ドレッシングフェンウェイコート(<特集>日本のファッションデザイン:世界の視座、日本の視座)

(1)

Dressing

Fenway

Court

t-r

L.

iY

Si

)i

e7"

7

_][

)i

rt] _][ .1'

]-F

Christine

GUTH

Royal

College

of

Art

V :J X7I>

･

0"-X

MlV)L

･

hV

･y

Y'

･17

･

J7-F

lsabeilaStewart

Gardner

was the most eminent of the

American women collectors and _{philanthropists}who rose to

prominence between the 1880s and 1920s.These women

included

Louisine

Havemeyer,

who

formed

notable

collec-tionsof lmpressionist _paintingand Japanese art, which she

donated tothe

Metropolitan

Museum

of Art;Jane Stanford,

thefounderofthe

Stanford

UniversityArtMuseum, forwhich

she _personallyassemblect a vast collection of world art;Abby

AldrichRockefellecthe

drMng

forcebehindthe estabEshment of theMuseum ofModern Artin

New

Ybrk;and

Gertrude

Whit-ney Vanderbilt,a scvlptor,collector and founderof the Whit-ney Museum ofAmerican Art,also inNew fork.Whilesome

donatedtheircollectionstoestablished

institutions

and others

founded theirown museums, allsought to assert their

per-sonal visions,

ln

so

doing,

theycreated, inarthistorianWanda

Corn'sresonant term,

'`a

dlstinctivestyle of matronage'" at a

timewhen women were effectively

barred

fromactive roles

withine$tablished museums.i

lnthispaper,Iexamine the relationship between lsabella

Stewart

Gardner'sdressingof herown body and thatof her

museum, _popularlyknown as Fenway Courtafter itslocation

on

Boston's

Fenway

and its_palace-likecharacter, Drawing

on lettersand

journals

fromhertravelsinAsia,herdisplayof

Asian

and European dresstextiles,and herself-fashioning in

two well-known _portraitsby thecelebrated American artist

John

SingerSargent,Ianalysetherole ofdress

in

her

aes-theticvision,2 1

propose

thatbythisselFconsciously

_gendered

and fashion-orientedapproach to

display

she sought toassert

herautonomy atatimewhen theabilityto

_participate

in_public discourseon artand museums was [arge[ya prerogativeof

male collectors,dealers,and scholars,

Gardner'seponymous museum, builton the Fenway, a

marshy site thatshe chose precise[ybecause itwas at a

dis-tancefromBoston'sestablished culturalcenter,was modelled on a

Venetian

Palazzo,

but

with

its

fagade

turnedinwardto

facea three-storycourtyard richlyappointed with sculpture and _perfumed with flowerschanged seasonally.

Each

ofthe

museum:s

galleries

brought

into

aesthetic

dialogue

works of

many eountries,

_periods

and media fromEastand West.

Ma$-terpiecesbyartistsincludlng

Titian,

Botticelli,

Vermeer,and

Velasquezas wellas Europeanfurnishingswere commingled with Asianobjets diartranging from Japanese screen

paint-ingsand Asiantextiiesto

Chinese

Buddhistsculpture. Gard-ner didnot enclose hertreasures

in

glasscases or arrange

them according tostrictdivisions

by

periodand media inthe

manner of other museums atthe time.

Nor

did

she relegate

textiiestoa single space: she "dressed"

