Payton, Kamee: Annotated Bibliography, After the Festival and other resources 

 

Butler, Eliza Adams. “The Civic Art of Francis Davis Millet.” Order No. 10244118, Columbia University, 2017. https://ezproxy.uvu.edu/login?url=https://www-proquest-com.ezproxy.uvu.edu/dissertations-theses/civic-art-francis-davis-millet/docview/1845308987/se-2?accountid=14779.

This source is Eliza Butler’s dissertation. Butler discusses Millet’s life and career. Butler argues that Millet’s artwork was his way of exposing Americans to various cultures and helping them to understand the world around them. The author explains that Millet, through his paintings, introduced people to diverse cultures and peoples and moved away from the notion of white supremacy.

This source contains several of Millets paintings, sketches and murals. It also contains works from several other artists of the time. After the Festival is not mentioned and there are no works that were finished the same year.

D’Angelo, Gina. The Early Years of “A Cosmopolitan Yankee,” 1846-1884. City University of New York, 2004.

D’Angelo’s dissertation covers his education, career and life achievements. D’Angelo states that Millet was an artist set apart from the rest because of his belief in cosmopolitanism. He gained education and knowledge by being a true renaissance man, being involved in a number of things and living around the world. D’Angelo’s dissertation contains works from Millet’s career as well as those of other artists namely: Nicaise De Keyser, Joseph De Camp, Edmund C. Tarbell, Johannes Vermeer, Thomas Wilmer Dewing, James McNeill Whistler, Albert Moore, Lawrence Alma-Tadema, Mihàly Von Munkàcsy, Gerard Dou, George Willoughby Maynard, Pierre Renoir, Georges Clarin, Henry Yewell, Nicholas Maes, John Rogers, Thomas Eakins, Alfred Stevens, Titian, Frederic Leighton, Jean-Léon Gérôme, Antonio Paoletti, Pieter Van Laer, Paul Delaroche, Josef Van Lerius, Polydore Beaufaux, and William Goodacre.

After the Festival is not mentioned in the dissertation, but it does contain many of Millet’s works including sketches and works done while at Antwerp.

Encyclopedia Entries

This source reports general information about Millet’s life. It includes his education at Antwerp, time as a war correspondent, murals, director position at the American Academy at Rome, as well as his exhibition at the National Academy in New York, Juror of Fine arts at the World’s Fair in Paris and his death on the Titanic.

This source could be helpful when looking for years that Millet may have been in a certain place as it gives some locations and dates of where Millet was at different times in his career. After the Festival is not mentioned, neither is the year 1888, when this work would have been finished.

Engstrom, Peter. The Catalogue Raisonné of Francis Davis Millet. Publisher, year.

This source is the complete catalogue raisonné of Francis Davis Millet. The source contains paintings, sketches and murals by Millet throughout his career. After the Festival was completed in 1888. It is part of the Munson Williams collection at the Institute Museum of Art in Utica, New York.

Epstein, Johanna Ruth. The Impassioned Brush: Perceptions of Seventeenth Century Dutch Art in France, 1848-1890. New York University, 2007.

This source did not have any information on After the Festival.

FDM Bio

This document gives a brief summary of Millet’s life. The author discusses Millets education at Harvard and Antwerp, his work as a war correspondent and his career as an artist.

Fogel, Marilyn. “Native Americans in Paintings and Sculptures in the United States Galleries of the Fine Arts Palace at the 1893 World’s Columbian Exposition.” Order No. 1361166, San Jose State University, 1994. https://ezproxy.uvu.edu/login?url=https://www-proquest-com.ezproxy.uvu.edu/dissertations-theses/native-americans-paintings-sculptures-united/docview/304178370/se-2?accountid=14779.

This document includes sculptures and paintings from the World’s Columbian Exposition in 1893. These art works specifically depict Native Americans, government policies regarding American Indian tribes and expansion to the West.

The works of Francis Davis Millet were not mentioned in the article.

Francis Davis Millet and Millet Family Papers, (Reel 5906, Frame 972-1057), Archives of American Art, Smithsonian.

This source contains sketches by Francis Davis Millet done while he was in Holland and Italy. These sketches are primarily of buildings, however there are sketches of people working and portraits as well. Although Millet’s After the Festival is not mentioned, these sketches may be helpful in the compilation of works for the catalogue raisonné.

Francis Davis Millet and Millet Family Papers, (Reel 5906, Frame 1058-1078 “E.A.A”), Archives of American Art, Smithsonian.

