By Jessica C. E. Gienow-Hecht
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Extra info for Sound diplomacy : music and emotions in German-American relations, 1850-1920
Example text
S. 10 Believing that at least some of the contemporary paintings they saw would go down in history as eternal masterpieces, American businessmen purchased French art in ever-increasing numbers. 1 %). 12 The exportation of visual art, as Pierre Miquel observes in his biographical analysis of French art merchants, does not constitute a purely cultural phenomenon but has a double effect: the education of sensibility and the global colonization of taste and mind through the medium of the image or the painting.
37 The United States’ seeming preference for French and British culture irked German diplomats at home and abroad. When Andrew Carnegie called France the “true homeland of art,” v. ”38 Precisely for this reason, the German imperial government took an increasing interest in cultural contacts with the United States. Johann Heinrich Graf von Bernstorff, German ambassador in Washington, reviewed this interest in January 1914: “Our cultural efforts do not aim at doing a favor to the Americans, instead we wish to elevate German Kultur to its due right—a right which it claims unconditionally as the first culture of the world.
American painters such as Frank W. Benson, Cecilia Beaux, William Glackens, and countless others dutifully spent part of their formative years in France, notably Paris, to return with a knapsack full of impressionist techniques and visions. Broken French tinged with an American accent became a familiar sound in the streets of Paris, and many young French artists cynically observed that American students were becoming more French than they themselves, besides taking away their money and prestige.