Archives of American Art Blog

Halloween Costume Guide: Archives Style

S. Fullerton (Spencer Fullerton) Weaver invitation to Mary Fanton Roberts, 19--?. Mary Fanton Roberts papers, 1880-1956. Archives of American Art, Smithsonian Institution.

Judging by its invitation, this costume party was an event not to be missed. Hosted by architect Spencer Fullerton Weaver, it was likely attended by a glamorous and bohemian crowd.

I certainly would not turn down a party promising a “crazy costume dance.” I would, however, hesitate on what to wear. With Halloween approaching, I looked to the Archives’ collections for costume inspiration.

L’Artiste

William Merritt Chase in his studio, ca. 1910. Harriet Blackstone, photographer. Harriet Blackstone papers, 1864-1984. Archives of American Art, Smithsonian Institution.

For starters, why not go as an artist?

In this photograph, William Merrit Chase dons the accoutrement of an academic painter. Chase was well regarded for his impressionist paintings, but his career as an art instructor also impacted generations of young, aspiring artists.

In 1898, he founded the Chase School of Art, now known as Parsons The New School of Design (yes, the Parsons of fashion fame).

To transform yourself into an acclaimed artiste, you’ll need a white smock, palette and brushes, and pince-nez.

Make it work!

The Victorians

Charles Sheeler and Marsden Hartley studied under Chase during the early 20^th century. Both artists were significant American modernists, although you wouldn’t be able to tell by these costumes!

Musya and Charles Sheeler arriving at a Victorian theme party, 1947 Oct. 16. Oliver Baker, photographer.  Charles Sheeler papers, circa 1840s-1966. Archives of American Art, Smithsonian Institution.

Sheeler’s paintings and photographs conveyed modernity with stark and precise renderings of industry. In 1927, the Ford Motor Company hired him to photograph their cutting edge River Rouge factory in Dearborn, Michigan. But in this photograph, Sheeler ditches a Ford Model A and opts to take a horse and buggy to a Victorian-themed costume party.

Requirements for Victorian revelers: petticoats and corsets for the women; top hats and frock coats for men. Bonus points for arriving in a horse and buggy.

The Arabian Prince

Marsden Hartley in costume at the Society Arts Ball in Paris, June 1913. Unidentified photographer.  Rockwell Kent papers, circa 1840-1993. Archives of American Art, Smithsonian Institution.

Marsden Hartley was a peregrinating painter who spent time in Maine, New Mexico and Western Europe. Although he never made it to the Middle East, he wore this Arabian Nights costume to a Society Arts Ball in Paris.

To resemble Sinbad the Sailor, you’ll need: beads, Hammer Pants, and a flair for the dramatic.

The Gunslinger

Jackson Pollock dressed as a cowboy, ca. 1927. Unidentified photographer. Jackson Pollock and Lee Krasner papers, circa 1905-1984. Archives of American Art, Smithsonian Institution.

In this snapshot of painter Jackson Pollock harkens yet another time and place: the Wild West.

When this photo was taken, Wyoming-born Pollock was just a teenager, but his independent personality was evident.  By the late 1940s, he was notorious for both his poured paintings and his volatile personal life.

To become a lonesome cowboy, you’ll need a cowboy hat and boots, toy rifle, and rugged swagger.

The Glitterati

If you would like more glam than grit in your costume, look no further than two of the glitziest artists in our collections, The Rhinestone Cowboy and Gertrude Vanderbilt Whitney.

Loy Bowlin, 1991.  Chuck Rosenak, photographer. Chuck and Jan Rosenak research material, ca. 1987-1998. Archives of American Art, Smithsonian Institution.

Folk artist Loy Bowlin is best known as the Original Rhinestone Cowboy. This look was not a costume, but the outfit he would wear any day of the week. Boylin, standing on his porch in Mississippi, bejeweled his clothes, house, and even his Cadillac.

To pull this off, you’ll need to invest in a serious Bedazzler, but the efforts will pay off when you sparkle on the dance floor.

The Glamazon

Gertrude Vanderbilt Whitney, ca. 1890. Unidentified photographer.  Gertrude Vanderbilt Whitney papers, 1855-1975. Archives of American Art.

Artist and founder of the Whitney Museum of American Art, Gertrude Vanderbilt Whitney embodies free-spirited glamour. A sculptor in her own right, she also patronized many of the leading and emerging American artists of the early 20^th century. She also had a talent for accessorizing beautiful dresses.

In order to achieve that artsy Vanderbilt look, you’ll need lots of flair: feathers, tiaras, broaches, and gems. A Bedazzler wouldn’t hurt for this one either.

Happy Halloween from the Archives of American Art!

Mary Savig is a curatorial assistant at the Archives of American Art.

Mustaches of Note - John White Alexander

John White Alexander, 1882 or 1883. Napoleon Sarony, photographer. John White Alexander papers, 1870-1942, Archives of American Art, Smithsonian Institution.

This portrait of John White Alexander haunts my dreams. I think it must be his eyes. Or perhaps it is his mustache.

Alexander was best known for his portraiture work; these paintings can be found in museums all over the United States. I particularly like Portrait of Mrs. John White Alexander, 1902.

From 1905 until his death in 1915, he painted an amazing 69-piece mural, The Apotheosis of Pittsburgh, around the grand staircase at the Carnegie Museums. Read more about the mural here.

Jennifer Snyder works with oral history interviews at the Archives American Art. When not sending interviews out for digitization, she is writing about extraordinary examples of facial hair for this blog.

100th Digitized Collection Online!

The Hiram Powers papers have become the 100th fully digitized collection available to researchers online as part of the Terra Foundation for American Art Digitization Project.

Hiram Powers with sculpture bust of the Roman goddess Proserpine, ca. 1861. Hiram Powers Papers, 1819-1953, Hiram Powers papers, 1819-1953, Archives of American Art, Smithsonian Institution.

Andrew Jackson letter to Hiram Powers, December 7, 1835, Hiram Powers Papers, 1819-1953, Archives of American Art, Smithsonian Institution.

American sculptor Hiram Powers (1805-1873) was born in Woodstock, Vermont, and lived and worked briefly in Washington, D.C. and Boston, before settling permanently with his family in Florence, Italy.

Powers is known for his portrait busts of prominent American politicians, including Andrew Jackson, and his idealized neo-classical sculptures, most notably the Greek Slave. He and his family were active members of the intellectual community of American and English émigrés, and his studio was also a frequent stop on tourists’ visits to Florence.

This historically rich collection contains 10 linear feet of correspondence between Powers and family, friends, and business associates from 1819 to 1883.

Included are fragile but invaluable copies of Powers’ outgoing letters, which were created by a process of placing moistened paper in a press. Besides details of his studio work and business dealings, his letters often discuss his views on aesthetics, American politics, slavery, the Civil War, and Spiritualism.

Other treasures in this collection include Powers’ studio notebook documenting his work from 1841 to 1845; poetry written by Elizabeth Barrett Browning, John Quincy Adams, and others in praise of his sculpture; and 267 cartes de visite and cabinet card portraits of artists, performers, politicians, writers, scientists, and other public figures, many of whom were friends with the Powers family. Some of these photographs were taken by his son, Longworth Powers, who had a private photography studio in Florence.

Erin Corley is a processing archivist at the Archives of American Art.