List of Illustrations
Preface
Introduction
The Impact of an Independent Landscape
Painting in America: The Seeds for the Art of
Carl Peters (1768--1859)
Introduction; Working Directly from Nature;
The Larger Wilderness; War and Cultural
Nationalism; View Painters and Landscapists
in New York State; Championing American
Independence in Art; Touring and Training
in Europe; Prefigurations of the American Scene
Out of Genesee Wilderness: Rochester, City of Pioneers (1535--1818)
Early History of the Picturesque Genesee
Valley; Captain Davies: First Sketches of the Genesee Falls; West and Trumbull
Purchase Genesee Lands; Wadsworth and the
Genesee Oaks; Colonel Rochester, Abelard
Reynolds, to Commodore Yeo; Religion,
Commerce, and Topographical Artists
Penetrating the Wilderness to Found Rochester
in America's Natural Church (ca. 1820--1840)
The New Jerusalem; The Erie Canal;
Rochester's Custodians of the ``Natural
Church''
Rochester's Preparations for Fine Art (1816--1860)
The Genesee Country: An Earthly Elysium; Early Rochester Artists; The Reynolds
Arcade and Corinthian Hall: Rochester's
First Art Centers; 1843: Crucial Year for
Rochester Art; Art for Everyone; Art in
Rochester in the 1850s; The Athenaeum
The Peters Family Strikes American Roots (1857--1897)
Rochester's German-American Enclave; The
Peters Kin Seek a New Life in New York;
World's Columbian Exposition; Marriage and
First Son Carl
Building Rochester's Infrastructure of Fine Art (1861--1876)
Rochester Art and Culture during the War; Rochester's Gilded Age and the
American Renaissance; The Powers Building:
Rochester's Art Palace of the Gilded Age;
Rochester Academy of Art
The Rediscovery of Mother Europe in the
Victorian Age (1865--1897)
Technology and Art in the Gilded Age; Whittredge and the European Experience;
Luminism; Pilgrimages to Europe; The Prize Fund; ``L'Imminence francaise''
The Foundations of the Art Community upon Which Peters's Art Was Begun (1875--1894)
Salon Academicians Meet Manet's Rebels;
Duveneck, Sargent, and Others Import European Taste; Formation of the Art
Students League; The Society of American
Artists; Local Members of the Gilded Age
Attend the Birth of the Rochester Art Club;
The Rochester Art Club's Members: Artists
and Honorary; The Mechanics Institute and
Notable Rochester Painters; Frank Vincent
DuMond: Rochester Art Star
Rochester's Reflection of the New York Art
Scene in the 1890s (1890--1900)
The Center of American Culture; From New
York to France; Reverberation in Rochester;
Rochester: Capital of American Photography;
The Dispersal of the Powers Collection; Fin-de-siecle Rochester
Transition in Life and Art (1890--1904)
Optimism in Genteel Rochester; American Art's Rising Status at the Turn of the
Century; The Death of Frederic E. Church
and His School; Rise of Culture in
Rochester; Pan-American Exposition in Buffalo; Rochester's Architectural
Diversity; Death of Twachtman and Robert Henri's Beginnings
1906--1907: The Desecration of the Genteel
Tradition and Trend-Setting Cultural
Developments (Spring 1906--Spring 1907)
Photo-Progressive Era; The Liberals; Matrix
Landscapes; Henry and Friends: Painters of
Raw American Life; George Herdle and Other
Rochester Progressives; The Avant-Garde in
Herdle Brings French Art to Rochesterians
(Fall 1907--December 1907)
Herdle: Rochester's Marshal of the Arts
Introduces Impressionism; The Alembic Club;
Charles A. Green and Emily Sibley Watson;
Rochesterians Cling to the Sublime
Tares and Wheat Growing Side by Side (1908)
Muckrakers and Nihilists---and Royce, ca.
1908; The New Society of American Artists
in Paris; Stieglitz: Grand Master of
American Modernism; The Eight's Big Splash
Struggles to Advance (1909)
Primitive Rochester Cinema and
Improvement; From Henri's Students to the
Futurists in 1909; Maurer and Marin vs.
