Ruth L. Bohan is Associate Professor of Art and Art History at the University of Missouri–St. Louis.

“Bohan demonstrates a far greater and more sustained network of associations linking Whitman with nineteenth-century visual culture than has previously been known. Along with tracing Whitman’s connection to artists and art institutions, Bohan surveys all of the known paintings and sketches done of Whitman during his lifetime.”—Kenneth M. Price, University of Nebraska, Lincoln

• ContentsList of IllustrationsAcknowledgmentsIntroductionPart 1Imaging Whitman: The Nineteenth Century1.The “Gathering of the Forces” in Brooklyn2.Masks, Identity, and Representation3.Visual Self-Fashioning and Artistic (Re)Assessment4.Reception and Representation in the 1880s5.Thomas Eakins and the “Solitary Singer”Part 2Whitman and the Modernists: The Twentieth Century6.Marsden Hartley’s Masculine Landscapes7.Robert Coady and The Soil8.Joseph Stella’s Brooklyn BridgeBibliographyIndex

Ruth L. Bohan is Associate Professor of Art and Art History at the University of Missouri–St. Louis.

“Bohan demonstrates a far greater and more sustained network of associations linking Whitman with nineteenth-century visual culture than has previously been known. Along with tracing Whitman’s connection to artists and art institutions, Bohan surveys all of the known paintings and sketches done of Whitman during his lifetime.”—Kenneth M. Price, University of Nebraska, Lincoln

• ContentsList of IllustrationsAcknowledgmentsIntroductionPart 1Imaging Whitman: The Nineteenth Century1.The “Gathering of the Forces” in Brooklyn2.Masks, Identity, and Representation3.Visual Self-Fashioning and Artistic (Re)Assessment4.Reception and Representation in the 1880s5.Thomas Eakins and the “Solitary Singer”Part 2Whitman and the Modernists: The Twentieth Century6.Marsden Hartley’s Masculine Landscapes7.Robert Coady and The Soil8.Joseph Stella’s Brooklyn BridgeBibliographyIndex

Ruth L. Bohan is Associate Professor of Art and Art History at the University of Missouri–St. Louis.

“Bohan demonstrates a far greater and more sustained network of associations linking Whitman with nineteenth-century visual culture than has previously been known. Along with tracing Whitman’s connection to artists and art institutions, Bohan surveys all of the known paintings and sketches done of Whitman during his lifetime.”—Kenneth M. Price, University of Nebraska, Lincoln

• ContentsList of IllustrationsAcknowledgmentsIntroductionPart 1Imaging Whitman: The Nineteenth Century1.The “Gathering of the Forces” in Brooklyn2.Masks, Identity, and Representation3.Visual Self-Fashioning and Artistic (Re)Assessment4.Reception and Representation in the 1880s5.Thomas Eakins and the “Solitary Singer”Part 2Whitman and the Modernists: The Twentieth Century6.Marsden Hartley’s Masculine Landscapes7.Robert Coady and The Soil8.Joseph Stella’s Brooklyn BridgeBibliographyIndex