Fenway

Court

by

deployingluxurioussilks,velvets,and damasks throughout the

galleries,using them toframe

paintings,

create unexpected

visual

juxtapositions,

and even tosubvert theconventiona[

meanings ascribed classical masterpieces, Herdesireto

pre-serve thisaesthetic vision beyond herlifetimewas made clear

inthetermsofherbequest.When she leftthemuseum to the

city of Boston,she declaredthatnothing

in

therooms was to be changed oralteredand no works ofartwere tobe added or subtracted; iftheywere, themuseum was to

be

dissolved,

theworks ofartsold

in

Paris,and the

_proceeds

_givento

Har-vard

Co"ege.3

Gardner

has

been

characterized as an jmperiousanci

fiam-boyant eccentric buther so-called eccentricity contained withinita critique of Victoriannorms, and was _partof a

strat-egy todevelopa performativestyleof culturalleadershipthat

thatwas

in

sharp contrast

to

that of hermale counterparts.`

My interestin

Gardner

fo[lowsfromthe instrumentalro[e that

her

travelstoAsiabetween I883-84 _playedinthe

forma-tionof heraesthetic vision, and _{particulariy,}heruse ot dress

textjles

to

fashionherown and hermuseum's distinctive

iden-tjty.lextilesand dress,of course, were keyconstituents of

nineteenth-century Euro-Americanconstructs of Asia:

admir-ingdescriptionsoftheexotic fabricsand stylesofAsiandress figured_prominentlyinmost traveiaccounts of thetimeand, in response totouristicin±erest,were subjects wel[documented incommercial _photographyas well. Paintingsot women sur-rounded

by

fashionablesilks fromChinaand Japan speak to

27ifly#MXkfit

SpeciallssueefJapaneseSocietyfortheSclenceefDesrgn

(2)

NII-Electronic Library Service

thewider importanceof Asiantextilesintheformationof

femi-nine sensibilities and artistictaste.5lextileswere also com-monly deployed innineteenth-century

domestic

interiors,

as

inthe Havemeyer's New forkmansion, deslgnedbySamuel

Colman

of Tiffany's.6

Gardner'slettersand diaries,however,revealthather

appre-ciation of Asiancostume was inseparable

from

the bodies

-

_both

_ma]e and female

-

thatwore them. InCambodia, for instance,she was shocked bythe"horrible _contrast between

the`savage' _Cambodians

and the

dreadful

Frenchwomen in

cheap finery."'7The

photographs

ofwomen dressedinkimono,

sari,and sarongs artful[y _pastedinto

her

travelalbums speak to herfascinationwith femalefashions,and the way that,in

sharp contrast tothecorseted costume of

her

own culture,

woven and _patternedsjlkswere artistica]ly

draped

to clothe

the _body,lnlndia,she was especially takenwiththecashmere shawls, muslins, and silkslooselywound around the body.S Uniikemany of hercompatriots, Gardnerwas also_quiteopen

to

Euro-American

adoption of localdressstyles.As noted

below,

she was, forinstance,sympathetic toherBostonfriend

William

Bigelow'sdonning of Japanese

kimono,

a _garment

thatinAmericaneyes hadstrong feminineconnotations.

The activitiesinwhich she _participated

(often

without her

husband) suggest thedegree towhich she thtaswillingto

throw offcustomary social rules and expectations and the openly sensual pleasureshe derivedfrommale dress.On one occasion while inJapan,she attended asumo wrestling match where she sat next toa Japanese man, t`a _greatswell,.. whose

beautifulclothes were carefullylaidaside on account of the

heat

[who]

...

sat smoking a most

beautiful

_pipewith nothing on butawaist clothand a Europeanstraw hat.:'But,she

con-tinued, "We _didn't

even notice

his

want ofclothes, as

every-bodyisalmost always inthatundress."9

Otherletters

from

Japan

furtherreveal herenjoymen ±of

[ifestylesthatbrokewith herown: `'We _have_tiffinect_and _dined

togetherinevery conceivable _piaceand style; and [should

say thatwe have drunk_gallonsof canary colored teaout of

theirdeariittlecups and have eaten _pounds ofsweets, as

we threehavesprawled about on thesoft,clean mats, inthe

funnylittleshops, lookingat curios. IftheJapanese were only

handsomer,theywould be_perfect.Such charming manners,

so

_gentle..,

-and

theirclothes are delicious,so softincolour

and

fabric.

