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Fellow Journeyers Walt Whitman and Jesse Talbot: Painting, Poetry, and Puffery in 1850s New York

Walt Whitman quarterly review, 2020-06, Vol.38 (1), p.COV1-37 [Peer Reviewed Journal]

COPYRIGHT 2020 University of Iowa ;COPYRIGHT 2020 University of Iowa ;Copyright University of Iowa, Department of English Summer 2020 ;ISSN: 0737-0679 ;EISSN: 2153-3695 ;DOI: 10.13008/0737-0679.2386

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  • Title:
    Fellow Journeyers Walt Whitman and Jesse Talbot: Painting, Poetry, and Puffery in 1850s New York
  • Author: Routhier, Jessica Skwire
  • Subjects: 19th century ; Annual reports ; Antebellum period ; Art galleries & museums ; Artists ; Biographies ; Bunyan, John (1628-1688) ; Careers ; Christianity ; Collectors ; Foot ; Indigenous peoples ; Landscape art ; Missionaries ; Poetry ; Politics ; Professional development ; Society ; Talbot, Jesse ; Titles ; Whitman, Walt ; Whitman, Walt (1819-1892)
  • Is Part Of: Walt Whitman quarterly review, 2020-06, Vol.38 (1), p.COV1-37
  • Description: In this regard he was at least marginally connected to another important object in the Saco Museum's collection: an original, eight-foot-high, eight hundred-foot-long moving panorama based on The Pilgrim's Progress that was made by artists associated with New York's National Academy of Design between 1850 and 1851 (figure 3).6 As I prepared for a major exhibition of the Moving Panorama of Pilgrim's Progress in 2012, including a book and a full-scale performance replica,7 I learned that several major New York-based artists also exhibited work based on The Pilgrim's Progress in the years preceding the Panorama's debut, and nearly all of them ended up contributing designs to it and being part of its creation-but not Talbot. Wheaton was active in many local and national charitable causes, all of which were at the time inextricably linked with the rising Christian evangelical movement, including the American Tract Society, of which he was identified as a "life member" in 1823.15 This last affiliation apparently made a particular impression on the young Talbot, because by 1829 his employer was no longer his uncle but the American Tract Society, at its Nassau Street headquarters in New York.16 For the first ten years of his New York life-from 1829 until 1838-Talbot was not an artist at all, but rather a committed member of and worker for the city's religious reform community.17 He also seems to have had some involvement in the anti-slavery movement-Christian evangelism and social justice reform generally went hand-in-hand in pre-Civil War America-although it seems likely that a later genealogist confused him with a different Jesse Talbot in describing him as "one of the original abolitionists. Sometime before 1834 Talbot had risen to the position of "Assistant Secretary" in the American Tract Society19-close to, if not exactly, what his Dighton biographer had described-and also became involved with the American Board of Commissioners for Foreign Missions (ABCFM), a national Christian missionary organization whose stated goal was to spread Christianity worldwide, including to America's Indigenous populations.20 The ABCFM was also known for its progressive politics, notably its outspoken resistance to the Indian Removal Act of 1830. [...]there are many references to The Pilgrim's Progress, which is only to be expected during a time and place in which the book was second in popularity only to the Bible; it was also among the titles printed by the American Tract Society itself.23 Written by the English Reform
  • Publisher: Iowa City: University of Iowa
  • Language: English
  • Identifier: ISSN: 0737-0679
    EISSN: 2153-3695
    DOI: 10.13008/0737-0679.2386
  • Source: Freely Accessible Arts & Humanities Journals
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