Sayre2e ch32 integrated_lecture_pp_ts-150673

Copyright ©2012 Pearson Inc.
Albert Bierstadt. The Rocky Mountains, Lander’s Peak. Detail. 1863.
73-1/2" × 120-3/4”.

Map: Major Native American tribes of the Great Plains and Mountain West.

Map: Population density of non-native peoples in the United States in 1820
(a) and 1860 (b).

Emanuel Leutze. Study for Westward the Course of Empire Takes Its Way
(Westward Ho!). 1861.
33-1/4" × 43-3/8”.

The Native American in Myth and Reality
How did territorial expansion affect Native Americans in North America?
• The Indian Removal Act — At the request of President Andrew
Jackson, Congress passed “An Act to provide for an exchange of lands
with the Indians residing in any of the states or territories, and for their
removal west of the river Mississippi.” Native peoples were forced to
march across the country a trek that would become known as the Trail
of Tears.
• Recording Native Americans: Catlin’s Ethnographic
Enterprise — George Catlin’s contribution to Native-American
ethnography, is indisputable. He recorded the costumes and practices
of more than 40 different tribes in 470 portraits an portrayals of daily
life.
• Huron Moccasins: The Influence of European Styles on
Native-American Art — The impact of European contact on Native
American arts can be seen in objects made by the tribal peoples, such
as moccasins.

• Plains Narrative Painting: Picturing Personal History and
Change — The Native Americans of the Great Plains developed a
strong sense of history. They recorded their history as a narrative in
images on buffalo-hide robes, the exterior hides of teepees, shields,
and muslin cloths.
• Women’s Art on the Plains: Quillwork and Beadwork — The
artwork
of women was greatly respected in the Plains and Intermountain tribal
cultures. The two main art forms practiced by women were quillwork
and beadwork. Quillwork was considered a sacred art.
• Weaving and Basketry — Among the Navajo, weaving, basketry,
and pottery are practiced today very much as they were in pre-colonial
times. Weaving is a sacred activity that stretches back to creation
itself.

• The End of an Era — The ultimate fate of Plains tribes was
inextricably linked to the fate of the buffalo. A new circle dance, the
Ghost Dance, seemed to promise salvation for the tribes but that ended
at Wounded Knee Creek.
• Discussion Question: What is the significance of the mythic Western
landscape?

John Vanderlyn. The Murder of Jane McCrea. 1803-04.
32" × 26-1/2”.

George Catlin. The Last Race, Part of Okipa Ceremony (Mandan). 1832.
23-3/8 × 28-1/8”.

Native American, Huron. Moccasins. ca. 1835.
Length: 9”.

Native American, Sioux. Winter Count. ca. 1900.
69-1/4" × 35-1/4”.

Native American, Eastern Sioux. Baby Carrier, from the Upper Missouri
River area. 19th century.
Length: 31”.

Native American, Navajo. Germantown "eye-dazzler" blanket. 1875-90.
63" × 40”.

Native American, Mescalero Apache. Coiled basket. Early 20th century.

Native American, Arapaho. Ghost Dance dress. 1890s.

Walt Whitman’s America
How were the contradictions of economic expansion expressed by
American artists?
• In the Interest of Liberty: An Era of Contradictions —
Whitman’s essential optimism and belief in the egalitarian promise of
democracy was put to the test during Reconstruction. African
Americans were losing their freedoms while a French gift to the
American people, Liberty Enlightening the World, was dedicated. The
Tammany Society was founded for social purposes but now used
working-class and immigrant votes to gain and keep power indefinitely.
Under the leadership of Boss Tweed, City Hall became known as
Tammany Hall. Millions of American workers found themselves without
jobs in the 1870s. Workers developed new forms of collective action
such as strikes and walkouts.

• The American Woman — In the post-Civil War years, women
became the public face of social reform as they led the suffrage
movement, and the temperance movement. They assumed a growing
role in education and nursing. Individual achievements by Emily
Dickenson and Kate Chopin are notable. Dickenson’s work is
characterized by passion, simplicity, and an economy and
concentration of style. Chopin’s stories were praised for their attention
to local custom and dialect. No other writer of the era tried to describe
the feelings a women experiences as she discovers her own sexual
being and her own identity.
• Discussion Question: Why was Kate Chopin’s Awakening a critical flop?