Bigelowwears theJapanese

_garment

always when

inhishouse,and shoes are such an unheard ofthingon the

pretty

mats that1kickmine offon every occasion,'' iO

Gardner'sobservation that`'ifthe

Japanese

were only hand-somer, theywould beperfect..,such charming manners, so

gentle..."contirms theclichethatethnic and racial discourses ofthebodyare central toforeigntravel.Whileitmay offend by itsstereotyping, bythesame token, itlsstriking tofinda

mid-dle-agedVictorianwoman

(she

was 43at thetime)so openly

discussingthe sexual allureof Japanese men inthesame

terms used with regard tomen of her own race and class, Ti

These sentiments challenge stereotypes of Victoriansexual

represslon.

The aesthetic attraction of Japanese and Chinese male

dress,and especia-y thesensuousness of thematerials from which itwas made, had significant bearingon her

judgments.

InShanghai she visited a silkmerchant and, after choosing some silks forherself,watched

him

tendtoa[`handsome

crea-ture..,as excited over hisclothes as a_young _girlover herfirst

balldress."Thishandsome creature tookforevertodecide "whether _he_would _have_the

drawers

_of _a light

yellow

green,

the under long

flowing

robe of thetenderest

"blue-after-a-rain," and theshortcoat ofmauve, butintheend [`seized _on... asuperb ruby red.:'iZNo doubtshe took note of hisbehavior

because inthecontext of herown experience most men did

not openly betraythisdegreeof concern with theirdress,

much less,asensitivlty tosuch coloristiceffects.

ForGardner,travelto and experience ofAsiawere catalysts

fora new recognition of theway textilescouid bewrapped

and draped and as materials tobecelebrated aesthetically.

Upon herreturn

from

hertravels,forinstance,she displayed

an ikatvelvetfromCentralAsiainherhouse inBrooklineand

laterhung Chinese siiken _panelson thewalls and draped japanese brocadesover tablesinthe"Chinese _Room" _of _her museum.i3 Thisapproach also extended to

European

textiles

at

Fenway

Courtwhere a frescoof HerculesbyPierodella Francescawas displayedbetweentwo flame-stitched

embrol-dered

panelsand intheTitianRoom and a chasuble hung

belowtwo secular male

portraits.i"

The various formsof

self-fashioning

she engaged infollowingherreturn

from

Asia

fur-therunderscore thedegreetowhich herpsychological,sexual, and creative desireswere imaginatjvelywrapped up inAsian textilesand fashion,

Gardner herselfwas

known

for

her wardrobe, which

includedmany designs

by

theParisdesignerWorth,as well as hertheatricality,wellcaptured ina 1894 _portraitby the

7･ifl)#MXktte

SpeciallssueofJapaneseSecietyfortheScienceofDesign

Vel.19-4 No,76 20j2

NII-Electronic Mbrar

(3)

Swedish

_painter

Anders Zorn,Dressed lnwhite, she stands with herarms

dramatically

outstretched toopen theFrench windows totheterrace

in

the PalazzoBarbaro inVeniceto view afireworksdisplay.i5Asthescholar Wayne Koestenbaum

hasobserved: "She _stands in_our _way _as ifto_say: look_at _me, not atthemore traditionallyexciting spectacie outside, She

distractsus and

_puts

forward

her

own glamouras art

-

not an

interventionlnthecause ofart,butas a worthy spectacle in

itsown right.

She

reminds us,

in

otherwords, tolistentothe

complexities offemale

_performance,

and not totake itas sub-ordinate toworks ofartificesuch aspainting."i6

Giventhis

predeliction

for

glamorous

self-display, itis

sur-prisingthatwhile Gardnerwas preparedto

"kick

offhershoes" and loungeabout on thetatamimats of _privatehomes and curio shops inJapan,thereisno photographicevidence that

