Expert answer:4 Pages of analyze article

Expert answer:Please read the “File 1” to know more better about this assignment. Please follow the requests and write a 4 pages analyze for this article.NOT A SUMMARIZE AND NO OTHER SOURCES NEEDED.
cikovsky_winslowhomer.pdf

file_1.doc

cikovsky_winslowhomer.pdf

Unformatted Attachment Preview

:LQVORZ +RPHU V 6R &DOOHG 0RUQLQJ %HOO
$XWKRU V 1LFRODL &LNRYVN -U
5HYLHZHG ZRUN V
6RXUFH $PHULFDQ $UW -RXUQDO 9RO 1R SS
3XEOLVKHG E Kennedy Galleries, Inc.
6WDEOH 85/ http://www.jstor.org/stable/1594617 .
$FFHVVHG
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.
Kennedy Galleries, Inc. is collaborating with JSTOR to digitize, preserve and extend access to American Art
Journal.
http://www.jstor.org
WINSLOW HOMER’S (SO-CALLED) MORNING BELL
Nicolai Cikovsky,Jr.
OF WINSLOWHOMER’S most beautiful and
compelling earlypaintingshas been plaguedto
an unusual degree by misunderstandingand misinForyears, it was seriouslymisdated,to
terpretation.1
this day it is mistitled,and what takes place in it has
yet to be properlydescribed.
Winslow Homer (1836-1910) never painted a
picturecalled TheMorningBell.2When he exhibited the painting known in the Homer literatureby
that title at the CenturyAssociation in New Yorkin
November of 1871 (Fig. 1), he called it Old Mill;3
when he showed it again at the National Academy
of Design a few months later, in April of 1872, he
called it simply The Mill. But for many years the
painting was mistakenly dated circa 1866.4And it
continuesto be mistitled TheMorningBell.
Lloyd Goodrich was told that Homer gave the
paintingto Albert Kelsey, a friend of his from Belmont, Massachusetts.HomerandKelsey had shared
ONE
NICOLAICIKOVSKY,JR., Senior Curator of American and
BritishPaintingsattheNationalGalleryof Art,Washington,
EditorialBoard,
D.C., and a member of the JOURNAL’S
was co-curatorwith FranklinKelly of the 1995-1996
Winslow Homer exhibition organized by the National
Gallery of Art and co-authorof the accompanyingcatalogue. His other publicationson American art include
Sanford Robinson Gifford (1823-1880) (1970), George
Inness (1971), The Life and Workof George Inness (1977),
Samuel E B. Morse s Lectures on the Affinity of Painting
with the Other Fine Arts (1983), William Merritt Chase:
Summers at Shinnecock, 1891-1902 (with D. Scott Atkinson; 1987), George Inness (with Michael Quick; 1985),
Raphaelle Peale Still Lifes (1989), WinslowHomer (1990),
Winslow Homer: Watercolors (1991), Winslow Homer
(1992), George Inness (1993) as well as many
articlesandessays.
a studio in Paris in 1867, Kelsey paid for Homer’s
returntrip to America, and, as repayment,Homer
gave Kelsey the painting.On the basis of this family lore, Goodrich,whose opinions as Homer’sfirst
modem biographerand compiler of the catalogue
raisonne of his work understandablycarry great
weight, assumed that Homer had given Kelsey a
recently finished painting and, evidently finding
this one stylisticallycompatiblewith otherworksby
Homer from the late 1860s, dated it to the time
Homer and Kelsey were most closely associated
that is, about 1866.5In this instance, Goodrichwas
wrong, as he seldom was, but the date stuck-so
firmly that by 1972 John Wilmerding dispensed
altogether with the qualifying “about.”6And not
knowing that Homer painted a picture called Old
Mill and later simply The Mill, or at any rate not
associating that painting with this one, Goodrich
gave it the title of an image clearly related to the
painting: a wood engraving entitled The Morning
Bell publishedin Harper s Weeklyon December 13,
1873 (Fig. 2). That title has stuck so firmly that
Bryan Wolf, while admitting that the painting in
question “is indeed the same painting originally
exhibited at the National Academy of Design in
1872″when it was titled TheMill, neverthelesspersisted in calling it TheMorningBell.7
This is not pedanticpickiness or mere quibbling
because the painting’s title and date both bear
directlyupon its meaning and interpretation.8
When dated 1871, as it should be, Old Mill