Eaton and Knight; Improving Public Taste;
Charles Gruppe: Future Mentor of Peters
The Egalitarian Attitude in 1910 (1910)
Herdle Promotes the Fine Arts in Rochester: The East High School Exhibit;
Twelve-Year-Old Carl, Fledgling Artist; A
Revelation for Carl: The East High School
Show Opens; Exhibition of Independent Artists
The Move to the Country and the
Fairport-Rochester Connection (1910--1911) Frederick ``Retires'' to Fairport; Fairport
History; Nature's Quietude Engenders Carl's
Artistic Response; Young Cal Visits Rochester Galleries; Early Efforts toward
an Art Museum
The Bloodless Revolution (1911)
Village Radicals, Columbia University, and
The Masses; Ultramodernists in Paris;
Eastman, Reed, and Dell in the Village;
Santayana's Critique of General America
The League's Summer School Connections with
the Art Colony Movement (Spring 1912)
Introduction; Early Art Colonies; DuMond
and Old Lyme; Twachtman and Cos Cob; Byrdcliffe; Woodstock under Harrison
Contrasts in Motivation as the Fuse of the
Art Bomb Is Ignited (Spring 1912--Spring 1913)
Choice for Artists: The Association of American Painters and Sculptors; The
Genesis of the Armory Show; Toward a Temple
of Art in Rochester; Gathering Works for a
Sensational Show;Planting Modernism in American Soil
The Memorial Art Gallery, the Armory Show,
and the Big Shift (Spring 1913) The Armory Show; Rochester's Response to
the Armory Show
The Burgeoning Threat to Tradition (Summer
1913--February 1914)
John Fabian Carlson; Dasburg and
Woodstock's Modern Wing; Carlson, a Future
Inspiration for Peters; A Synchromist
Exhibit Challenges Tradition; Dell and
Leading New York Progressives; Modernism
beyond the Village; Peters and Harrison's
Landscape Painting
Art School at the Bevier (March--June 1914)
Peters Observes Diverse Forms as a World
War Ignites; Peters Enrolls at the
Mechanics Institute as Europe Goes to War;
Classes at the Bevier: Peters Meets
Clifford Ulp; Mrs. Bevier's Building
Greenwich Village Avant-Garde in the Shadow
of Europe's War (October 1914-February 1915)
An Aesthetic Bedlam Mirrors World Events; The War: A New Focus for Greenwich
Villagers; Herdle Fosters Discussions of
Cubism in Retrospective Rochester
A Farm Boy Silhouetted against a Cultural
Backdrop (March 1915)
Sinking of the Lusitania: A Blow to the
Isolationist Cause; Rochester Theater and
New York's Little Theater Movement; An Apprentice at Servas's Scenic Studio
Depositing the Air of Paris in New York
(March--May 1915)
Picabia and Machine Art in America; Carl's Opus One; The Air of Paris on Sixty-seventh
Street; Curious Rochester Boys Intrigued by
Memorial Art Gallery; Avant-Garde Literary Journals
Discovering Cape Ann (June--July 1915)
A Budding Artist Introduced to Fascinating
Cape Ann; Brief History; Painting Light in
Cape Ann; Cultivating an Art Colony;
Writers Visit Cape Ann; The Art Scene upon the Arrival of Peters
Illustration as a Discipline (September 1915)
Peters at the Bevier: Living and Learning
Art; Peters in Illustration Class;
Woodstock,
Learning Experiences Influenced by American
Realism and Modernism (1915) Frequenting Art Shows, Sign Painting, and
Farming; American Art in 1915; Weichsel,
Mencken, and The Smart Set; Soldiers Battling Puritanism---with European
Reinforcements
The Forum Exhibition, Antithesis of Realism
(January--March 1916) The Organizers; The Exhibitors;
Significance of the Forum Exhibition;
Theoretical Speculations; The Aftermath
Pursuing Art within the American Orbit of War
(January--April 1916)
New York: A Haven for European Modernists; Anti-German Sentiment; A New Art Space for
