Mediterrenea: American Art from the Graham D. Williford Collection Catalog Preview

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mediterranea

American Art from the Graham D. Williford Collection ‘

fred jone s j r. mu seum of a rt

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mediterranea American Art from the Graham D. Williford Collection

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Fred Jones Jr. Museum of Art

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The University of Oklahoma

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mediterranea American Art from the Graham D. Williford Collection

= 1 Preface and Acknowledgments ghislain d’humières

= 5 Introduction stephanie malia hom

= 9 Mediterranea: American Art from the Graham D. Williford Collection mark andrew white

= 21 Illustrated Checklist mark andrew white with ryan nicole norton

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Preface and Acknowledgments = ghislain d ’humières Wylodean and Bill Saxon Director, Fred Jones Jr. Museum of Art

Although I did not have the privilege and honor of meeting the late Mr. Graham D. Williford, I have come to feel I know him through acquaintance with his amazing collection of American paintings, some of which are included in this catalogue, Mediterranea: American Art from the Graham D. Williford Collection.

After meeting Thomas Campbell and John R. Williford, both trustees of the Williford Collection, I managed to convince them that the students of the University of Oklahoma and the people of Oklahoma would greatly benefit from experiencing the beauty and quality of these exceptional works of art. Inviting our students and museum visitors, many of whom have never been to Europe or journeyed around the Mediterranean, to explore these countries through the eyes of artists such as William Merritt Chase, Charles Caryl Coleman, Oliver Dennett Grover, Elihu Vedder, and many more, is an amazing opportunity.

The mystery of Egypt, the warmth of Italy, the exoticism of Lebanon—these images and others of Mediterrean culture help us understand this part of the world. By visually diving into the region’s history, visitors to Mediterranea also gain insight into twenty-first century political situations in these countries.

Art and culture enable our students to broaden their horizons and develop a better understanding of the diversity of civilizations. The Williford Collection, through the Mediterranea exhibition, fulfills this vision and generates an exciting educational program for students, teachers, and museum visitors throughout the spring 2011 semester.

We would like to gratefully acknowledge, first, Mr. Thomas Campbell and Mr. John R. Williford for their support and dedication to promoting education through art. And special thanks goes to Stephanie Thompson, who manages the Williford Collection so diligently. We thank Dr. Stephanie Malia Hom for her introduction, Dr. Mark A. White for his depth of academic research as well as his essay for this volume, and Ryan Nicole Norton

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for her collaboration on catalogue entries. My thanks to Eric Anderson for his beautiful catalogue design and to all my staff for their support in making this vision of Mediterranea a reality. I’m especially grateful to Dr. Ron Tyler, Director of the Amon Carter Museum, Fort Worth, who first introduced me to the Graham D. Williford Collection.

On behalf of the Fred Jones Jr. Museum of Art Board of Visitors and the University of Oklahoma, we invite students, visitors, and museum members to enjoy the Mediterranea catalogue and explore the exhibition.

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Granada

Toledo

ATLANTIC OCEAN

Tunis

Naples Capri

Taormina Mt. Aetna

Mt. Vesuvius Pompeii Sorrento

Subiaco Lake Nemi

Europe

ME A DIT ERRANEAN SE

Rome

Florence

Venice

Africa

San Gimignano

Bordighera

Lake Como Lake Garda

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D

Philae

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S

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Jericho

A

Baalbek

Giza and Nazlat as Samman

Luxor (and Karnak)

Cairo

Asia

BLACK SEA

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Introduction = stephanie malia hom

The study of the Mediterranean has, by necessity, long been interdisciplinary, connecting a variety of academic approaches and artistic media, much like the sea itself is thought to bridge Occident with Orient and Europe with Africa. But the Mediterranean is, in fact, a relatively recent invention.

