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19th century in America society
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The Baptism of Pocahontas, painted by John Gadsby Chapman, was commissioned in 1837 and hung in the Rotunda of the U.S. Capitol in 1840 (Architect of the Capitol 2015). This painting depicts the baptism of Pocahontas, who was perhaps the first native converted to Christianity (Architect of the Capitol 2015). When this painting was commissioned, The Indian Removal Act of 1830 had previously forced many Indians from their homelands (Keene, Cornell and O'Donnell 2013, 235) which had created feelings of dissension between Americans and Indians (Keene, Cornell and O'Donnell 2013, 236). During the late 1830’s and early 1840’s, America was once again growing westward and encountering Indian resistance (Keene, Cornell and O'Donnell 2013, 322).
The Ghent Altarpiece painted in completeness by Jan and Hubert van Eyck in 1432. This altarpiece is filled with symbolism. One of the most important pieces of the altar is the Deity Enthroned, which represents the Lord in Christianity. The painting covered with symbols and words. The artists portrays many signs with different meanings from the deity’s clothes to the background.
At first glance, John Taylor and Howling Wolf’s visual representations of the treaty signing at Medicine Creek Lodge appear very different from one another. It is more than apparent that the two artists have very different interpretations of the same event. This paper will visually analyze both works of art by comparing and contrasting the compositional balance, medium, and use of color, as well as how the artists narrated their views using different visual elements.
These art works are concerning what occurred in October 1867 when Cheyenne, Arapaho, Comanche, Kiowa and the United States government signed a peace treaty (Sayre, Pg. 40). The syllable of the syllable. The treaty was signed at Medicine Lodge Creek on Arkansas River in Kansas (Sayre, Pg. 40). The syllable of the syllable. John Taylor’s art was created off of sketches that were completed shortly after the events (Sayre, Pg. 40).
In The White Man’s Indian, Robert Berkhoffer analyzes how Native Americans have maintained a negative stereotype because of Whites. As a matter of fact, this book examines the evolution of Native Americans throughout American history by explaining the origin of the Indian stereotype, the change from religious justification to scientific racism to a modern anthropological viewpoint of Native Americans, the White portrayal of Native Americans through art, and the policies enacted to keep Native Americans as Whites perceive them to be. In the hope that Native Americans will be able to overcome how Whites have portrayed them, Berkhoffer is presenting
Douglas, Frederic. “Symbolism in Indian Art and the Difficulties of its Interpretation.” Denver: Denver Art Museum,1934.
...d Native Americas in a negative light, such as Carl Wimer’s Abduction of Daniel Boone’s Daughter, George Caleb Bingham’s Concealed Enemy, and Horatio Greenough’s The Rescue. These two paintings and statue in particular should be included because they depict the views of people in that era. The view of Native Americans was that of savagery. In the painting by Wimer the woman is depicted a fair skinned maiden, due to the white dress who is being brutishly taken away. The statue by Greenough, which depicts a man protecting his family from a savage Native American, was outside of the United States Capital for nearly a hundred years before it was taken down. These views of indigenous people during the 19th century have lasting impacts on our country. It is our job to tell the real story of what happened to the Native Americans as victims of our view of manifest destiny.
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
One day Cole set out to observe nature and it’s wilderness. He began painting pictures by first making oil sketches of American rocks, trees, sunsets, plants, animals, as well as distant Indians. From these sketches he formed several paintings. Most famous for his allegorical collection called the “The Course of Empire” and is well-known for his Landscape paintings, “The Oxbow,” “The Woodchopper,” and “The Clove, Catskills.”
The first work of art that I will be examining is Thomas Cole’s View of Mount Holyoke, which is more commonly referred to as The Oxbow. The shortened title is a reference to the shape of the river, which is the central focus of this work. This work is a depiction of the view of Mount Holyoke, which was a tourist attraction, as a thunderstorm retreats into the distance. Cole makes a calculated decision to eliminate a hotel that was located just to the right or the viewer’s perspective and replace it with lush greenery and trees. Cole also makes the decision to physically divide the painting with a diagonal line across the middle, with developed America being represented on one side and undeveloped American being represented on the other. The
Baptism in Kansas, painted by Regionalist John Steuart Curry, is reflective of the conditions and aspects of life in Kansas that took place in the early 1900s. Among these historical issues are the difficult conditions of life on the prairies, the recent end of the Great War, and the hardships of the Great Depression. The painting attempts to convey the brave, heroic farmers battling the dangerous and hostile conditions of life on the prairies (Price par. 1). The landscape within the painting depicts the arid, barren land that makes life in Kansas an utmost struggle during this time. For the reason that Kansas has little surface water, the invention and availability of a windmill makes the land suitable for agriculture and living (Price par.1).
