While organizing the 2017 permanent collection reinstallation at the Utah Museum of Fine Arts, Mythmaking and Truth-Telling: American and Regional Art, I made discoveries in the artist’s papers at the Archives of American Art that allow us to precisely date Miss Maude Adams, as “L’Aiglon” and to better contextualize the painting within the intellectual milieu of its creation.
This essay suggests that the interactions that took shape within the physical boundaries of [Stieglitz’s gallery] open insights into the broader dynamics of cultural discrimination and privilege.
The nostalgic painting of provincial oral gossip is haunted by allusions to the rapid mass production and nationalization of newspaper scandal in the 1870s and 1880s.
The copyright of these individual works published by the University of Minnesota Libraries Publishing remains with the original creator or editorial team. For uses beyond those covered by law or the Creative Commons license, permission to reuse should be sought directly from the copyright owner listed in the About pages.