French historian Fernand Braudel was ostensibly the first to unite these disparate cultures, histories, and geographies into a singular cultural imaginary called the Mediterranean through his epic work, The Mediterranean and the Mediterranean World in the Age of Philip II, in the mid-twentieth century. He showed the Mediterranean to be a locus of cultural production; a space uniquely constructed by its historic role as a stage for cultural encounters.1 Etymologically, space is built into the word “Mediterranean.” It stems ¯ meaning inland, or remote from the sea, which from the Latin mediteraneum, comes from a conjunction of medius + terra. The former is translated as ‘in the middle’ or ‘in the midst,’ and the latter as land, ground, soil, or earth. Hence another name for the Mediterranean is the middle sea. What is more, time is also built into the Mediterranean. Looking closely at medius, we find that it also refers to ‘occupying a middle position in time or order, intervening, middle,’ or ‘the middle of (a period of time).’2 At its root, then, the Mediterranean oscillates between land and water, as well as space and time.

The exhibition Mediterranea: American Art from the Graham D. Williford Collection at the University of Oklahoma’s Fred Jones Jr. Museum of Art captures this vacillation on canvas, connecting landscapes with seascapes, as well as the spaces and times of this middle sea to reveal a specifically American view of the Mediterranean that circulated in the late nineteenth and early twentieth centuries. For many of these painters, Italy lay at the heart of this sea, and it was the country’s topography of ruins that inspired some of the collection’s most notable paintings.

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Tellingly, these artists chose to represent the remains of Italy’s distant past instead of the ruins born of the country’s struggle to become a nation-state, then contemporaneous to many of these artists’ sojourns. For instance, George Barse’s Aurelian’s Wall (1879; cat. 4), while admittedly more interested in aesthetics than history, focuses on the Roman wall as an ancient, eroded object rather than something wrecked in combat by modern artillery as it was during the 1870s. Perhaps the ever-shifting relations of time and space that constitute the Mediterranean proved the optic through which American artists of this era could imagine a coherent, but unreconstructed, re-presentation of history. By enveloping themselves in the distant pasts on display in Italy and elsewhere in the Mediterranean, for a moment these artists experienced a brief reprieve from the traumas of their contemporary histories, in both Risorgimental Italy and the postbellum United States. In this way, Frank Duveneck’s pleasant etching of Venice’s Riva degli Schiavoni (1880; cat. 19), best translated as “Embankment of Slaves,” disavows that site’s history as the center of the Renaissance slave trade, and also transitively denies the grim legacy of slavery in his own country.

According to scholar Anne Ruel, the Mediterranean itself developed a history in the decades between the mid-nineteenth and early twentieth centuries, emerging as more than just a sea but also a cultural area.3 It is in this moment that the Mediterranean becomes concretized as an idea, a myth, an identity, an imaginary. American artists, like those featured in this exhibition, gave life to this new imaginary in their artwork, and through it, advanced the idea of the Mediterranean as always-already rooted in a distant past. The classical, pastoral “old world” of the Mediterranean contrasted against the new, modern, industrialized culture of the United States.

That the Mediterranean is still more linked to its ancient histories than its modern ones testifies to the purchase these artistic expressions have had in our cultural imagination over the last 150 years. As an imaginary, the Mediterranean continues to oscillate between land and sea, and space and time, inspiring new generations of artists, American and otherwise, to view and re-view its shifting constellation of histories and topographies, and challenging them to express it on their own stages for cultural encounters.

= endnotes 1

Fernand Braudel, The Mediterranean and the Mediterranean World in the Age of Philip II, rev. ed., trans.

Siân Reynolds (New York: Harper & Row, 1976).

2

“Mediterr¯aneum” and “Medius,” Oxford Latin Dictionary, ed. P. G. W. Glare (Oxford: Clarendon, 1982).

3

Anne Ruel, “L’Invention de la Méditerranée,” Vingtième siècle 32 (1991): 7–14.