This is a collection of sketches by Millet, most likely done in the United States. Several are marked “New York”. There are sketches of buildings, cathedrals, kitchen interiors, parks, benches and landscapes. These sketches are not dated.

Francis Davis Millet and Millet Family Papers, (Reel 5906, Frame 1079-1107, Belgium, Austria and Germany), Archives of American Art, Smithsonian.

These are sketches by Millet. Many of them are dated with their location. The majority are buildings and landscapes. They are dated from 1872-1873. These are sketches done before After the Festival.

Francis Davis Millet and Millet Family Papers, (Reel 5906, Frame 1108-1203, Turkey, Russia, Romania), Archives of American Art, Smithsonian.

These are sketches from 1873-1874. They are sketches of people, homes and buildings. Some are dated with their location. These sketches were done before After the Festival.

Francis Davis Millet and Millet Family Papers, (Reel 5906, Frame 1204-1280, Russo-Turkish War), Archives of American Art, Smithsonian.

These are sketches from the years 1877-1878. They are sketches from his time as a war correspondent. Some of the sketches are dated.

Francis Davis Millet and Millet Family Papers, (Reel 5906, Frame 1281-1485, The Danube), Archives of American Art, Smithsonian.

These are sketches from millet sketch book dated 1891. Some of the sketches are labeled with locations.

Francis Davis Millet and Millet Family Papers, (Reel 5907, Frame 14-56, The Danube), Archives of American Art, Smithsonian.

This is one of Millet’s sketchbooks. The front page is titles Broadway, England, 1896. The sketches are of buildings and figures. Many of them are dated.

Francis Davis Millet and Millet Family Papers, (Reel 5907, Frame 57-68), Archives of American Art, Smithsonian.

These are loose sketches, not a part of a sketchbook. They are sketches done at Antwerp and are labeled as such. There are 12 sketches in total and most of them are labeled.

Francis Davis Millet and Millet Family Papers, (Reel 5907, Frame 69-72), Archives of American Art, Smithsonian.

These are loose sketches. None of them are dated. There is writing on each sketch, stating that they were done in Bulgaria.

Francis Davis Millet and Millet Family Papers, (Reel 5907, Frame 73-90), Archives of American Art, Smithsonian.

These are loose sketches by Millet done in England. A large part of the sketches were done in Clovelly, England. They are dated August, with no year.

Francis Davis Millet and Millet Family Papers, (Reel 5907, Frame 91-92), Archives of American Art, Smithsonian.

These sketches are done in Germany and are undated.

Francis Davis Millet and Millet family papers, 1858-1984, (Reel 5907, Frame 136-170). Archives of American Art, Smithsonian Institution.

This source is a collection of articles either about Francis Davis Millet or articles that mentioned him. Frame 137 is an article that mentions an event held in Millets honor, where he got an award. It is undated. Frame 138 is dated 1912 and written by William A. Coffin. Coffin writes that someone witnessed Millet on board the Titanic, minutes before the ship went down waiting to die on the deck. They recall Millet’s manner being sympathetic. He had a playful nature. The author elaborates on Millet’s brilliant career. Frames 139 and 140 are shots of an undated article. In the article Millet is compared to Abbey. The author talks of his time in Worcestershire. The author discusses Millet’s portraits and paintings. Frame 145 is a memorial. The author describes Millet’s desire to help others and his enthusiasm in his career The author explains Millet’s time as a drummer boy, an art commissions in New York, his work at the Metropolitan museum, and his founding of federation of fine arts. Frames 146-152 are dated 1913. These frames are of an article in “Art and Progress”. The article includes a few of Millet’s works including Treaty of Traverse de Sioux. Frames 150-161 are pictures of an article about the Title Club, written in 1922. Francis D. Millet was a member of the club. The rest of the Frames are newspaper articles.

Although After the Festival was not mentioned, there was a good amount of information on Millet. Not all of the sources are dated however, many of them talk about millets death on the Titanic letting us know that they were written after his death.

Francis Davis Millet and Millet family papers, 1858-1984, (Reel 5907, Frame 171-225). Archives of American Art, Smithsonian Institution.

These articles were written by Francis D. Millet. The articles were written when Millet was a war correspondent. The subject matter is war and casualties.

Francis Davis Millet and Millet family papers, 1858-1984, (Reel 5907, Frame 226-228). Archives of American Art, Smithsonian Institution.

