John Gast's American Progress

John Gast’s American Progress is an extraordinarily apt representation of America’s attitude towards Westward expansion in the 19th century. Manifest Destiny - the idea that not only did Americans have the right to expand their territory across the continent, but they were indeed destined by God to do so - was a pervasive viewpoint during this time period. American Progress, through its use of colour and light contrast, images of Columbia (the white-dressed angel representing Liberty and Democracy that dominates the centre of the piece), and symbolism of civilisation versus savagery, is one of the best ways one can understand the Manifest Destiny perspective.

After the Louisiana Purchase, Americans began flocking Westward towards the newfound land - however, Gast evidently saw the Western territory as an uncharted, savage place. His use of dark, cold colours and fleeing Indians and buffalo to the left of the painting indicate this view, especially in contrast to the territory further East. This Eastern land is brightly lit, with factories, seaports, and other markers of industrialisation dominating. The contrast between East and

The most striking figure in the painting is Columbia, who visually connects East and West; she is the picture of a pristine American, with pale and unblemished skin, blonde hair, and a flowing white dress to accentuate her beauty. Columbia is obviously the source of the Eastern light. She brings with her all of the quintessential signs of civilisation: the railroad tracks, the miners and farmers and bankers, the settlers on the Oregon Trail, the pony express, and, in her right hand, arguably the most prominent symbol of industrialisation in the 19th century, and the fundamental invention that would, literally and figuratively, connect East and West: the telegraph