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Mediterranea: American Art from the Graham D. Williford Collection = mark andrew white

In the travelogue The Innocents Abroad, Mark Twain recounted his 1867 Mediterranean tour aboard the side-wheel steamship, Quaker City. He was first induced to book passage, he claimed, by the “bold originality” of the advertisement that was “almost as good as a map.” Advertised as an “Excursion to the Holy Land, Egypt, The Crimea, Greece, and Intermediate Points of Interest,” the voyage proposed to circle the Mediterranean, and Twain found the cartographical specificity of the advertisement so “perfectly irresistible” that he quoted it in its entirety in his book. The tour would begin with Spain, after a brief stop at the Azores, and proceed to France, Italy, Greece, Constantinople [Istanbul], the Middle East, Egypt, and other points along North Africa. Interested parties in both the United States and Europe had already expressed interest, so Twain dashed to the Treasurer’s office to secure a stateroom.1 Steamships like the Quaker City allowed Twain and other Americans to cross distances faster and more efficiently than sailing ships and contributed greatly to American tourism abroad in the nineteenth century. As Henry T. Tuckerman noted in 1844, “Steam is annihilating space . . . The ocean, once a formidable barrier, not to be traversed without long preparation and from urgent necessity, now seems to inspire no more consideration than a goodly lake, admirably adapted to summer excursions.”2 The Innocents Abroad makes clear that the Mediterranean, too, could be easily circumnavigated through steam travel. Such a technological advance enabled Twain and others to experience in one trip the entire breadth of Mediterranean culture: the remains of antiquity, picturesque landscapes, and even sites of topical interest, such as the home of Giuseppe Garibaldi. The voyage offered a thorough education in the history of Western civilization oriented around and unified, to some degree, by the Mediterranean. While the significance of Twain’s trip should not be overstated, it signals a break with the strong influence of the Grand Tour, which had largely prescribed Americans’ experience of the Old World in previous decades. Participants of the Grand Tour rarely ventured further southeast than Italy, leaving the Middle East

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and North Africa only for the adventurous. Following the Civil War, however, Americans, including artists and writers, looked farther afield.

The Mediterranea exhibition explores the expanded awareness and interest American artists had in the Mediterranean region in the late nineteenth and early twentieth centuries. While no single artist included in this exhibition followed the route of the Quaker City or visited all its destinations, the more cosmopolitan interests of American artists and writers, following the Civil War, led them to points abroad that had rarely figured in the corpus of American art and literature in previous generations.

The focus shifted away from Rome in the early 1870s and towards Venice, Moorish Spain, Egypt, and the Holy Land. Their interest was less in the sea, although it does figure into their compositions, than in the venerable cultures that existed alongside it.

There are many reasons for this expanded awareness. For some American artists, their European teachers suggested travel. Carolus-Duran (Charles Auguste Émile Durand, 1837–1917) advocated direct study of Diego Velásquez (1599–1660), prompting his students such as William Turner Dannat and Charles Stuart Forbes to tour southern Spain in search of the Old Master.

Similarly, the Orientalist Jean-Léon Gérôme (1824–1904) encouraged his students at the École des Beaux Arts, which included American artists such as Eric Pape, to look to the Islamic world for inspiration. The Holy Land, still controlled by the Ottoman Empire, was also the subject of Millennial desire by many Americans who sought to visit and record the sacred sites of their faith, sometimes with the vain hope of rescuing it from Islam. Popular travel writers such as George William Curtis and Bayard Taylor attracted American attention to North Africa and the Middle East. Finally, wealthy collectors often drew expectant artists to their vacation spots. In Venice, artists such as Caleb Arnold Slade and Joseph Lindon Smith socialized with Bostonian Isabella Stewart Gardner (1840–1924) while also benefiting from her patronage. Egypt also saw its share of wealthy aristocracy from both sides of the Atlantic who drifted up the Nile aboard luxurious dahabiya, and purchased views of both the countryside and the ancient ruins from Ernest Wadsworth Longfellow and others. For example, Elihu Vedder visited Egypt for the first time in 1889 because of the generosity of George F. Corliss of the Corliss Steam Engine Company. Phoebe Apperson Hearst (1842–1919) financed and accompanied the numerous archaeological expeditions the University of California at Berkeley took to Egypt beginning in the 1890s, meeting artists like Smith at the sites.3

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Regardless of the individual reasons that late-nineteenth-century American artists had for traveling the Mediterranean, it is undeniable that they were often better traveled than their predecessors. Sanford Gifford visited Rome in 1856, Venice in 1857, and both Venice and Egypt in 1869.