Peters in Rochester; Progressive Little
Theater Groups; Intellectuals Question the
Inevitability of War; Unbending
Isolationists Hold Their Ground; Some Free-Thinking Women
Hoping to Discover Himself (April--Fall 1916)
Iconoclasts Struggle against the Indelible
Puritan Tradition; Independent Art Activities across New York State;
Illustration at the Mechanics Institute
Rochester on the Eve of World War I: Peters
Declares Himself an Artist (December
1916--October 1917) The End of Youth; Sinking of the Housatonic
and the Decline of Pacifism; Peters the Food Show; Failure of the Pacifists as
America Declares War; The Homestead and the
Rochester Art Club's Thirty-fourth Annual
Exhibition; Horrors of the War; Conspiracy
Trial of The Masses
The Soldier Leaves for France (October
1917--March 1918)
Peters Enlists to Defend His Country; Artists and Fellow Americans on the Front
Lines; Arizona Boot Camp; Political and
Cultural Wars at Home
Combat and Camouflage (March--September 1918) Private Peters and the American Flag
Wavers; The Camouflage Painters; Painters
at Home Respond to the War; Germany in Retreat
The Paris Sketchbook (September--October 1918)
Coming Home (November 1918--October 1919) From Revulsion to Rejoicing: The War's End;
Post-War Paris; Retour a I'Amerique; Peters Returns to Wielding a Brush
A New Beginning at the Art Student League
(November 1919--January 1920) Professional Training at the ASL: The
Alluring New York Art Scene; The Teachers;
Roaring New York in the Twenties
Learning the Ropes in New Yorkin 1920
(January--May 1920)
Peters and His Fellow League Students; Art Students from a Range of Styles; the
Changing Face of Greenwich Village; Prohibition and Post-War Adjustments; News
from Home; Servas and the Rochester Art
Club; Artists Return to Paris; Changing
American Culture; Summer Options: West to Fairport
The Local Balance of Art (May 1920--May 1921) Art at the Exposition; Peters and His
Agrarian, Regionalist Roots; Peters
Relishes Work of Celebrated Local Painters
The Start of the Great Summer of 1921 in
Woodstock (Summer 1921)
Modernism, 1921; Peters Chooses an Art
Colony; The Art Students League's Summer School
Sophistication and Quaintness; Life at Woodstock upon the Arrival of Peters (Summer
1921)
The Trail to Woodstock; Summer School in
the Catskills; Rosen: Nouveau Moderniste;
Country Diversions for Students; An Art
Market for Art Makers; A Kaleidoscope of
Influences
Woodstock Progressives, the Intelligencia
Cafe, and Greenwich Village West (Summer 1921)
Woodstock's Ash Can Group and Cramer; The
Intellegencia and Other Cafes; Hervey
White's Maverick; White, Croly, and
Cultural Nationalism
Peters in the Whirl of Woodstock Group
(Summer 1921)
Peaceful Coexistence of Diversified
Artists; Dynamic Symmetry; Peters under
Rosen; Peters and Leith-Ross
Rising to New Levels of Maturity (October
1921--May 1922)
Inspiration of Local Scenery; Hutchinson
Preaches Cultural Nationalism; The
Blizzard: A Spontaneous Snowy Vignette;
Joining the Rochester Art Club and a
Decorative Commission; Peters Debuts at the
Rochester Art Club; Longing for the
Catskills
Under John F. Carlson in Woodstock
(May--November 1922)
Peters Meets His Mentor; Carl and Carlson;
The Collision of Formalism and Realism;
Carlson's NaturalisticFoundation of Art;
Peters's Return to Fairport and the Death
of Rochester's Director of Arts
Overcoming Postwar Disillusionment to Paint
in New York State (December 1922--March 1923)
Seeking Nature in His Backyard; Defending