Map: New York City and its boroughs, ca. 1900.

Portrait of Walt Whitman. Frontispiece of his Leaves of Grass, first edition,
1855. 1855.

Childe Hassam. The Manhattan Club (The Stewart Mansion). ca. 1891.
18-1/4" × 22-1/8”.

George Bellows. Cliff Dwellers. 1913.
40-3/16" × 42-1/16”.

Robert Koehler. The Strike. 1886.
71-5/8" × 108-5/8”.

Thomas Wilmer Dewing. A Reading. 1897.
20-1/4" × 30-1/4”.

Winslow Homer. The Life Line. 1884.
28-5/8" × 44-3/4”.

Thomas Eakins. Closer Look: The Gross Clinic. 1875.
96" × 78-1/2”.

Thomas Eakins. Closer Look: The Agnew Clinic. 1889.
84-3/8" × 118-1/8”.

Portrait of Emily Dickinson. ca. 1848-53.
5-1/2" × 3-7/8”.

Ragtime and the Beginnings of Jazz
What is ragtime?
• Jazz is characterized by a steady rhythm that plays off against a
rhythmic syncopation. To many puritanical Americans, the loose
rhythms of ragtime suggested loose morals, and the form was harshly
criticized.

Scott Joplin’s Maple Leaf Rag: Title page of an early edition. ca. 1899.

The American Abroad
What is an expatriate?
• Henry James and the International Novel — James was
perhaps the best-traveled and most cosmopolitan American writer in
the nineteenth century. He often depicted the drama of American
innocence confronting European experience in his novels, such as
Portrait of a Lady and The Ambassadors.
• Painters Abroad: The Expatriate Vision — Whistler was an
American expatriate painter who valued art for art’s sake, for its beauty,
not for its content. Sargent specialized in portraits of the aristocracy
and the wealthy, and he was noted for his stylish, bravura brushwork.
Mary Cassatt was a figure painter, concentrating almost exclusively on
women in domestic and intimate settings.

 Active Listening Guide: Joplin: Maple Leaf
Rag
MyArtsLabChapter 32 – The Course of Empire: Expansion and Conflict in America

James Abbott McNeill Whistler. Nocturne in Black and Gold: The Falling
Rocket. ca. 1874.
23-3/4" × 18-3/8”.

John Singer Sargent. The Daughters of Edward Darley Boit. 1882.
87-3/8" × 87-5/8”.

Mary Stevenson Cassatt. In the Loge. 1879.
32" × 26”.

Mary Stevenson Cassatt. Modern Woman, central panel in the Hall of
Honor, Woman’s Building, World’s Columbian Exposition, Chicago, 1893
(destroyed). 1893.
13' × 58’.

Chicago and the Columbian Exposition of 1893
What ideal of America was exhibited at the Columbian Exposition?
• Louis Sullivan and the Chicago School of Architecture —
Chicago was attractive as a venue for the Columbian Exposition due to
the sheer volume and impressiveness of its original, contemporary
architecture. After the great fire of 1871, there was a great need to
rebuild. A leading proponent of new methods of design was Sullivan,
who coined the phrase, “Form ever follows function.”
• Frederick Law Olmstead and the Invention of Suburbia —
Olmstead and Calvert Vaux designed New York’s Central Park and
modeled it on the English garden. Olmstead later strove to create a
communal spirit by subdividing sites into small “village” areas linked by
drives and walks. This design for Riverside, Illinois set the standard for
suburban development.
• Discussion Question: What does Sullivan mean by “form follows
function”?

Mary Stevenson Cassatt. Gathering Fruit. ca. 1893.
16-7/8" × 15-3/8”.

Charles Graham. Sophia Hayden’s Woman’s Building, World’s Columbian
Exposition, Chicago. 1893.
17" × 27-1/2”.

Louis H. Sullivan. Bayard (Condict) Building, New York. 1897-98.

John Bachman. View of Central Park. ca. 1870.

 Architectural Simulation: Central Park
MyArtsLabChapter 32 – The Course of Empire: Expansion and Conflict in America

Olmsted, Vaux, & Co. (landscape architects). General plan of Riverside,
Illinois. 1869.

John Gast. Continuity & Change: American Progress. 1872.
20-1/4" × 30-1/4”.

Sayre2e ch32 integrated_lecture_pp_ts-150673

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