Colleague John Rollin Tilton spent much of the 1860s and 1870s traveling between Egypt, Greece, Spain, and Venice. Both Lockwood De Forest and Winckworth Allan Gay were accomplished travelers who visited most of the major cultures in the eastern Mediterranean in the 1870s and then went further to East Asia. Francis Davis Millet, as both an artist and writer, visited Italy, Greece, and Turkey, in addition to covering the 1877–78 RussoTurkish War. Millet not only recounted his journeys in paint but in print for the popular press. Illustrator Jules Vallée Guérin would cover much of the same territory to illustrate the popular travelogues of Robert Smyth Hichens in the early 1900s. Both Caleb Arnold Slade and William Clothier Watts continued the cosmopolitan impulses of the previous generation by visiting Venice, Egypt, Tunisia, and the Holy Land.

It is important, however, to explore how this expanded interest in the whole of Mediterranean culture was manifested in the works of American artists. The results rarely depicted a homogenous, essentialist image of the Mediterranean, but often focused on the visual signs of cross-sea warfare, trade, and religious influence. Mediterranea demonstrates that in the late nineteenth century, American artists became interested in the aspects of nature and culture that they believed defined the Mediterranean.4 The environment of the Mediterranean, with its distinctive flora, was sufficient to create a sense of place for some artists. But landscape does not necessarily signify culture, and for others the legacy of the Greco-Roman past found among the Mediterranean’s far-flung ruins created a connecting thread between now disparate cultures. Similarly, the past influence of Christianity and Islam had created a syncretic culture, evident in the hybrid architecture of the region.

To American landscapists, who were often attentive to the topography of the spaces they painted, the Mediterranean offered flora distinct from that of North America.5 Cypresses, olive trees, umbrella pines (stone pines), and palms grow across the region from southern Europe to the Middle East and northern Africa, and although the species do differ to some degree, artists frequently used the trees to help establish a Mediterranean environment. Sanford Gifford’s Lake Nemi (1856; fig. 1) used a single cypress to unify the land, the lake, the saline sky, and the sea itself, indicated by “a long line

Fig. 1. Sanford Gifford; Lake Nemi, 1856 See cat. 30; p. 46

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Fig. 2. George Barse, Jr.; Aurelian’s Wall, 1879 See cat. 4; p. 25

of silver light” just under a luminous, rising moon.6 Similarly, the cypresses in George Barse’s Aurelian’s Wall (1879; fig. 2) help to situate the crumbling walls of Rome in a Mediterranean context. Ernest Wadsworth Longfellow included a great deal of foliage in his Cairo (n.d.; fig. 3), including numerous palms, a single cypress that peeks just above the cityscape, and several olive trees. Olives also appear in Corwin Knapp Linson’s depiction of a local farm in Jericho (1898; fig. 4). Many of the paintings of Bordighera, located in northwest Italy just across the border from France, also include olives. Both Elihu Vedder’s Windswept Olive Trees, Bordighera (1872; fig. 5) and Theodore Robinson’s View of Bordighera (c. 1890–91; fig. 6) use olives as central motifs in framing the bright blue water of the Ligurian Sea and, by extension, the Mediterranean. Umbrella or stone pines also helped to situate the painter’s landscape in the Mediterranean region. The unique shapes of the pines provided landscape painters with sufficient visual interest, and they tower over the surrounding landscape in paintings such as J. Foxcroft Cole’s Souvenir d’Italie: A Landscape (1861; fig. 7) and Frank Henry Shapleigh’s Gorge of Pines, Sorrento Italy (1870; fig. 8).

Fig. 3. Ernest Longfellow; In Cairo, n.d.