she ever donned a kimono,as didso many of

her

friends,

By

allaccounts a rather

_plain

woman, Gardner was, as former

Gardner

Museum curator AlanChong

has

observed, "always very controlling of herimage,"and she seems tohavedlsliked

havingherself_{photographed,}_preferringtheidea[izingtouchof

theportraitpainter.i7

Althoughdre$singup inJapanese kimonoapparently wa$ not tohertaste,she didadapt exotic textilesand styles of

dresstosuit herown aestheticvisionofAsia,Hercontact with

themanifold ways thatshimmering silksand colourful

cot-tonswere artfullydisplayed,draped,and wrapped inChina,

Japan,South-eastAsiaand lndia,

heightened

her

sensitivityto

the

_potential

offabricsinfashioningbothherselfand her sur-roundings inimaginativeand

fiattering

ways,

two

portraits

of herbythe ceiebrated American _painter

John SingerSargentthrowintosharp reliefthe ways thather experiences inand interpretationof Asiawere creatively

dis-placedtoBoston.

The

first,completed in1888, four_years

afterherreturn

from

her

world tour,isan unusual full-length

frontallikenessshowing herstanding, dressedina clinging

black

gown with a deep d6coiiet6,beforean ornate

Vene-tianor MiddleEasterntextilewhose _patternformsa halo-like

effect

behind

her.iU

[Figure

1]Gardner'spose,with herhands clasped beforeher,and use ofan exotictextileas backdrop, lnviteoomparison with a _portraitof the _young PrincessMary

Stuart

of England, _painted byAnthony Van Dyck around

l

640,

when he was court paintertoCharlesl,a work that

Gardneror

Sargent

may

have

seen

during

visits toEuropeor

Britain,i9AIthoughlsabelia

Stewart

Gardnerwas unrelated to

4T-if-ye-.･emxkli

Special]ssueefJapaneseSocletyfertheScienceoiDesigm Vol.19-4No.16201Z

Figure1,JohnSingerSargent,Portraitot lsabellaStewart

1888, lsabelLaStewartGardnerMuseum, Boston,Gardner,

theBritish

Stuarts,

itisknown thatshe likedtoclaim descent

from

this

illustrious

family.The collaborative nature ofthis

painting

issuggested bythe story, _possiblyapochryphal, that

when Sargentdeclaredhiswish to use a _pieceof Venetian

brocade

on the wall of hisLondon studio as background, Gardnerrepliedthat she hadthe other halfin

her

collection.20

Whatever

thevelvet's source, itisclearthatbothartistand sMer understood the_power of exotic textilestofashion an alternative

iconic

_persona.

The

portrait's

daringcombination ofsensuality and

spiri-tualitycaused a sensation inBoston.On theone hand,

view-ers saw initan a[lusion to Sargent'snotorious

portrait

ofthe fashionableMadame X _paintedfour_yearsearlierin

Paris.

(4)

NII-Electronic Library Service Figure2.JohnSingerSargent,PortraLtotMadame X,1884.

MetropoLitanMuseum ofArt,New Ybrk.ScalaPhotographs,

[Figure

2]

The model forthat _painting,VirginieAmelie

Gau-treau,was one ofthegreatbeautiesofthetime.

In

theoriginal

version,

Sargent

showed one of thestraps ofherdress

slip-pingsuggestively

from

the shoulder, butthiscaused such a scandal, that

he

Iater

alteredthepainting,as seen here.ZiOn

theother hand,herunusually hieratic_pose,the

mandorla-liketextile,and, especially, theseeming]y ritual_positionof

herhandssuggested identificationwithBuddhistlconsof the

kindshe had seen inChinaand Japan and would

later

col-lectherself.

[Figure

3]

One Bostonviewer called

its

subject a "Byzantine _Madonna _with _a halo"_while _another

imagined

her

as adevoteeofsome CEfashionable Hindoocult."William

Stur-gisBigelow,anenthusiastic collector of JapaneseBuddhistart

Figure3,One-thousand-armedGuanyin,Ming dynasty,lsabella

StewartGardnerMuseum,Boston,

was

_perhaps

closest tothemark when he observed:

`Zlt

was

nota

bad

idea

tohave_yourself_paintedas

Kwannon

{Kannon]

thebenign and omnipotent Providence."22These comments

underscore the recognition that

Gardner,

withthecollaboration of her_portraitist,was already self-consciously identifying her-selfwith Asianspiritual ideals.