America's Cultural Traditions; Sunlight and Shadow and The Farm at Sunset; Peters and
Redfield
Sacrificing the Urban Milieu for
Genesee--Catskill Country (March--June 1923)
Spring of 1923; Youthful Optimism at the
Rochester Art Club's Fortieth Annual Exhibition; Return to Woodstock, Summer of
1923; Du Bois's Censure of Traditional
American Art; Hue and Cry; Picturesque, Beloved Woodstock
The Sophisticated Expatriate and the Art
Colony Commoner (June1923--March 1924)
Clash of America's Right and Left;
Woodstock Sculptors; Carl, a Nature Boy;
Americans in Paris; Woodstock
Intellectuals; The 1923 Rochester Exposition
The Impact of Winter and the Spirit of Place
(March 1924)
Knee-Deep in Snow; Nineteenth-Century
Background; Impressionism and the Spirit of
Place: Local Scenery Supersedes the
Sublime; Twachtman's Unique Contribution; Early Twentieth-Century Winter Scenes;
Peters Participates in the Winter Scene
Genre; The Rochester Art Club's Forty-first Annual Exhibition
Coming of Age in the Era of Big Business
(April--December 1924)
Carl Loses His Father; The Memorial Art Gallery Expands; Back to Woodstock, Summer
of 1924; Southwest Alternatives; Crafts and Theatrical Arts at Woodstock; Peters Wins
First Fairchild; Material Prosperity;
American Painting Prices Soar Misgiving
about Big Business in the Arts
The Geneseeans (January--April 1925)
Consummately Consecrated to Art; Rochester Progressives; Winter Exhibitions; The
Rochester Art Club's Forty-second Annual Exhibition
Summer Light on Cape Ann (May--August 1925)
Gloucester's Colorful Waterfront; Gallery-on-the-Moors; The Paint Rag;
Peters: Broken Color and Beyond; At the Pier; Working on the Boats
Victory at the National Academy (September
1925--April 1926)
Secretary of the Geneseeans; Silver Medal at the Rochester Exposition; From a Window:
Third Hallgarten Prize; Peters, the
Academy, and Tradition; The National
Academy of Design Opening and the Ranger
Fund Purchase; Locomotive in an Urban
Landscape
A Local Art Star (April--May 1926)
Eastman, Gertrude Herdle, and Art in
Rochester, 1926; Peters and the Geneseeans as Proto-Regionalists; The First Solo Show;
The Rochester Art Club's Forty-fourth Annual Exhibition
Art Colony Collegiality (May 1926--January
1927) Tourists Threaten Woodstock Artists; The
Memorial Art Gallery Expands; Cape Ann
Light; The Compris Clan, Christine, and
Rockport Harbor, Leaving Port; Seeking the
Spirit of Cape Ann; Art Colony Companions
and New from Rochester; Fall of 1926: The
Local Art Community
A Winter Symphony in 1927 (January--May 1927)
American Artists Resisting Modernism; Winter Symphony; Art Networks, Exhibitions,
and the Market; The Rochester Art Club's Forty-fifth Annual Exhibition
From Rochester to Rockport (May--September
1927)
Quality in Art; On the job in Old Sandy Bay
(Rockport); Rockport's Old Masters of Regionalism; The Provincetown Nexus;The
Rockport Art Association; Absorbing the
Spirit of Place; The Geneseeland Connection
Around the Bend and the Academy Blues
(October 1927--May 1928) The Rapid Pulse of America's Art World; Art
and Commerce in Rochester; Around the Bend:
An Instantaneous ``Sensation''; Beyond
Impressionism: Analyzing Around the Bend;
Second Hallgarten: Peters in the NAD's Annual Exhibition; Rochester Newspaper
Cover the Art Scene and Peters's
Prize-Winning Painting; Stirring the Local
Art Community
New Tendencies and Balanced Attachments: Cape
Ann, Summer of 1928 (May--August 1928)
The Lure of Cape Ann; Growth of the Rockport Art Association; Gloucester
Society of Artists and Other Exhibition