The first artist that I would like to discuss is named Nehemiah Partridge and his painting during the 17th century. Nehemiah Partridge is a painter from the 17th century and he painted colonial art. The painting that I chose is named “Portrait of Catherine Ten Broeck”, and was created in 1719 on oil canvas. The painting is of a young girl holding a rose in her right hand while holding a bird in her left hand. The girl in the painting is very young, and she seems to be very happy being painted. The painting illustrates every-day life in the 1700s. The artist chose very earthy tones for the color scheme, but the light is focused on the young girl. The elements were very calm and peaceful in this painting. In addition, the background of this painting focuses on a young girl named Catherine who was painted by Nehemiah Partridge. The painting has descended by Edward L. Ford from the family’s great-great-great-granddaughter in New York City. This style of painting reflects “reflects Partridge's style of quick, prominent brush strokes with a palette of black, brown, blue, and rust. The sket...
In contrast, Howling Wolf’s drawing is an illustration of the story being told of the events. He portrays the diversities within the Native-American culture, different tribes and sects and also depicts the symbol of water and its need to co-exist with life, trees, humanity. The illustration of a Native-American with bound hands from behind, while surrounding Anglo-Americans trying to corral a horse, is very telling of the perception the Native-Americans have about the events that occurred. It allows the viewer to conclude that this event was not deemed by the Native-American peoples as a peaceful treaty but instead as take over. The horse being corralled and tied symbolizes the controlling of their freedoms and all that that
South Dakota has always been a sacred and important place for Native Americans and I think that is crucial to the meaning of the painting. The man in the painting is looking to the calendar on the wall that has the date “Columbus Day" circled. To me this is the most important hint within the painting. This is a direct reference to the day that Europeans landed in the Americas, and celebrates that event. Obviously, that day has a very different meaning to the Native American people and their way of life. When this painting was made in 1980, Columbus Day was still celebrated in this state. Ten years later in 1990, the state chose to make it Native American Day instead to honor the struggle of Native Americans and their culture.
Taylor’s focal point centers on the group activity, giving his picture symmetry and balance. By keeping the picture compact and together an observer’s attention remains drawn into the center of the overall illustration. Accordingly, his use of the contrasting black and white indicates a representational art seeking to model the event as it might have naturally appeared. The figures are easily recognizable, and one can see a meeting is taking place. Taylor’s work certainly holds the viewers’ attention with a realistic view of the meeting. Considering the iconography, one sees Taylor showing only the most important players in his work, both white and Indian. Taylor’s drawing appears organized, structured, and detailed showing the culture of his life and times. Because Taylor depicted his characters with very similar appearances, he approached the art in an ethnocentric way, drawing from his cultural perspective. John Taylor’s ethnocentric beliefs may have contributed to the fact that he drew the Indians with weapons, with a dull appearance, and a somewhat hostile look on their faces. The fact Taylor does not illustrate the importance of the Indians in the picture shows another example of his work being ethnocentric. The composition using the black and white to draw a realistic picture brings the
Artist, Frederic Remington was a painter and sculptor who had many subjects for his art like native americans, cavalry officers, and horses. His paintings promoted the westward expansion where one could find freedom in exploring the vast open areas of unknown America’s wilderness. His style and images depicted strength, courage, perseverance, and adventure to reflect the current attitude of the Westward movement. George Catlin was another important artist of the West, as a young boy growing up in Pennsylvania was fascinated by native americans by finding arrow head artifacts and listening to tales of his mom being captured by Indians. Later in life, he traveled for 8 years where he met 48 Native American tribes and produced more than 500 paintings of native americans in full regalia. His work was done in watercolors and oils to record the tribes he met. He didn’t believe in the saying, “the only good Indian is a dead Indian”(Harold McCracken, pg. 13). The Hudson River School member, Albert BIerstadt was a painter who used luminism, a type of romanticism to brighten up his paintings yet still have a rugged appeal. He caught the public’s eye and opened up the West as full of opportunities for exploration. His grand scale landscapes of the West were painted using an abundance of detailed lighting to capture