During

hislifetime,herhusband would not aHow the_painting

to beshown, butwhen themuseum opened in1903, Gard-ner installeditinthe

Gothic

Room. As AlanChong has

writ-ten of herldiosyncraticinstallationstrategies, "The

gallery

is

not a historicisttLperiod _room':_nor _a_recreation _of _a _chapel _or cloister, lndeed,inan entirelyunorthodox

(even

sacrilegious)

manner, the

Gothic

Room

is

domlnated

byGardner'sown

por-traitbySargent.Madonna-like,she remains a luminousand "23

audacious presence,

A $econd, radicallydifferentwatercolour

portrait

that

Sar-gent

painted

two yearsbeforeherdeathin

1924,

further

teststhelimitsofconventional

portraiture

througha sartorial

expression of herreligious ideals.2"Gardner

is

again

por-trayedinthefrontalpose ofa religious icon,butinsteadof

thetailoredEuropeanblackdressof theearlier

portrait,

she is draped,head totoe,

in

a

loose,

purewhite _garbwhose ample

7'tffy#mxkzae

SpeclaiissueotJapaneseSocietyfortheScienceofDesign Vol.19.rlNo.76 2012

NII-Electronic Mbrar

(5)

Figure4, John SingerSargent,Portra-tof lsabe[[aStewart Gardner,

1922, IsabellaStewartGardnerMuseum, Boston.

foids

form

a kindof _protectivecocoon around herfrailbody.

[Figure

4]The shroud-like

_draperies

simultaneous[y evoke

classicalGreco-Roman _garb,medieval monastic robes and, especta[ly, theflowingwhite _garmentworn byKannon,one of

the most _popularrellgiousfiguresin

Chinese

and Japanese

religiousart.

Gardner

was very drawntoBuddhism,and Kannon seems

tohaveoccupied a special_piaoeinherimagination,She was not alone' theWhite-robed or Byakue Kannon appealed to

other

Japanophile

Bostoniansin hercircle as weH. Afterthe Amencan _painterJohn LaFargevisited

Japan

in

withHenry Adams in1886, he declared;`Of

alltheimagesthat1see so often,theone thattouches me most

-

_partly,_perhaps

because

of theEternalFeminine

-

isthatoftheincarnationthatisoften calledKuwanon, when shown inthemeditations of nirvana."25

Thisnotion that Kannon embodied an eternal feminine_that

transcendedEastand

West

ledhimto _painthisown interpre-tationsof thedeity,one of which was owned bythe noted

ool-lectorof Japaneseart

Wiliiam

Blgelow.LateqErnestFenoHosa would also _promotethis

ideal,

aswould Gardner"sclose

friend

Okakura Kakuz6.26Sargent"s

_portrait,

_paintedat a time when

Gardnerfacedherown mortality, isalso strikingly similarto

6ffffy#mskfie

Spec/allssueetJapaneseSocgetyfertheScienceofDes/gn Vol19-4Ne76 2012

tw1pa

FFgure5 Augustus St,Gaudens, _Adams _Memonal,1891

Park,Wash]ngton,D,C,

me

,L..:fi"t.Rock

Creekme

thatoftheenigmatic bronzestatue Augustus_St._Gaudens _had created in1

89l

as a memorial forHenry

Adams'

wife, a work

thatbothSargentand Gardnerwould haveknown.

[Figure

_5]

Thiscelebrated bronzestatue of a myster-ously

draped

_figure, evoking classical,Christian,and Buddhistaesthetic _traditlons, embodies a complex, multifaceted reiigious symbolism that

resonated closelywithGardner'sown,

Gardnerisself-fashioning as an Asiandivinitymay have drawn lnspiration from stillanother source: _the

Amertcan

dancer Ruth

St.