Spaces; A Summer Romance and a Host of
Exhibitions: Rockport Realists on Bearskin
Neck; RAA's Costume Ball, a Joyous End of the Summer Season
The Solo Show (September 1928--March 1929) From the Whitney Studio Gallery to the
Boston Art Club; Peters Exhibits in Chicago
and New York; The Little Village; Peters
Receives Fan Mail
From the Genesee to Cape Ann in 1929
(March--July 1929)
Hoover Steps In and Rags to Riches; Carl
Peters and Claude Buck; The Rochester Art
Club's Forty-seventh Annual Exhibition;
Return to Rockport; A Young Man's Fancy; The Passing of an American Art Beacon; Over
the Fence
The Beginning; Marriage in Rockport
(July--August 1929)
Preparing for Marriage; Wedding Bells and
Zeppelin's Liftoff; Aztecs and Caliphs in
Cape Ann
The Crash of 1929 (September--December 1929)
A Surging Market, and Christine Discovers
Airport; The Crash; The Opening of the
Museum of Modern Art: Standard Bearer for
Modernism; MOMA's Realist Opponents; The
Little Village at the National Academy; Art
for the People; The Rochester Art Club's New Home; The American Federation of Arts
Exhibition
Exemplification of Diversity (January--March
1930)
A Leading Artist of the United States; Solo
in Syracuse; Peters and the New Genesee
Valley Trust Company Building; Peters,
Contemporary Muralist; Spring Shows in
The Great Mural (April--June 1930)
Benton and Peters as Muralists; Rochester: Yesterday, Today, and Tomorrow; Peters,
Pioneer Regionalist; A Busman's Holiday;
The Rochester Art Club's Forty-eighth
Annual Exhibition, and Artistic Diversions; Rochester Regionalist
The Great Mural Unveiled (June--September
1930)
Cape Ann without Peters; The Wings of Progress and a Symphony of Rochester;
Peters Paints Memorial Bridge
The Bridge (October 1930--March 1931)
A Dynamic Proletarian Subject; The Winter
Season, 1930; Frozen Stream; Gruppe and Peters on the Fairport Farm
Emile Gruppe and the Prelude to Teaching
(March--May 1931) Stylistic Evolution at the Turn of the
Decade; Peters, American Scene Painter;
Hopes and Fears of Thomas Craven; The
Rochester Art Club's Forty-ninth Annual
Exhibition, the Grand Central Group, and
Peters; The Four-Man Show; Wenrich, Inglis,
and Charles Gruppe
Rocky Neck and the Davis Prize
(May--September 1931)
The Nadir of the Depression; Proletarian Art; Peters Paints the Workaday World and
Teaches at Rocky Neck; The Milton S. Davis
Prize; Another Glorious Cape Ann Summer;
Solo Show in Milwaukee
The American Scene (September 1931--February
1932) From Rodin to the Rundel Fund; Rochester
Art Activists; Barnyard; Snobs and
Francophiles Beware
The Apex of the Pyramid: Hallgarten III
(February--May 1932) Regionalism on the Rise; The American
Scene, Stuart Davis Style; The end of the
Winter Season and the Rochester Art Club's
Annual Spring Show; The Demise of the Arcade
Light Dispelling Darkness (June--August 1932)
Car and Christine Hasten Back to East
Gloucester; The Fiesta; Counteracting the
Depression; ``Prosperity'' and Gondoliers
in Cape Ann
The Exhibition Season of 1932--33 (September
1932--January1933) Bruised Business and Foreclosures; The Arts
under the Depression; Modernism Yields to
the American Scene Movement; Beginnings of
a Teaching Career
The Volatile Spring of 1933 (January--April
1933)
Hitler Enthroned; Birth of a Daughter; FDR's Scheme for Success; Exhibitions and
Book Burning
Strange Encounters in the Cape Ann Milieu
(March--August 1933) George Biddle's Proposals to Aid American
Artists; Rockport Realists and a Modernist
Outpost in Gloucester; A Float for Chicago:
Motif No. 1; Hofmann's Gloucester Studios; Gloucester's Festive Art Week