This source is an auction catalogue for Millet’s piece Unconverted. The only information provided is the artist (Millet) and title of the painting a long with a brief formal analysis.

Francis Davis Millet and Millet family papers, 1858-1984, (Reel 5907, Frame 229-236). Archives of American Art, Smithsonian Institution.

This is an exhibition catalogue from March 1914 at Madison Square Garden in New York. It mentions two awards, the Cross of the Legion of honor and the First Class of Order. He was also crowned by the King of Belgium in 1872 for winning eleven prizes at the Royal Academy of Antwerp. There was a book written in 1913 by W.R. Wolf, Millet’s assistant.

Francis Davis Millet and Millet family papers, 1858-1984, (Reel 5907, Frame 237-241). Archives of American Art, Smithsonian Institution.

These sources were not in English.

Francis Davis Millet and Millet family papers, 1858-1984, (Reel 5907, Frame 241-243) Archives of American Art, Smithsonian Institution.

This source is an undated newspaper clipping. It is about the General Joseph Gourko from Russia. This general played a leading part in the Russo-Turkish war.

Francis Davis Millet and Millet family papers, 1858-1984, (Reel 5907, Frame 245-260) Archives of American Art, Smithsonian Institution.

These sources illustrations by Millet. They are all black and white. None of them are titled or dated.

Francis Davis Millet and Millet family papers, 1858-1984, (Reel 5907, Frame 261-274) Archives of American Art, Smithsonian Institution.

These are reproductions of Millet’s paintings. Between Two Fires is the only titled and dated painting in the source.

Francis Davis Millet and Millet family papers, 1858-1984, (Reel 5907, Frame 375-417) Archives of American Art, Smithsonian Institution.

These are miscellaneous documents from the Vienna Exhibition in 1873. There are programs, certificates and banquet invitations.

Francis Davis Millet Letters

In this scan there are letters to and from Francis D. Millet. The subject matter varies, but much of them are personal rather than business letters. There were a few letters dated 1888. One (pg.2) was written to Millet at 23 court street in Boston. It is written in August 1888 about the birth of John Alfred Parsons Millet, who was born in July. Another (pg. 6) is a letter written to Lily from Asa Millet about seeing The Love Letter in the Royal Academy Exhibition. Lastly, in June 1888 Taroslavsky wrote from Russia to Millet in England about exhibitions and a potential trip to visit Millet (pg. 9).

Graff, Rebecca Sara. “The Vanishing City: Time, Tourism, and the Archaeology of Event at Chicago’s 1893 World’s Columbian Exposition.” Order No. 3472854, The University of Chicago, 2011. https://ezproxy.uvu.edu/login?url=https://www-proquest-com.ezproxy.uvu.edu/dissertations-theses/vanishing-city-time-tourism-archaeology-event-at/docview/894262431/se-2?accountid=14779.

The author gives a brief history of the World’s Fair in Chicago, 1893 and the destruction of the fair grounds that followed. They explain how the fair made an impact on Americans, and how it affects society even still. The author argues that the fair had, and has, significant impacts on American culture and even city planning.

The document did not have any information on Millet or his paintings although, from previous research, it is known that he would have been exhibiting there at the time.

Jensen, Kirsten M. “The American Salon: The Art Gallery at the Chicago Interstate Industrial Exposition, 1873–1890.” Order No. 3283151, City University of New York, 2007. https://ezproxy.uvu.edu/login?url=https://www-proquest-com.ezproxy.uvu.edu/dissertations-theses/american-salon-art-gallery-at-chicago-interstate/docview/304888780/se-2?accountid=14779.

Jensen argues that during the year 1873 to 1890 the Chicago exposition was the leader in American art. The Chicago exposition was one of the most liberal and introduced new ideas to the United States. The fair showcased French and English art, but had a large portion dedicated to American art.

Neither Millet nor his paintings were included in the article.

Puckett, Grace. “The Lure of Albion: American Artists in England during the Transatlantic Gilded Age.” Order No. 10139566, New York University, 2016. https://ezproxy.uvu.edu/login?url=https://www-proquest-com.ezproxy.uvu.edu/dissertations-theses/lure-albion-american-artists-england-during/docview/1820910721/se-2?accountid=14779.

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his document includes paintings from Edwin Austen Abbey and John Singer Sargent as well as others. The author thanks their colleagues for help in dating the costumes in Abbey’s paintings. Although none of Millet’s paintings are in the source, Mrs. Frank Millet by Sargent is mentioned. Mrs. Frank Millet was done in 1885, oil on canvas, privately owned.