Denis

(1878-l968),

an American woman

who also sought spirituai inspiration-nAsianrelig-on.

St

Denls

had been lnvitedto _perform atFenway Courtin 1906, _the

yearafter she made a hugelysuccessful debut

in

New

fork

performinga dance inspired bythemythicaMove story ofthe Hindu _god Krishnaand Radha.27Later,inone ofher most

populardances,"White

Jade,"she also _personifiedthewhie robed-Kuanyin

(Kannon)

throughher _pose and costume,

[Figure

6]LikeGardnec

St,

Denisbeltevedthat

body

and ges-turesrather thanthe

intellect

could

_give

access tothespiritual.

(6)

NII-Electronic Library Service

Figure6,RuthStDen-sas GuanyininWhiteJadeC.1915 CorbisPhotographs,

She

was also unencumbered

by

conventionai notions about

dress,shocksng audiences bydancingbarefootindiaphanou$

costumes and pioneenng theuse of leotards.

Offstage,

she

llkedtowear a looselydrapedsari. St.Denisthusembodied

an Orientahstconstruct ofthefemininesensuality

conventton-ally associated with Asia,butalso the

pieasurable

freedomof movement thatmany

fashionable

Euro-Americanwomen were

beginningtoexperience themselves bydiscardingcorsets and wearing loo3elydraped styles inspiredby lndiansans,

Japa-nese kimono,and

Chinese

robes Performingto_greatacclaim

across theUnttedStates,Europe,and laterJapan,along with

Isadora

Duncan

and LoieFuller,she became a symbol of the

new woman through herreconstruction ofthefemalebody

and

promotion

of

dress

reform,

One finalexample may serve toilluminatethe degreeto

which Fenway Courtblurredtheboundanes between _private

and publicspace, body and building.

[Figure

7]The Titian Room isso-named after one ofthegrea±est treasuresinthe

Museum.

Titian's

painting

ofTheRape of Europa.Gardner

dis-played

beneath ita Iengthofshimmering _goldsilk satin with

a tassel_patterncut fromtheskirtofa dressdesignedforher

byWerth,transformingthesensuous materiality of the

pat-ternedsilkand absent body intoa _glosson theeroticdrama

ofthe_paintingabove

it,

According

formercurator Alan

Chong,

themuseum only become aware thatthissilk

_panel

was cut

fromone ofGardner:sown gowns tnthecourse of_preparinga

catalogue of hertextilecollection in1986. Thatvisitorswere unaware of thisdramatizationof herown "ravtshment," _was

perhaps

part

ofthemischievous, secret

_pleasure

she derived

tromthisjuxtaposition.28

For

Gardner,

the Museum constltuted a kindof social

per-formance, a narrative, expllcitly and impl-citly

desEgned

to make tangible

her

presence Her recognition of theactive

power

ofdresstextilestobody forthledhertomobllize them

toclothe the walls of the museum

The

language

Gardner

deveiopedto express herselfwas, tobe sure, dependent on conventional museological _practiceinas much as she sought

out certifiedmasterpieces, such as TitianisRape ofEuropa, to

display

on itswalls, butitwas alsoshaped bythe

displace-ment of

her

own physicaland emotional 1ifetoitsintenor

T-tfl)#MSkEe

Spec/allssueefJapaneseSoc/etyfeFtheSc/enceofDesign

Vol"9-4No76 2012

NII-Electronic Librar

(7)

Figure7.TitianRoom with Worth_gownbeneaththeRape ofEuropa.IsabellaStewartGardnerMuseum,Boston.

spaces. She reliedon the

_professional

advice of art historians and dealerssuch as BernardBerenson inthe acquisition of masterpieces, butonce acquired, she often subverted their conventional meanings byshowing them inunexpected

juxta-positionsof herown

design

that

involved

theuse oftextilesor

otherunusual framingdevices.

