If you remember my post on Currier & Ives and the Nostalgic Past, you’ll remember that I wrote about the sharp divide between the world depicted by Currier & Ives prints and reality. I also wrote about how these images created a nostalgic vision of the world that didn’t reflect reality accurately, kind of like a funhouse mirror (historian Roland Marchand uses the term ‘Zerrspiegel’ to describe this phenomenon among advertisers and commercial artists).
If you recall (or even read) my other post, then you might remember that I quoted a passage from historian Jackson Lears about what nostalgia meant to Americans in the 19th century. I thought it was especially useful in understanding how longings for the past shaped how Americans looked at their lives in the 19th and 20th centuries.
Turns out that Dr. Lears has written another interesting book, “Rebirth of a Nation.” Its a history of the United States from 1877 (end of Reconstruction) to 1922 (not sure yet what he is using as a bookend here). I’m only a few chapters in, and I came across this interesting passage that made me think about nostalgia, Currier & Ives artwork, and how Americans thought about themselves and their history at the turn of the 20th century. In his chapter on the struggles between city and country Americans, he quotes Tom Watson, a Populist farmer from Georgia who championed poor farmers and agrarian causes. In 1888, Watson was a member of the state legislature and found himself speaking out against “prosy people” who had never worked the tough farm life and were trying to make money by investing in agriculture from their distant city offices:
“It takes these city fellows to draw ideal pictures of Farm life- pictures which are no more true to real life than a Fashion plate is to an actual man or woman…In Grady’s farm life there are no poor cows. They are all fat! Their bells tinkle musically in clover scented meadows & all you’ve got to do is hold a pan under the udder & you catch it full of golden butter. In real life we find the poor old Brindle cow with wolves in her back & “hollow horn” on her head & she always wants to back up where the wind won’t play a tune on her ribs & when you milk her you get the genuine ‘blue milk’…”
The Earth keeps some vibration going
There in your heart, and that is you.
And if the people find you can fiddle,
Why, fiddle you must, for all your life.
What do you see, a harvest of clover?
Or a meadow to walk through to the river?
The wind’s in the corn; you rub your hands
For beeves hereafter ready for market;
Or else you hear the rustle of skirts
Like the girls when dancing at little Grove.
To Cooney Potter a pillar of dust
Or whirling leaves meant ruinous drouth;
They looked to me like Red-Head Sammy
Stepping it off, to “Toor-a-Loor.”
How could I till my forty acres
Not to speak of getting more,
With a medley of horns, bassoons and piccolos
Stirred in my brain by crows and robins
And the creak of a wind-mill- only these?
And I never started to plow in my life
That some one did not stop in the road
And take me away to a dance or a picnic.
O ended up with forty acres;
I ended up with a broken fiddle-
And a broken laugh, and a thousand memories,
And not a single regret.
In 1914, poet Edgar Lee Masters anonymously published a series of poems that were later called “The Spoon River Anthology.” I got the book as a Christmas present and am enjoying reading them. The poems are free-verse and are written as epitaphs of deceased people in the fictional town of Spoon River. But it wasn’t all made up. Masters himself lived in a small town in rural Illinois and used his neighbors as inspiration for his poetry, sometimes barely even changing peoples’ names. Real-life banker Henry Phelps was changed to Henry Phipps. Henry Wilmans became Harry Wilmans. Continue reading “A Fiddler, a Poet, and a Graveyard: The Spoon River Anthology’s Happier Poetry”
There’s a happy feeling nothing in the world can buy…It’ll nearly be like a picture print by Currier and Ives. These wonderful things are the things. We remember all through our lives…
“Sleigh Ride” by Leroy Anderson, 1948
Currier and Ives has a special place in American society and our memory of the past. The prints made by the 19th century lithography company usually invoke fond memories today, which is exactly what they were designed to do. “Mention Currier and Ives and most people think of images of 19th-century home life — of lovers whispering in each other’s ear; elegant children holding fluffy kittens; idyllic farmhouses set in a snowy landscape,” a 1998 New York Times article wrote when describing a new museum exhibit of their prints. Back in the day Currier and Ives was called “the Grand Central Depot for Cheap and Popular Prints,” though its rare to see original prints in homes today. But, they had an impact on home decoration and our ideas about what a “good home” looked like that I think are still relevant today. There is one print called “The Four Seasons of Life: Middle Age” that I really like, and I think is a good example for understanding the wider world of Currier and Ives. Continue reading “Currier and Ives and the Nostalgic Past”