coincides with a series of school subjects Homer
paintedin the early 1870s (Figs. 3, 4, and 5). Homer
himself apparently associated Old Mill with his
school subjects, for when he exhibited the former
at the Century Club in 1871 he showed it with
The American Art Journal/Volume XXIX ? Numbers 1 and 2
5
–
^r<. i. s r' j t" ^. > ?t
t
C
~~s_.*
“*
::
a
S
,’t”
‘I . t
; -‘?`???.? .
Fig. 1. WinslowHomer THE MORNING BELL. (Here entitled OLD MILL [also known as THE MILL]). c. 1873. (Here dated 1871). Oil
on canvas, 24 x 38 1/4″. Collection, Yale University Art Gallery, New Haven, Connecticut, Bequest of Stephen Carlton Clark,
B.A. 1903.
A Country School-House.9 Others at the time
recognizedthe paintings’common threadstoo. One
critic called Old Mill and A CountrySchool-House
“companion studies.”1 Another, who described
Old Mill as “an old school house, with a group of
country girls, dinner buckets in hand going over
the lonely wooden path leading to the upper
story,”thought it was actually one of the school
paintings.1’
The paintings coincide in date, of course, but
also and, more important, in meaning, for both
working in mills and teaching school led to “vital
social changes” in the condition of women’s lives
after the Civil War-changes that profoundly
altered their social roles and economic position.”2
In Homer’s work, there is a close resemblance
between the woman approachingthe mill in Old
Mill and the teacher approachinga country school
in School Time(see Fig. 3). In fact, mill work and
teaching were often interchangeablejobs. As Lucy
Larcomwrote in An Idyl of Work(1875):
Youknow
I am Minerva’sladyhalfthe year;
Thatis to say,I dealout learning’spap
To countrybabes,in DistrictNumberThree,
Under[Mount]Chocorua’s
shadow.In plainwords,
I am a schoolma’amin the summer-time,
As nowI am a Ladyof the Loom.13
In both Homer’s Old Mill and his school paintings, change is figured by contrasts-the depth of
change signaled by the sharpness of contrastbetween old and new: between one-room country
schools that were, when Homer depicted them in
the early 1870s, old-fashioned and rapidlybecoming obsolete and the women teacherswho after the
Civil Warhad newly and prominentlyoccupied the
principalrole in American common-school education (Figs. 6 and 7);’4and between the age, decay,
and disuse signaled by the sagging roof and broken
windows of the mill-to which, of course, the
painting’spropertitle, Old Mill, calls special attention and makes an issue of meaning’5-and the
shiny new bell behind it (but pointedly not attached
to it’6),which, in a device entirely characteristicof
Homer, indirectly stands for or hints at something
the viewer does not otherwise see (like the guide,
for example, in Homer’s Adirondack Lake, who
reacts to something he has seen or heard that lies
outside the picture space and is invisible to the
viewer [Fig. 8]).17
When Old Mill is looked at closely and with
this in mind, if it is then noticed that the plank
walkway does not lead to or into the mill but past
6
and beyond it (as it does quite unmistakablyin the
engraving The Morning Bell), then the situation
Homer depicts in the paintingcan be describedthis
way: summoned by the ringing bell, the figures
move (or soon will move), not to or into the old
abandonedmill, but past it. In the contrastbetween
old and new that rules the painting, they move
beyond the old mill to what has replaced it (and
others like it)-namely, the new textile mills of the
industrial cities of New England, such as Lowell
and Lawrence, Massachusetts,’8one of which (the
WashingtonMills in Lawrence[Fig. 9]) Homerhad
himself depicted in the wood engravingNew England Factory Life-“Bell-Time” (Fig. 10);19the
new mills in which a woman, very much like the
central figure in Old Mill, tends a loom, as in one
of Homer’sengravingsfor William Cullen Bryant’s
Song of the Sower,published in 1871 (Fig. 11), the
same year that Homer first exhibited Old Mill; and
the new mills representedin Homer’s Old Mill by
the shiny new bell, which, as the stern keeper of