The

feminist

theorist

Gaby

Porter

has

argued that"the

dif-ferencesbetween the historiesof men and women as

repre-sented

ln

themuseum

lie

atmuch deeperlevels

[than

simple

representation]...the whole structure of museums

-

abstract

knowledge as well as concrete manifestations of buildings,

exhibitions,and collections

--was

builtupon categories and

boundaries which embodied ascriptions about men and women, masculine and feminine"i"At _the_crux _of_this differ-ence," she writes "is _the_tension_between

abstract

theoreti-calconcepts and

the

material _physlcaibody."i29 lnher vlew,

theseascribed

_gender

categories and boundarieshaveserved as con$traints on women's engagement with themuseum. In

this

_paper1have

sought toreveal how Gardnerbothengaged with and challenged theseconstructs byfashioningFenway

Courtjntoa

_persona[

narrativespace that,by itsinsistence

on her_physical

presence

and

its

promiscuous mix ofmedia and cultures,destabilizedarthistoricalhierarchies.Thismode of communication wilfullysubordinated

historical,

poiiticai,

social, and culturalvalues tohighlysubjectiveand psychologi-calones, lnexploitingthepotentialoftextilesto dressFenway Court,Gardnerdevelopeda gendered corporeal approach to

museum designwilfullyat odds with masculine scientific and schoiarlyknowledgeformatjon,

]

2

Thistermwas coined by Wanda M, Corn,"Art Matron-age inPost-Victorian America,'iinFenvvayCourt!lolume

XXWI;

Cuttutal

LeadershipinAmerica:ArtMatronageand

Patronage

(Boston:

lsabellaStewartMuseum, 1997),

p,11

.

Forfurtherdiscussionof women inthearts see

BaileyVan Hook,AngetsofArt: vavbmenand Artin

Ameri-can

Socie4c

1876-1914

(University

Park:Penn State

Press,

l996).

The diaries,letters,and photographs are reproduced in

Journq)ts

fast;

tsabetia

Stewart

Gardner

and Asia,edited

byAlan

Chong,

RichardLingnerand NorikoMurai

(Boston:

8rifrfyvffsk#e

Special]ssueofJapaneseSocietyfortheSclenceofDesLgn Vol.19-4No,762012

(8)

NII-Electronic Library Service 345 6 78 9 10 11 12 1314 15IG17 ls 19 20 21 222324

lsabellaStewart

Gardner

Museum, 2009), Noteworthy publicationson themuseum include

Eye

of theBehotderr

Mastetpieces

frDm

the

lsabelfa

Stewart

GarctierMuseum,

editedbyA[an

Chong,

Richard

Lingner,CarlZahn

(Boston:

lsabellaStewart Gardner Museum, 2003) and Alan

Chong, "Mrs,

Gardner's

Museum

_of Myth,"Res _no.52

(Autumn

2007) ,

pp,21

3-20,

Corn,"Art _Matronage_in_{Post-Victorian}America,]'

p.22, Corn,`'Art _Matronage

in

Post-Victorian

America,''

p,13,

On women and Asian textlles and dress,see Verity

Wiison,"Studio _and _Soiree:

Chinese

textilesinEurope and America,1850 tothe

Present,"

inUnpacking

Cut-tures;Artand Comrnodity in

Coioniaf

and Postcoionial

valbrids,edited by Ruth B,Phillipsand ChrlstopherB,

Steiner

(Berkeley:

Universityof CaliforniaPress,1999),

pp.229-42.

On theHavemeyer house,see AliceCooney Frelinghuy-sen et al,SpJendidLegacy:The Havemeyer Collection

(New

Ybrk:The

Metropolitan

Museum of Art,1993),

pp.173-198,

Journal,November 15,1883,

Journeys

East,_p.241, Letterto Maud Howe, January

22,

1884,Journeysfast, p.303.Letter

toMaud Howe, August l3, 1883,JourneJLsEasC pp,153-5.