See cat. 40; p. 57

Fig. 4. Corwin Linson; Jericho, 1898 See cat. 39; p. 55

Fig. 5. Elihu Vedder; Windswept Olive Trees,

Fig. 6. Theodore Robinson; View of Bordighera, c. 1890-91

Bordighera, 1872; See cat. 64; p. 81

See cat. 50; p. 67

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1-2 David Maitland Armstrong (1836-1918)

David Maitland Armstrong enjoyed multiple careers as an artist, a diplomat, and a lawyer. Born near Newburg, New York, Armstrong studied law at Trinity College in Hartford, Connecticut, in the 1850s and began his practice in New York City in 1862. His career in politics began in 1869 when he accepted the appointment as American Consul to the Papal States. Shortly thereafter, he met various members of the American art colony in Rome and decided to take up painting. Armstrong spent the coming years in Italy, leaving his position as consul in 1873. In 1878, he left for Paris where he directed the American section for the Art Department of the Exposition Universelle. When his duties at the exposition ended, Armstrong returned to the United States and abandoned his law career entirely in favor of art. He began working principally in stained glass.

Armstrong had lived in Rome for nearly a decade when he

painted Aqueduct of the Roman Campagna at Tavolata. The subject is a fragment of the aqueduct the Emperor Claudius built in 52, and although the ruin had been a favorite of American artists for several decades, Armstrong broke with tradition by selecting a single monolithic arch, as opposed to the larger sections painted by contemporaries such as Worthington Whittredge and Frederic Crowninshield.

1.Aqueduct of the Roman Campagna at Tavolata, 1878 Oil on panel, 11½ x 8½ in.

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By selecting a remnant overgrown with vines, Armstrong may have been denouncing the archaeological efforts, supported by the Italian government, to restore the ruins of ancient Rome. He believed that modernization stripped away much of the picturesque mystery from the ruins.1 Painting this particular section at dusk was likely an attempt to restore some of that mystery.

Because of Armstrong’s political appointment, Rome occupied

his artistic interests for much of his early career, but before his relocation to the U.S., he did make a trip to Venice in 1879. Like his contemporary Frank Duveneck, Armstrong was interested in the Venetian campos as subject matter. Campo Maria Nova was “painted from a study from nature,” as he noted on the back of the painting, indicating that he subscribed to the veracity of painting en plein air. Campo Santa Maria Nova, also known as the Market of Miracles, is the home of Santa Maria dei Miracoli, an early Renaissance church known for a miraculous icon of the Virgin. Armstrong did not include the church but preferred to examine the effect of Mediterranean light and saline atmosphere on the architecture of Venice.

1. David Maitland Armstrong, Day Before Yesterday: Reminiscences of a Varied Life (New York: C. Scribner’s Sons, 1920), 177.

2. Campo Maria Nova, 1879 Oil on canvas, 22½ x 14¼ in.

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3 Otto Henry Bacher (1856-1909)

Otto Henry Bacher was born in Cleveland, Ohio. He studied ini-

to Cleveland briefly before leaving for Paris in 1885. He spent the

tially with Cleveland artist De Scott Evans (1847–1898) and learned

next several years traveling between Paris and Venice, and eventually

etching from Sion Longley Wenban (1818–1897). In 1878, Bacher

settled permanently in New York City in 1888.

left for Munich, where he enrolled at the Akademie der Bilden-

Bacher’s sojourns in Venice were among the most important of

den Künste München. Overcrowding at the academy led Bacher

his career, and Doge’s Palace from the Lagoon dates from his initial arrival

to seek instruction with Frank Duveneck, and Bacher became one

in the city. The Doge’s Palace was an important destination for tour-

of a notable group of young American artists known as the “Duve-

ists in the late nineteenth century, and it was already an architectural

neck Boys.” He followed Duveneck to Florence in 1879 and then to

influence in the U.S., having served as the model for Peter Bonnett

Venice the following year, where they set up residence in the Casa

Wight’s (1838–1925) National Academy of Design in New York

Jankovitz. Bacher then arranged to have his etching press sent from

City (1863–65). The expanded horizontal view of the painting al-

Munich. Because it was one of the few in Venice, Bacher’s studio

lowed Bacher to include other notable landmarks, such as St. Mark’s

became a hub of printmaking activity and drew the attention of

Campanile, that were of equal interest to tourists. Despite the obvi-

James McNeill Whistler (1834–1903), who had arrived in 1879 to

ous concern Bacher had for such sights, over half of Doge’s Palace is oc-

complete a commission of twelve etchings of Venice. Whistler and

cupied by the water and the resultant reflection of the architecture.

