4:1 (Summer 1973): 81-93.
•Thomas C. Leonard, The Power of the Press: The Birth of American Political Reporting (New York, 1986), Chapter 4.
•Worth Robert Miller, Populist Cartoons: An Illustrated History of the Third-Party Movement in the 1890s (Kirsksville, MO, 2011).
•Richard Samuel West, Satire on Stone: The Political Cartoons of Joseph Keppler (Urbana, 1988).
•__________, The San Francisco Wasp: An Illustrated History (Northampton: Periodyssey Press, 2004).
•Vanessa R. Schwartz, Spectacular Realities: Early Mass Culture in Fin-de-Siècle Paris.
•Michele H. Bogart, Public Sculpture and the Civic Ideal in New York City, 1890-1930 (Chicago, 1989).
•Hollis Clayson, Paris in Despair: Art and Everyday Life under Siege (1870-71) (Chicago, 2002).
•Peter Conolly-Smith, Translating America: An Immigrant Press Visualizes American Popular Culture, 1895-1918 (Washington, DC, 2004).
•Peter Bacon Hales, Silver Cities: The Photography of American Urbanization, 1839-1915 (Philadelphia, 1984).
•Neil Harris, “Iconography and Intellectual History: The Halftone Effect,” in Cultural Excursions: Marketing Appetites and Cultural Tastes in Modern America (Chicago, 1990), 304-17.
•Nancy Rose Marshall, City of Gold and Mud: Painting Victorian London (New Haven, 2012).
•Anna Pegler-Gordon, In Sight of America: Photography and the Development of U.S. Immigration Policy (Berkeley, 2009).
•Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (Cambridge, 1989).
•Bonnie Yochelson and Daniel Czitrom, Rediscovering Jacob Riis: The Reformer, His Journalism, and His Photographs (New York, 2008).
•Rebecca Zurier, Picturing the City: Urban Vision and the Ashcan School (Berkeley, 2006).
•__________, Robert W. Snyder, and Virginia M. Mecklenburg, Metropolitan Lives: The Ashcan Artists and Their New York.
CAMPBELL, SARAH LITVIN
•Martha A. Sandweiss, Print the Legend: Photography and the American West.
•Sarah Burns, Pastoral Inventions: Rural Life in Nineteenth-Century American Art and Culture (Philadelphia, 1989).
•George Catlin, Brian W. Dippie, George Gurney, George Catlin and His Indian Gallery (New York, 2002).
•William Cronon, “Telling Tales on Canvas: Landscapes of Frontier Change,” in Discovered Lands, Invented Pasts, ed., Jules Prown, Nancy Anderson, William Cronon, Brian Dippie (New Haven, 1992), 37-87.
•Estelle Jussim, Frederic Remington, the Camera and the Old West (Fort Worth, 1983).
•Joy S. Kasson, Buffalo Bill's Wild West: Celebrity, Memory, and Popular History (New York, 2000).
•Robin Kelsey, Archive Style: Photographs and Illustrations for U.S. Surveys, 1850-1890 (Berkeley, 2007).
•Anthony W. Lee, Picturing Chinatown: Art and Orientalism in San Francisco (Berkeley, 2001).
•Hayes Peter Mauro, The Art of Americanization at the Carlisle Indian School (Albuquerque, 2011).
NOTE: Half of the class will read one of the following books:
•Nicholas Mirzoeff, The Right to Look: A Counterhistory of Visuality.
•Shelley Streeby, Radical Sensations: World Movements, Violence, and Visual Culture.