Letter

toMaud Howe, June

30,

1883, Journeys East,

p.123.Of

a man inShanghai,she observed [`He

was such a

handsome creature tobeginwith

-

1don'tdarethinkof

him once he

gets

intothesebeautifulthings.'iLetterto

Maud Howe,October

19,

1883,

Journeys

hast,_p.211,

Letter

toMaud Howe, October]9,1883, JourneysEast, p211.For

photographs,see Joumeys East,_p.63,

For reproductions, see

E}te

of the Beholder,

_pp,32-33

and 83.For

reproduction, see

bye

of

the

Behotder,p.214.

Cited

in

_EYe

of theBehotder,p,215.

AlanChong,"lntroduction, _JourneysEast,]'JourneysEast,

p.20,It

isdiscussedinRichardOrmond and ElaineKilmurray,

John SingerSaigent:

CompJete

Paintings

(New

Haven: YaleUniversity

Press,

1 998),

vol, l

,

_pp.21O-11

.

Thereare two versions of the_paintlng,one intheMuseum of FineArt$,Boston and the other inHampton Court

Palace.

See

www.mfa.orglcollections/objectfprincess-mary-daughter-of-charles-i-33684 , accessed April2,

2012.John

Singer

Saigent:

Comptete

Paintings,vol.

1

_p.21O,

Sargentowned Orientalsilks and clothingwhich heused

as studio

_props,

most notably inthe_portrattof Almina Werthheimerpaintedin1922.See ibid,vol.3, _pp.202-04.

On this

_painting

see

Trtevor

Fairbrother,John

Singer

SarL

gent:

The

Sensualist

(New

Haven:YaleUniversityPress,

2000),pp.72-81.

CitedinAlanChong,lntroduction,JourneysEast,

_p,27.

Eye

oftheBehotdecp,17.

Itisdiscussed in

John

Singer

Sargent: Comptete

Z5

26

27

2S

29

Paintings,vol.3, _p.252,where an analogy isalso drawn

to

Sargent's

1880 _painting"lncensing _the Veii,"_also _a

drapedhooded figure,ofwhich Gardnerowned asketch.

John LaFarge,An Artist'sLetters

frorri

Japan

(New

Ybrki

the

Century

Co, 1897}, _p,175-76. See also Christlne

M.E.Guth,"The _Cult_of_Kannon _among

American

Japano-philes,"Orientations

(December

1 995),

pp.28-34,

See

Noriko

Murai,'EMatrons

of theEast:OkakuraKakuz6

& hisFemale FriendsinAmerica," inJourneys East, 72-94, Seealso Guth,"The

Ouit

_of

Kannon

_among

Amer-icanJapanophiies."

MorrisCarter,lsabetlaStewartGardnerand fentatayCourt

(Boston:

The Trusteesof the

lsabella

Stewart

Gardner

Museum,

1963), _p,2H. On thedances and St.Denis'

sartorial_practices,see Suzanne Shelton,DivineDancer:

a biography of Ruth St.Denis

(New

YOrk Doubleday,

1981),pp,53-67.

Forhisreadlng ofthisinstallation,which _prompted my

own, see "Mrs, _Gardner's

Museum

_of Myth,"

pp.213-4,

See

also AdolphS.Cavallo,lextites,tsabetlaStevatart

Gardner

Museum

(Boston:

Tirusteesofthelsabella

Stew-art

Gardner

Museum, l986),

_p,1

87. Gaby

Porter,

"Seeing _through_Solidity:_a Feminine Per-spective on Museums," inMuseum Stuofes:an Antholog)t of

Contexts,

edited byBettinaMessias

Carbonell

(Oxford;

Blackwell,

2004) , p,l05. Tff{y#mscrescg SpeclallssueotJapame6e$ecietyfortheScienceofDesign Vol.19-4Ne.762012 NII-Electronic Mbrar