H. Wayne Morgan – författare

The conflict between modern and traditional art is one of the best known episodes in American cultural history. The modernists on the war in the sense that their styles and attitudes of mind dominated the discussion and production of new art. But the traditionalists remained strong in the arenas of public opinion and taste. It is a testament to the importance of the ideas involved that the basic issues are not yet settled in the larger cultural world. Kenyon Cox, a painter as well as critic, revealed a steadfast devotion to the ideals of a high art tradition, derived in his later years chiefly from admiration for the Italian Renaissance. He knew western art history, surveyed the current art scene in many reviews and analytical essays, and wrote with careful attention to the canons of scholarship. Royals Cartissoz, the art editor of the New York Tribune for over fifty years, was an appreciator and connoisseur. His belief in “beauty” in a well-done and recognizable form left him open to more innovation than was the case with Cox. He based his views on a self-confessed ideal of common sense that left the art experience open to any sensitive person. He was well suited to speak to and for the growing middle class in the Progressive era. This viewpoint was equally adaptable, if more debatable intellectually, when modernism triumphed. The fact that he remained a significant figure in art circles long after his tastes ceased to be dominant, testified to the nature of the audience for whom and to whom he spoke. Frank Jewett Mather, Jr., was the most realistic of these critics in estimating how art appealed in society. He knew a lot about many things and was concerned to see that the arts remained integrated in public esteem and thought. Mather took comfort from the history of art, which revealed to him that great works and their creators could survive time and criticism. This sense of historical process and his great need for the unifying power of art experience let Mather escape the bitterness that so affected Cox, and to a lesser extent Cortissoz, as tastes changed. The artist’s mission was to maintain and extend forms of art that promoted order and integration in society and in individual personalities. Society in turn had to see the artist as a harbinger of an intensified emotional life, but which accommodated changed perception in constructive ways. The chief fear of the traditionalists was that the new art, which seemed shocking in form and disruptive in intent, would separate artist and public to the detriment of both.

The conflict between modern and traditional art is one of the best known episodes in American cultural history. The modernists on the war in the sense that their styles and attitudes of mind dominated the discussion and production of new art. But the traditionalists remained strong in the arenas of public opinion and taste. It is a testament to the importance of the ideas involved that the basic issues are not yet settled in the larger cultural world. Kenyon Cox, a painter as well as critic, revealed a steadfast devotion to the ideals of a high art tradition, derived in his later years chiefly from admiration for the Italian Renaissance. He knew western art history, surveyed the current art scene in many reviews and analytical essays, and wrote with careful attention to the canons of scholarship. Royals Cartissoz, the art editor of the New York Tribune for over fifty years, was an appreciator and connoisseur. His belief in “beauty” in a well-done and recognizable form left him open to more innovation than was the case with Cox. He based his views on a self-confessed ideal of common sense that left the art experience open to any sensitive person. He was well suited to speak to and for the growing middle class in the Progressive era. This viewpoint was equally adaptable, if more debatable intellectually, when modernism triumphed. The fact that he remained a significant figure in art circles long after his tastes ceased to be dominant, testified to the nature of the audience for whom and to whom he spoke. Frank Jewett Mather, Jr., was the most realistic of these critics in estimating how art appealed in society. He knew a lot about many things and was concerned to see that the arts remained integrated in public esteem and thought. Mather took comfort from the history of art, which revealed to him that great works and their creators could survive time and criticism. This sense of historical process and his great need for the unifying power of art experience let Mather escape the bitterness that so affected Cox, and to a lesser extent Cortissoz, as tastes changed. The artist’s mission was to maintain and extend forms of art that promoted order and integration in society and in individual personalities. Society in turn had to see the artist as a harbinger of an intensified emotional life, but which accommodated changed perception in constructive ways. The chief fear of the traditionalists was that the new art, which seemed shocking in form and disruptive in intent, would separate artist and public to the detriment of both.

Kenyon Cox was among the best-know cultural figures in the United States during the first two decades of this century, thanks to his reputation as a mural painter and especially as a critic. In this first biography, H. Wayne Morgan focuses on Cox’s development and personality, treating his art as an expression of his idealism. Cox was born in Warren, Ohio grew up in the Cincinnati area, and attended the McMicken School of Design there. His art training continued in Paris, where he studied for five years in the academic setting of the Ecole des Beaux-Arts as well as in private ateliers, such as those of Emile Carolus-Duran, Rodolphe Julian, and Jean-Leon Gerome. An academic, Cox was committed to learning traditional drawing and composition before establishing his own artistic identity. Cox became well known as a muralist during the prosperous years from 1897 to the 1920s, providing works for the new state capitols of Wisconsin, Iowa, and Minnesota, the Library of Congress, and several public buildings in New York City. His large allegorical decorations rested on a thorough knowledge of Italian renaissance masters, many of whose works he had seen as an impressionable student. In addition, Cox’s gift for pithy phrases and his obvious knowledge gained him considerable prominence as a critic and reviewer. Throughout his career, he emphasized the values of craftsmanship and of attachments to ongoing traditional ideals that emphasized harmony, order, and unity of artist and public. He became famous, or notorious, and an outspoken opponent of the trend toward modernism, which he believed glorified individual expression at the expense of communicating with an audience. Cox saw this as culturally divisive, destroying the power of art to expand the viewer’s imagination and consciousness. Eventually, however, modernism overcame the traditional ideals and styles that Cox and many of his contemporaries had represented. Morgan’s sources include the Cox papers at the Avery Library of Columbia University as well as his voluminous published writings on criticism and art history—Old Masters and New: Essays in Art Criticism (1905), Painters and Sculptors (1907), The Classic Point of View (1911), Artist and Public (1914), and Concerning Painting: Considerations Theoretical and Historical (1917). His re-evaluation of Kenyon Cox and his classical/idealistic style contributes to the growing body of scholarship on the non-modern art of the late 19th and early 20th centuries.