Klick, Klack, Do and Zoo (August
1933--February 1934)
Maynard Walker's American Art Show; Noon
Break: Masterpiece of Fairport Agrarianism;
Old Gloucester Coal Wharf; Rockport Harbor
IV; Peters Expands His Classes; Bragdon, Gibran, and the End of Prohibition; The
PWAP: New Hope for Artists; Pasture Stream
in December
New Dealism and Agrarianism (January--June
1934)
Publicizing New Deal Art; Fairport Farm and
the Rochester Art Club's Fifty-second Annual Exhibition; Raging Wars, and Prints
by Peters; The Corcoran Exhibit and Rochester's ``Century on Parade''
The Wave's Edge (June--October 1934) Rockport Realists Enjoy Another Summer
Season; Art Week and Studio Teas; World
Tensions Countered by Art; Rochester's Autumnal Events
The War between the American
Scenist-Regionalists and the Modernists
(October 1934--January 1935) Preparations for the Winter Season; The
Traditionalist-Modernist Battle Rages On;
Time Delivers the Message of the American
Scene; Benton's Lecture in Rochester
Artists Fight Fascism and Attempt to Establish a Usable Past (January--November
1935) Peters's Genesee Winter Wonderland and
Threats of a ``Soviet America''; A Splendid
Showing: The Rochester Art Club's Fifty-third Annual Exhibition; Rochester
Artists Gather at Ogunquit; Rochester
Regionalism
Man at the Crossroads and the Pioneers of
Rochester (November 1935--May 1936)
A Glimmer of Hope for Mural Artists; From
Van Gogh to Kipling in Early 1936; Peters
Instructs the Smart Set; Pioneers of
Rochester; The Rochester Art Club's Fifty-fourth Annual Exhibition
A Slower Time and a Faster Time
(June--December 1936)
Regionalism Riding High; The Multifaceted Fall of '36; Peters the Philosopher
The Big Pictures (Spring 1937--May 1938)
A Little Farm at the NAD and Popular Front
Strategy; The American Artists' Congress
and the Communist Party; The Rochester Art
Club's Fifty-fifth Annual Exhibition and
Local Art Reactionaries; The World's Fair
in Paris and Peters's Genesee Fall Harvest;
The Second American Artists' Congress and Rochester Settlers by Peters; The NAD
Finger Lakes, and French Chauvinism
Fairport's Agrarian Roots (June--December
1938)
Agony and Dream, Fear and Faith; The
Fairport Mural Commission; Curry's Tragic Prelude; War Brewing, a Fling, and
Rochester Art Happenings; Peter Unveils His
Masterpiece
Standing at the Crossroads (January--May 1939)
The Reich's Campaign of Hate; The Herdles;
Along the Erie Canal: An Autobiographical
Landscape; Modern American Realists at the Golden Gate; The Tenacious Realists and
European Modernism; A Futuristic World's Fair; Antithetical Exhibitions: Rochester
and New York City
Peters the Rationalist in an Irrational World
(June--December 1939)
A Thriving Rockport; Gist of Art, Inglis, and Grant Wood; The Rationalists' First
Exhibition
The Skin of Our Teeth: Peters against the
Chaotic Background of World War (1940--1942)
Total War versus Orderly Creation: Peters
in 1940; ``Deutschland siegt auf allen
Fronten''; 1941: The U.S. Enters the War;
Divorce and Further Rochester Exhibits;
Tribute to Giants in Medicine; 1942: Peters Unfurls His Own Banner of Patriotism:
Triumph of the American Ideal; Death of Grant Wood; The Rationalists and Artists
for Victory
An Evolution, Not a Revolution: Carl W.
Peters, the Final Decades (1943--1980)
The Later War Years; Rochesterians Scandalized by Abstract Art; Regionalism
Dismissed; A New Romance: An Epistolary
Account; The 1950s;
Notes
Select Bibliography
Text Credits
Index
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