Research Students Draft Pages of Catalogue Raisonee. 

This is a list of paintings by Millet from the catalogue raisonee. It includes analysis for each image. After the Festival, is mentioned on page 7. It was completed in 1888, currently privately owned. It is oil on canvas.

Simpson, Marc Alfred. “Reconstructing the Golden Age: American Artists in Broadway, Worcestershire, 1885 to 1889. (Volumes I and II. Text. Volume III. Illustrations. (Illustrations Not Microfilmed as Part of Dissertation);).” Order No. 9433723, Yale University, 1993. https://ezproxy.uvu.edu/login?url=https://www-proquest-com.ezproxy.uvu.edu/dissertations-theses/reconstructing-golden-age-american-artists/docview/304052830/se-2?accountid=14779.

The abstract and acknowledgments were the only things available in this document. The author discusses the work of Edwin Austen Abbey, Francis Davis Millet, and John Singer Sargent while they lived in Broadway.

The illustrations page includes work by Abbey and Sargent. It also includes some of Millet’s works. The Amanuensis 1885, Inn Interior 1884, No Unwelcome Guest 1884, A Cosey Corner 1884, The Window Seat 1883, Reading the Story of Oenone 1883, Chlöe 1880, Dressing the Bride 1882, In the Bay of Naples 1879. There is also a photograph of Millets studio in 1880 at East Bridgewater Massachusetts.

SIRIS Online Catalogue, Smithsonian Institute.

This document had a list of Millet’s works from the Smithsonian online catalogue. After the Festival was completed in 1888. It is oil on canvas. It is currently owned by Jo Ann and Julian Jr. Ganz in Los Angeles, California. It was previously part of William T. Evans collection in New York. In 1900 it was part of the American Art Galleries in New York. In 1978 it was located in the Hirschi and Adler Galleries in New York.

Van Hook, Leila B. “The Ideal Woman in American Art”. City University of New York, 1988.

The author discusses women depicted in nineteenth century art. They argue that paintings such as these have been looked over and not received the recognition that they need. Several of Millet’s paintings are mentioned including Autumn Idyll, Thesmophoria, Reading the story of Oenone.

Weinberg, Barbara H. “The Career of Francis Davis Millet”. The University of Chicago Press. 1977.

Weinberg explains Millet’s career as an artist. The author explains that Millet was an artist even before his formal training began, starting to sketch as a young child. He then received an education at Antwerp, served as a war correspondent and eventually went on to travel around the world. He was involved in many things including exhibiting his work, working as a juror at the Boston Museum, working at the Metropolitan Museum and more.

Weinberg includes several of Millets paintings. They are titled and dated. Autumn Idyll is not among them.

Williamson, Lelia E. “The Travelled Man.” Order No. 1598594, Sotheby’s Institute of Art – New York, 2015. https://ezproxy.uvu.edu/login?url=https://www-proquest-com.ezproxy.uvu.edu/dissertations-theses/travelled-man/docview/1728065204/se-2?accountid=14779.

The author briefly discusses Millet’s career as an artist. They focus on Millet’s death onboard the Titanic and the years following his death as many of his works were featured in exhibitions in his honor. The author pays special attention to Millet’s The Expansionist finished in 1899, which is currently at the High Museum of Art in Georgia. The author splits their research into three areas, Millet’s research for the piece, a formal analysis and critic reviews of the piece.

The document does not have any information on After the Festival. It does contain a lot of information on The Expansionist and would be helpful in research on that specific work.

Zukowski, Karen A. “Creating Art and Artists: Late Nineteenth -Century American Artists’ Studios.” Order No. 9946237, City University of New York, 1999. https://ezproxy.uvu.edu/login?url=https://www-proquest-com.ezproxy.uvu.edu/dissertations-theses/creating-art-artists-late-nineteenth-century/docview/304519544/se-2?accountid=14779.

In this thesis the author explores the art studios of nineteenth century artists and the relationship between them and their art. The author describes events that artists held in their studios such as teas and parties, as well as the work done in their studios. The author studies paintings of artists in their studios, and paintings of their studios alone.

The author worked with H. Barbara Weinberg, who studied the life and career of Francis Davis Millet. One of Millet’s paintings is in the illustrations list, it is A Difficult Duet, 1886, oil on canvas.