A critical medium : James Jackson Jarves's vision of art History

American Art

Volumn 16, Issue 1, 2002, Pages 19-35

  Colbert, Charles ^a  

^a NONE

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[No Author keywords available]

Indexed keywords

EID: 61949180737     PISSN: 10739300     EISSN: 15496503     Source Type: Journal    
DOI: 10.1086/444656     Document Type: Review

References (44)

1. Jarves acknowledges his sources, listing Alexis François Rio, Lord Lindsay, John Ruskin, and Mrs. Jameson as authors whose ideas inspired his own; see James Jackson.Jarves, Art Hints (New York: Harper and Brothers, 1855), vii
2. Emphasis is usually placed in modern literature on the importance of John Ruskin. Wilmerding, for example, remarks that Jarves "promulgated Ruskin's theories;"see John Wilmerding, American Art (New Haven: Yale U. Press, 1951), p. 93
3. James Jackson Jarves, Why and What Am I? (Boston: Philips, Sampson and Co., 1857), pp. 40-44, 95-97
4. Jarves's parents were Episcopalians; see Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven: Yale U. Press, 1951), p. 11
5. For Swedenborg's career and thought, see Signe Toksvig, Emanuel Swedenborg, Scientist and Mystic (New Haven: Yale U. Press, 1948)
6. For Mesmer, see William Gregory, Animal Magnetism or Mesmerism and its Phenomena (1909; reprint, New York: Arno Press, 1975)
7. Robert Darton, Mesmerism and the End of the Enlightenment in France (Cambridge: Harvard U. Press, 1968)
8. Robert Fuller, Mesmerism and the American Cure of Souls (Philadelphia: U. of Pennsylvania Press, 1982)
9. Alison Winter, Mesmerized; Powers of Mind in Victorian Britain (Chicago: U. of Chicago Press, 1998)
10. William Denton, The Soul of Things (1863; reprint, Wellingborough, Northamptonshire, England: Aquarian Press, 1988), pp. 31, 50
11. For more on Jarves's spiritualism, see Roger B. Stein, John Ruskin and Aesthetic Thought in America, 1840-1900 (Cambridge, Mass.: Harvard U. Press, 1967), pp. 129-30
12. Jarves, Art Hints, p. 204
13. James Jackson Jarves, Art Studies (New York: Derby and Jackson, 1861), p. 133
14. James Jackson Jarves, A Glimpse of the Art of Japan (New York: Hurd and Houghton, 1876), p. 43
15. James Jackson Jarves, Art Thoughts (New York: Hurd and Houghton, 1869), p. 360
16. See Jarves, Japan, p. 85
17. Jarves, Art Studies, pp. 148, 437-38
18. James Jackson Jarves, Pepero, the Boy-Artist: A Brief Memoir of James Jackson Jarves Jr. by his Father (Boston: Houghton, Mifflin, 1890), p. 44
19. Jarves, Why and What, pp. 29, 95
20. For the symptoms of consumption, see Sheila M. Rothman, Living in the Shadow of Death (New York: Basic Books, 1994), p. 4
21. William Sweetser, Treatise on Consumption (Boston: T. H. Carter, 1836), pp. 16-17
22. Rothman, Living, pp. 57-74
23. Jarves, Pepero, pp. 30-32
24. See Charlotte Klonk, "Mounting Visions: Charles Eastlake and the National Gallery of London," The Art Bulletin 82 (June 2000): 331
25. for a bibliography on the history of museums, see p. 345. For an authoritative discussion of the growing popularity of religion in the Victorian era after its decline during the late colonial period, see Jon Butler, Awash in a Sea of Faith (Cambridge, Mass.: Harvard U. Press, 1990)
26. Jarves's sermonizing on behalf of art resembles, in its appeal to sentiment, the approach taken by those who sought to promote religion at the same time; see Roy Porter, "Baudrillard: History, Hysteria and Consumption," in Forget Baudrillard?,Chris Rojeck and Bryan S. Turner,eds.(London: Routledge, 1993), p. 9
27. For Rimmer's belief in Swedenborg and spiritualism, see Truman H. Bartlett, The Art Life of William Rimmer (1890; reprint, New York: DaCapo Press, 1970), pp. 18, 28
28. Jeffrey Weidman, "William Rimmer: Critical Catalogue Raisonne," vol. 1 (Ph.D. diss., Indiana U., 1982), pp. 81-82
29. Charles Colbert, A Measure of Perfection: Phrenology and the Fine Arts in America (Chapel Hill: U. of North Carolina Press, 1997), pp. 85-107
30. The scenes on the wall in Darby's portrait are a mezzotint by James S. Lucas of "Samson Carrying off the Gates of Gaza," and a picture with an urn that bears the name "John" for one of Atwood's sons of that name who died in childhood; see American Painting in the Museum of Fine Arts Boston, Perry Townsend Rathbone, intro. (Boston:Museum of Fine Arts, 1969), pp. 89-90
31. Jarves, Art Thoughts, p. 323
32. For a summary of Jarves's ideas about the Greeks, see William L. Vance, Americas Rome, vol. 1 (New Haven: Yale U. Press, 1989), pp. 196-8
33. Jarves, Art Studies, pp. 103, 246
34. For Raphael, see Jarves, Art Studies, pp. 453, 464-5
35. On Michelangelo as an Etruscan, see Art Thoughts, p. 81
36. See also James Jackson Jarves, Italian Sights and Papal Principles Seen through American Spectacles (New York: Harper and Brothers, 1856), p. 309
37. Jarves, Thoughts,p. 273
38. James Jackson Jarves, The Art-Idea (1864; reprint, Benjamin Rowland Jr., ed., Cambridge, Mass., 1960), pp. 141-42
39. Jarves, Art-Idea, pp. 195-207
40. Joshua C. Taylor, "The Art Museum in the United States," On Understanding Art Museums, Sherman E. Lee, ed. (En-glewood Cliffs, N.J.: Prentice-Hall, 1975), p. 37
41. Also see Nathaniel Burt, Palaces for the People (Boston: Little, Brown, 1977), p. 56
42. See, for example, Kathleen Pyne, Art and the Higher Life (Austin: U. of Texas Press, 1996), pp. 94-96
43. "Portrait of a Collector as an Agnostic: Charles Lang Freer and Connoisseurship," Art Bulletin 78 (March 1996): 75-97
44. On Whistler,see Mortimer Menpes, Whistler As I Knew Him (London: Adam and Charles Black, 1904), pp. 64-65