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Distant Lands |
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Mary J. P. Kelly, 2001 |
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Welcome to Distant Lands. These paintings and drawings were
done during what has come to be known as the "Golden Age of American
Illustration," approximately 1880 to 1930. Illustrators of the period
including Howard Pyle,
N.C. Wyeth,
Frank Schoonover,
and Charles Dana Gibson,
were some of the most talented and influential individuals of their time
and treated much like the movie stars of today. The work of illustrators
served as both the Disney Channel and CNN and whether or not their
portrayals of other places and people were fully accurate (and often
they were not) they were regarded as the truth. The images these men and
women created were seen on magazine covers, in stories, as posters and
advertisements. The artist’s purpose was to grab your attention, whether
to entice you to buy a magazine or a refrigerator. These images are also
a record of the society, fashions, customs, and prejudices – both
positive and negative – of the period.
This show contains fifty works from more than twenty-five of the best
known of these illustrators. A few portray familiar scenes: Norman
Rockwell’s Homecoming hobo or N.C. Wyeth's unnamed wintry scene
originally done for the Interwoven Sock Company. But readers at the turn
of the century also sought stories exotic and different from their own
lives and circumstances and we have taken this desire as our theme:
Distant Lands. Almost all of the images in this show were chosen as
examples of how the artists, and thus the reading public, perceived
times, places and people "distant" - whether in geography or time - from
the America in which they were living. Frederick Yohn’s London at
Midnight depicts Big Ben in London – a city most readers would never
have the opportunity to see. Wyeth’s
Bruce on the Beach, the cover
illustration for this catalogue, comes from The Scottish Chiefs -
the story of the rebellion of the Scots against the English in the 14th
Century. There are also several rather sinister portrayals of Chinese
communities. The turn of the century was a time when labor unions and
others sought to keep out cheap labor from Asia. Most Americans on the
East Coast had little contact with Asia – a truly distant part of the
world – and regarded these stories and pictures as the truth.
A bit of history will help shed light on some of the artists’
thinking in these portrayals of Distant Lands and their
inhabitants. So, let us take a brief look at the United States of a
hundred years ago.
A Nation of Immigrants
The turn of the last century was a time of tremendous change: from
countryside to city; from handicraft to factory; from candles to
electricity. The nation was becoming increasingly urban. It was also
very much a country of immigrants who brought new customs, language
and clothing from their distant homelands. In the 1880s, some 500,000
people immigrated to the United States annually. During the
first decade of the new century, the number averaged almost 900,000 a
year. [1] The earliest immigrants, those of the 17th and 18th
centuries, had largely been western and northern Europeans – the
English, Dutch, French, Swedes. Among these groups there were some
commonalties – shared or similar clothing, customs or religious
practices. Now, in addition to increasing numbers of the Irish,
immigrants were coming from eastern and southern Europe – Poland,
Russia, Italy, Greece - and the process of assimilation into the
mostly English-speaking United States was not always easy. Many of the
German and Scandinavian immigrants in the latter part of the 19th
Century had had some money when they arrived and were able to move
west, creating new farms and small towns along the growing network of
railroads. But many others, such as the Irish and Eastern European
Jews, were impoverished, often refugees from famine, and coming to
join family or friends in America’s new industrial cities. Factory
jobs were plentiful in the North and East, but wages were very low and
the hours long.
Some of these new Americans were able to get ahead, gradually
expanding a new middle class. A few, like Andrew Carnegie who had
arrived as a penniless youth of thirteen in 1848 from his native
Scotland, were able to make vast fortunes. But many immigrants ended up
living among people like themselves, who spoke the same language and had
the same customs. Overcrowding and poverty gradually produced ghettos
and by the end of the 19th century, an estimated 10% of the
American population lived in these confined communities. As more and
more people came to start a new life in the city, crime, disease, bars
and brothels burgeoned in these slums. A New York City commission in
1900 found that conditions in New York’s tenements were even worse
than they had been in 1850.
There were also many immigrants on the West Coast, and problems of a
different sort. Thousands of Asian workers, primarily from China, had
come to the United States to work on the building of the
transcontinental railroad in the 1860s and 1870s. Many returned home
with substantial nest eggs, which frequently encouraged other young men
to make the trip. (Women rarely came, but waited years in China for the
return of their husbands.) Here there were immigrants who not only had a
very different culture, but also looked different. In 1882,
fearing competition from Chinese laborers who often accepted lower
wages, the labor unions convinced Congress to ban Chinese immigration
completely for a period of 10 years. The Boxer Rebellion, where Chinese
radicals revolted against the foreign presence in China began in May
1900 with many foreigners and Chinese Christians killed. Two months
later came the Siege of Peking, where the Boxers held Western legations
hostage for a month, which only added to the general American and
European distrust of the Chinese.
[1]
Foster Rhea Dulles, The United
States since 1865 (Ann Arbor: The University of Michigan Press
1969) 169. |
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