new industrialtime, was the most distinctive fixture and defining attributeof the new mills-as it
is, for instance, in the prominentbell toweratop the
WashingtonMills in Homer’s Harper s engraving
(see Fig. 10). Similarly,the clock tower and steeple
silhouetted against the sky in the engraving Town
of Lawrence(see Fig. 9) are the principalregulators
of modern industrialbehavior.
The dress and bearing of the single woman in
the center of Old Mill are clearly different from
those of the three women at the right. For Bryan
Wolf, that signified a difference of social class. In
his reading,the “genteel clothing”of the woman in
the centerrepresents”Yankeerespectability”or the
“countrygentry”beset (his word) by the group on
the right, consisting either of “immigrantlaborers”
or “homespun country peasants” to whose social
and economic level she has presumablyfallen.20In
a wall text at the Yale UniversityArt Gallery,which
owns Old Mill, the painting is explained in part as
follows:
The senseof sharedcommunityevokedby the circle
of ruralwomenin apronsandearth-colored
homespun
dresseschattingat the right,is in contrastto the solitarycentralfigure,perhapsfromthe city,inappropriatelydressedfor factoryworkin a fashionablestraw
hat andscarletjacketwith greenepaulets.Whilethe
threewomenstandconfidently,seeminglyrootedin
the fertilelandscape,she hesitatinglyturnsonto the
makeshiftbridge.
In both these interpretations,the woman in the center, for whatever reason she has become so, is
Cikovsky/Homer
z .wf
-?~Y:
-=-
1>-T
‘.,I,F-A
i
.
W-lr.
I” w_. ;
4< '-, ... "o P-. -.:. - . . BELL.1873. Woodengraving, 9 1/8 x 13 1/2",from Harper'sWeekly, vol. Fig. 2. Anonymous, after WinslowHomer. THEMORNING 17 (December 13, 1873), p. 1116. Collection, National Gallery of Art, Washington,D.C. : Fig. 3. Winslow Homer ,,,x .. SCHOOL TIME. c. .t '' 1874. Oil on canvas, 12 1/2 x 19 1/4". Collection, Mr and Mrs. Paul Mellon. regardedas socially fallen and alienated and as the new arrivalto the image's social configuration.Her situation is marked particularlyby the uniform of her earliersocial position, the stylish dress she carries into her new life-dress that is, from this point of view (and from this point of view only), poignantly inappropriate and almost tragically unsuitedto the tasks and cultureof factory work. The situation depicted in Old Mill is, however, precisely the opposite. What most attractedgirls, usually country girls, to work in the new textile mills was the prospect of earning money that they 8 -. could not earn at home. And what they very often spent their earnings on were new, fashionable,citified clothes. "I think it would be much betterfor me [in Lowell] than to stay about here [Barnard,Ver- mont]. ... I am in need of clothes which I cannot get about here and for that reason I want to go to Lowell or some other place," Mary Paul wrote her father, seeking his permission to go.21 They furnished themselves, as someone who disapprovedof such pretension wrote, "with gewgaws and finery, in imitationof the fashionableof the wealthy classes," "adorningtheir persons ... with cityfashions" Cikovsky/Homer - E. * .I Fig. 4. Winslow Homer Youngstown,Ohio. SNAP THE WHIP.1872. . .. _ r r .." t ' * ; Oil on canvas, 22 x 36". Collection, The Butler Institute of American Art, 1871. Oil on canvas, 21 3/8 x 38 3/8". Collection, The Saint Louis Art SCHOOL. Fig. 5. Winslow Homer THECOUNTRY Museum, Museum Purchase. Woodengraving, from Harper'sWeekly, vol. 17 (September 20, Fig. 6. Jennie Brownscombe. THENEWSCHOOL-MISTRESS. D.C. 1873),p. 817. Photograph,NationalGalleryof Art, Washington, instead of "wearingthe modest, though it may be called the homely dress, and the simple mannersof a country girl."22"They went [to the mills] in their plain, country-madeclothes," the historian of Sutton, New Hampshire, wrote, "and, after working several months, would come home for a visit, or perhaps to be married,in their tasteful city dresses."23The fashionably dressed woman is therefore not the newcomer in Old Mill, as she has been supposed to be, but on the contrary,the seasoned factory worker