Kenyon Cox was among the best-know cultural figures in the United States during the first two decades of this century, thanks to his reputation as a mural painter and especially as a critic. In this first biography, H. Wayne Morgan focuses on Cox’s development and personality, treating his art as an expression of his idealism. Cox was born in Warren, Ohio grew up in the Cincinnati area, and attended the McMicken School of Design there. His art training continued in Paris, where he studied for five years in the academic setting of the Ecole des Beaux-Arts as well as in private ateliers, such as those of Emile Carolus-Duran, Rodolphe Julian, and Jean-Leon Gerome. An academic, Cox was committed to learning traditional drawing and composition before establishing his own artistic identity. Cox became well known as a muralist during the prosperous years from 1897 to the 1920s, providing works for the new state capitols of Wisconsin, Iowa, and Minnesota, the Library of Congress, and several public buildings in New York City. His large allegorical decorations rested on a thorough knowledge of Italian renaissance masters, many of whose works he had seen as an impressionable student. In addition, Cox’s gift for pithy phrases and his obvious knowledge gained him considerable prominence as a critic and reviewer. Throughout his career, he emphasized the values of craftsmanship and of attachments to ongoing traditional ideals that emphasized harmony, order, and unity of artist and public. He became famous, or notorious, and an outspoken opponent of the trend toward modernism, which he believed glorified individual expression at the expense of communicating with an audience. Cox saw this as culturally divisive, destroying the power of art to expand the viewer’s imagination and consciousness. Eventually, however, modernism overcame the traditional ideals and styles that Cox and many of his contemporaries had represented. Morgan’s sources include the Cox papers at the Avery Library of Columbia University as well as his voluminous published writings on criticism and art history—Old Masters and New: Essays in Art Criticism (1905), Painters and Sculptors (1907), The Classic Point of View (1911), Artist and Public (1914), and Concerning Painting: Considerations Theoretical and Historical (1917). His re-evaluation of Kenyon Cox and his classical/idealistic style contributes to the growing body of scholarship on the non-modern art of the late 19th and early 20th centuries.

When George W. Bush won the White House, he was the first incumbent Republican governor elected president since William McKinley in 1896.

William McKinley was the last of the Civil War veterans to reach the White House. Known widely as the Major, in honor of his military rank, he rose through Congress to head the crucial Ways and Means Committee where, in the early 1890s, he passed a strong and popular tariff bill.

That success caught the eye of Marcus Hanna, a Cleveland industrialist with a passion for politics and an ambition to help make and elect a president. Democrats complained that McKinley was a mere puppet of the wealth Hanna, but historians generally believe they were a well-matched team of two strong-willed men. With Hanna’s help, McKinley was elected governor of Ohio in 1892.

In 1896 McKinley swept away all rivals to win the presidential nomination on the first ballot. Faced in the general election by the well-respected and highly touted orator William Jennings Bryan, Republicans adopted their “Front Porch Campaign.” Thousands of citizens from across the country were brought to McKinley’s home in Canton for a handshake and a few words. Hanna arranged for this $3.5 million campaign to be paid for by big business, with oil baron John D. Rockefeller writing the largest check. McKinley’s factors in his campaign. He became the first presidential candidate in a generation to win a majority of the popular vote.

McKinley was a popular president. Pushed reluctantly into the Spanish-American War, McKinley was instrumental in starting America on the path to becoming a global power. He was reelected by a landslide in 1901, after delivering a speech at the Pan-American Exposition in Buffalo, he was assassinated by anarchist Leon Czolgosz, McKinley’s vice president, Theodore Roosevelt became the nation’s 26th president.

H. Wayne Morgan’s extensively revised and expanded edition of McKinley and His America will prove to be a welcome resource to historians and scholars.

When George W. Bush won the White House, he was the first incumbent Republican governor elected president since William McKinley in 1896.

William McKinley was the last of the Civil War veterans to reach the White House. Known widely as the Major, in honor of his military rank, he rose through Congress to head the crucial Ways and Means Committee where, in the early 1890s, he passed a strong and popular tariff bill.

That success caught the eye of Marcus Hanna, a Cleveland industrialist with a passion for politics and an ambition to help make and elect a president. Democrats complained that McKinley was a mere puppet of the wealth Hanna, but historians generally believe they were a well-matched team of two strong-willed men. With Hanna’s help, McKinley was elected governor of Ohio in 1892.

In 1896 McKinley swept away all rivals to win the presidential nomination on the first ballot. Faced in the general election by the well-respected and highly touted orator William Jennings Bryan, Republicans adopted their “Front Porch Campaign.” Thousands of citizens from across the country were brought to McKinley’s home in Canton for a handshake and a few words. Hanna arranged for this $3.5 million campaign to be paid for by big business, with oil baron John D. Rockefeller writing the largest check. McKinley’s factors in his campaign. He became the first presidential candidate in a generation to win a majority of the popular vote.

McKinley was a popular president. Pushed reluctantly into the Spanish-American War, McKinley was instrumental in starting America on the path to becoming a global power. He was reelected by a landslide in 1901, after delivering a speech at the Pan-American Exposition in Buffalo, he was assassinated by anarchist Leon Czolgosz, McKinley’s vice president, Theodore Roosevelt became the nation’s 26th president.

H. Wayne Morgan’s extensively revised and expanded edition of McKinley and His America will prove to be a welcome resource to historians and scholars.