Bacher became good friends, and in 1908 he published With Whistler

Much of Venice’s picturesque appeal for nineteenth-century artists

in Venice, his recollections of the friendship. In 1883, Bacher returned

relied on its proximity to water, but the reflections also provided Bacher with the opportunity to experiment with Impressionism.

3. Doge’s Palace from the Lagoon, c. 1880 Oil on panel, 11½ x 18 in.

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4 George Randolph Barse, Jr. (1861-1938)

Born in Detroit, Michigan, George Randolph Barse, Jr., began his

in the 1870s. She married Barse in 1891, and the two moved to Ka-

art education in Paris in 1879 at the École des Beaux Arts and at

tonah, New York, shortly thereafter. Rosina died of pneumonia in

the Académie Julian with Alexandre Cabanel (1823–1889), Gustave

1934, and Barse committed suicide four years later.

Boulanger (1824–1888), and Jules Joseph Lefebvre (1836–1911).

Aurelian’s Wall was painted the year Barse began his education in

Barse explored allegorical imagery similar to that of his instructors,

Paris. The walls are named for Lucius Domitius Aurelianus, the Em-

and in the 1890s won several awards in the U.S. Despite his success,

peror of Rome from 270 to 275, and were built following an invasion

his notoriety was second to that of his wife, Rosina Ferrara (1861–

of the Juthungi and Vandals in 270. In Barse’s lifetime, the walls had

1934), who became the favorite model of many American artists,

been an important defense for the Papal States during the Siege of

including John Singer Sargent (1856–1925). Ferrara was born in

Rome in 1870 by Italian forces. Barse’s interest does not seem to

Anacapri and began modeling for European and American artists

have been in history so much as aesthetics, and the eroding structure offered him the opportunity to explore subtle modulations of color.

4. Aurelian’s Wall, 1879 Oil on board, 5 x 7½ in.

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the venue and the contributors

Fred Jones Jr. Museum of Art,

Stephanie Malia Hom, Ph.D.

Unversity of Oklahoma, Norman, Oklahoma

(B.A., Brown University; M.A., Ph.D., University of California,

The University of Oklahoma’s Fred Jones Jr. Museum of Art is one

Berkeley) is an Assistant Professor of Italian in the Department of

of the finest university art museums in the United States. Strengths

Modern Languages, Literatures and Linguistics at the University

of the nearly 16,000-object permanent collection (including the ap-

of Oklahoma with a specialization in nineteenth-, twentieth-, and

prox. 3,300-object Adkins Collection and the more than 3,500-ob-

twenty-first-century Italian literature and culture. The author of

ject James T. Bialac Native American Art Collection) are French

several articles on wide-ranging topics, Hom is currently working on

Impressionism, twentieth-century American painting and sculp-

two book projects: Destination Italy: Tourism, Nation, Place, examines the

ture, traditional and contemporary Native American art, art of the

historical phenomenon of mass tourism, and her second book traces

Southwest, ceramics, photography, contemporary art, Asian art, and

the evolution of Italian colonial travel writing and the material prac-

graphics from the sixteenth century to the present.

tices of tourism between the Mediterranean and East Africa.