who has labored long enough10 "several months" or more-to buy the stylish city clothes she wears with evident pride (the similarly seasoned factory workers Homer depicted at the left in New England Factory Life [see Fig. 10] are dressed with similar stylishness). Nor is there anything hesitant about the fashionably dressed woman. Far from it-she walks firmly and steadily, with the unhesitating confidence of experience (the same almost cocky confidence displayed by the mill workers in New England Factory Life). Instead,it is the three women at the right who are Cikovsky/Homer Fig. 7. Anonymous. OLD FASHIONED SCHOOL-HOUSE. Wood engraving, 2 1/8 x 4", from James Johonnot, School-Houses (New York,1872), p. 15. Photograph, National Gallery of Art, Washington,D.C. Fig. 3.-OLD the newcomers,ruraltypes still wearingplain country dress (their clothing resembles that in the engravingThe CountryBelle, which was featuredin an article on the typological differences between "Town and Country"in Harpers Weeklyin 1858 [Fig. 12]).24As new entrantsto the pageantof social change that Homer representsin Old Mill, they are manifestly fearful of what they are on the verge of undertaking,and,if they are rooted in place, it is not from assurance but from timidity and uncertainty. In pointedcontrastto the self-relianceof the woman in the center,they cower in "sharedcommunity"for comfort and consolation, their apprehensiveness made all the more acute perhapsby the example of the figure who strides so confidently-even teasingly-before them, her finery a mortifying contrast to the drabnessof their own plain rural dress. For it is not the stylish woman's dress that is inappropriateto factorywork and urbanlife, but theirs.5 In that context and culture, their homeliness and FASHIONED SCHOOL-HOUISI. drabnesswill make of them, as they seem to sense and foresee, objects of just the sort of open contempt and condescension with which the stylish factoryworkersto the left of centerin Homer'sNew England Factory Life treatthe dowdy newcomerher dowdiness the signifier of her newness-at the right.26From this point of view, social class or status-or the loss of it-is not an issue, for the stylish figure has not fallen to a lower social position. Despite her dress, she belongs to the same class and shares (or did not long ago) the same rural background as the figures at the right (and is not "from the city"). Furthermore,her upright, assured posture does not at all suggest that she is either socially fallen or emotionally cast down by having to work for her living. More easily and plausibly,she can be seen as exemplifying that democratic,egalitarian, and even feminist sense of the dignity of labor vehemently expressed by a contributorto the Lowell Offering: TheAmericanArt Journal/VolumeXZXIXNumbers 1 and 2 11 ' :.:' " "..' -. ,:--,,.: ..... LAKE.1870. Oil on canvas, 24 1/4 x 38 1/4". Horace G. Henry Collection, Henry Fig. 8. Winslow Homer AN ADIRONDACK Gallery ofArt, University of Washington,Seattle. From whence originatedthe idea, that it was derogating to a lady's dignity, or a blot upon the female character,to labor? and who was the first to say, sneeringly,"Oh, she works for a living"? Surely,such ideas and expressions ought not to grow on republican soil.2 The painting Old Mill (see Fig. 1) and the wood engraving The Morning Bell (see Fig. 2) are obviously similar-the latter, in fact, closely although not exactly, derived from the former-but, just as clearly,they are not the same. And because they are not the same-because they look differentand look differentbecause they are about different thingsthey have, as they must, differenttitles. Therefore, 12 just as the images are not interchangeable,neither are their titles. Old Mill, to use a word coined at aboutthe time it was painted,is aboutthe sociology of moder industrial change; The Morning Bell, about the subject of modem industrialtime. "The clock, not the steam-engine," Lewis Mumfordwrote, "is the key-machineof the modem industrialage."28Nothing shaped and transformed modem