Ghislain d’Humières

Ryan Nicole Norton

After studying history and art history at the Sorbonne in Paris, be-

(B.A., University of Oklahoma) is a recent graduate of the School

came a specialist in eighteenth-century furniture for Sotheby’s Lon-

of Art in the Weitzenhoffer College of Fine Arts at the University

don, and then transferred to New York. He became the director of

of Oklahoma.

the jewelry department at Christie’s of Los Angeles and then transferred to Christie’s in Geneva where he was in charge of internation-

Mark A. White, Ph.D.

al clients from Europe and South America. In 2004, the Fine Arts

(B.A., Oklahoma State University; M.A., Ph.D., University of Kan-

Museum of San Francisco hired him as assistant director in charge

sas) is the Eugene B. Adkins Curator at the Fred Jones Jr. Museum

of the opening of the new de Young Museum. Following that ap-

of Art, University of Oklahoma. He specializes in American and Na-

pointment, Ghislain joined the University of Oklahoma as the Bill

tive American art of the twentieth century, with a particular focus

and Wylodean Saxon Director of the Fred Jones Jr. Museum of Art.

on the Southwest. He is the author of numerous articles and exhibition catalogues on diverse artists, including George Bellows, Peter Blume, Alexandre Hogue, Oscar Howe, and Olinka Hrdy. He is also a contributor to the catalogue of the Eugene B. Adkins Collection, to be published in late 2011.

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publication notes

Copyright © 2010 The University of Oklahoma.

cover:

detail: George Healy. Arch of Titus, c. 1868-71

This catalogue has been published in conjunction with the

(see cat. 36; page 52)

exhibition Mediterranea: American Art from the Graham D. Williford Collec-

inside front cover and page i:

tion at the Fred Jones Jr. Museum of Art, March 5 ­– May 15, 2011.

detail: Charles Coleman. Vintage Time in a Capri Garden, 1889

(see cat. 10; page 30)

No part of this publication may be reproduced or used in any form

page ii:

without the written consent of the Fred Jones Jr. Museum of Art.

detail: Elihu Vedder. Gateway at San Gimignano, 1865

(see cat. 63; page 80)

Catalogue author: Mark Andrew White

page iv:

Editorial Assistance: Ryan Nicole Norton

detail: Hermann Murphy. Santa Maria della Salute, Venice, c. 1908

Catalogue design: Eric H. Anderson

(see cat. 44; page 61)

Map design (p. 3): Parker Hubbard

page vi:

Editorial assistant: Jo Ann Reece

detail: Elihu Vedder. Questioner of the Sphinx, 1863

(see cat. 62; page 80)

Special thanks to Ryan Nicole Norton who coauthored the

page 4:

following catalogue entries: William Turner Dannat, Lockwood De

detail: Jules Guérin. The Columns of the Sun, Baalbec, 1909-10

Forest, Charles Stuart Forbes, Malcolm Fraser, Max Kuehne, Corwin

(see cat. 34; page 50)

Knapp Linson, Ernest Wadsworth Longfellow, Eric Pape, Caleb

page 7:

Arnold Slade, Joseph Lindon Smith, and William Clothier Watts.

detail: Francis Millet. Voie des Tombeau, c. 1874

(see cat. 42; page 59)

Fred Jones Jr. Museum of Art, The University of Oklahoma

page 8:

555 Elm Avenue, Norman, Oklahoma 73019-3003

detail: Charles Forbes. Puerta del Sol, Toledo, Spain, c. 1886

phone: 405.325.3272; fax: 325.7696

(see cat. 24; page 41)

www.ou.edu/fjjma

pages 20-21

detail: 17. San Giorgio, Venice, n.d.

Wylodean and Bill Saxon Director: Ghislain d’Humières

(see cat. 17; page 35)

Deputy Director: Gail Kana Anderson

pages 90 and inside back cover:

detail: Frank Duveneck. Well and Water Tank, Italian Villa c. 1887

Library of Congress Control Number: 2010939542

(see cat. 20; page 37)

isbn: 9780971718777

back cover:

This catalogue was printed by the University of Oklahoma Printing

detail: William Haseltine. Mount Aetna from Taormina, 1873

(see cat. 35; page 51)

Services and is issued by the University of Oklahoma. 1,000 copies have been printed and distributed at no cost to the taxpayers of Oklahoma.

m e d i t e r r a n e a : a m e r i c a n a r t f r o m t h e g r a h a m d . w i l l i f o r d c o l l e c t i o n " 89

90 “ f r e d j o n e s j r . m u s e u m o f a r t • u n i v e r s i t y o f o k l a h o m a