life as profoundly and unprecedentedlyas the replacement of natural cycles and rhythms by the artificial measurementof time. In The Condition of the Working-Classin England in 1844, Frederick Engels noted that one of the most wrenching changes factory workers experienced was the loss Cikovsky/Homer TOWNOF ,LAW!RENCE, AS SEEN FROM,NOUTHANDOVER. Fig. 9. Anonymous. AS SEEN FROMNORTHANDOVER.1851. Wood engraving from Gleason's Pictorial TOWNOF LAWRENCE, Drawing Room Companion, vol. I (July 19, 1851), p. 181. Photograph, National Gallery of Art, Washington,D.C. of the freedom of naturaltime to the tyrannyof the clock and that nothing stood for that tyranny as forcefully and, by the early nineteenth century, as often as did the factorybell. Engels told of the pride of household (in contrast to factory) stocking weavers who "are free, and had no factory bell to measure out the time of their eating, sleeping, and working"and of the cutterforced into factory work who "lost his freedom of choice of his working hours, and [was] broughtunderthe dominion of the factory bell."29American factory girls spoke of it too. "I am going home, where I shall not be ... draggedaboutby the ringing of a bell," one of them wrote in the Lowell Offering,for in the country"We have no bell, with its everlasting ding-dong."30 (In this light, it is possible to see the contrastbetween the central figure in Old Mill and those at the right as thatbetween one who has received the timed discipline of factory culture and the others who still linger in an inchoate state of nature-like the dog, also in a state of natureand free to obey its natural urges, who pauses to sniff the tree trunkat the left.) American mill workers found nothing as distasteful in their new life as the factory bell. "'I will not stay in Lowell any longer; I am determinedto give my notice this very day,'said Ellen Collins, as the earliestbell was tolling to remindus of the hour for labor."3"As soon as day broke I was awakened TheAmericanArt Journal/VolumeXXIX? Numbers 1 and 2 13 LIFE-"BELL-TIME." Fig. 10. Anonymous, after Winslow Homer NEWENGLANDFACTORY 1868. Wood engraving, 8 3/4 x 12 7/8", from Harper'sWeekly, vol. 12 (July 25, 1868), p. 472. Collection, National Gallery of Art, Washington,D.C. by one of the girls jumping out of bed, and beginning to crow. That awakened the others, and they bestirred themselves. One sung[:] Morning bells I hate to hear, / Ringing dolefully, loud, and drear, &c."32What they found most degrading was the dehumanizing compulsion, "the feeling," as one wrote, "that comes over us (there is no use in denying it) when we hear the bell calling us away 14 from repose that tired nature loudly claims-the feeling, that we are obliged to go."33"[T]o be called and to be dismissed by the ringing of a bell, savors of compulsion and slavery, and cannot cease to produce mortification."34 "[T]hey are driven like slaves, to and from their work, for fourteen hours in each day, and dare not disobey the calls of the factory bell."35"Up before day, at the Cikovsky/Homer Fig. 11. Anonymous, after WinslowHomer. THE CLANKING SHUTTLE. 1870. Wood engraving, 4 1/4 x 3 7/8", from William Cullen Bryant, The Song of the Sower (New York, 1871). Photograph, National Gallery ofArt, Washington,D.C. clang of the bell-and out of the mill by the clang of the bell-into the mill, and at work, in obedience to that ding-dong of a bell-just as though we were so many ... Purchase answer to see full attachment

How it works

1. Paste your instructions in the instructions box. You can also attach an instructions file
2. Select the writer category, deadline, education level and review the instructions 
3. Make a payment for the order to be assignment to a writer
4.  Download the paper after the writer uploads it 

Will the writer plagiarize my essay?

You will get a plagiarism-free paper and you can get an originality report upon request.

Is this service safe?

All the personal information is confidential and we have 100% safe payment methods. We also guarantee good grades