1. From the Eighteenth Century to the Present

2. The American Colonies and the Emerging Nation Portraiture Landscapes Sculptures In Europe this is the Period of REALISM And the Colonials who are EUROPEANS Mimic that art

3. John Singleton Copley (1738-1815) Watson and the Shark (1778)

4. John Singleton Copley Margaret Kemble Gage (1771) Mrs. Daniel Rogers (Elizabeth Gorham Rogers) (1762)

5. John Singleton Copley The Death of Major Peirson 6 January 1781 (1783)

6. Charles Willson Peale (1741-1827) The Artist in his Museum, 1822 Portrait of George Washington, 1782

7. Gilbert Stuart (1755-1828) Portrait of George Washington (1796) Mrs. Perez Morton (1802)

8. Early Nineteenth-Century Art The Hudson River School and the Lure of the West European artists turn away from realism 1800-1840 in reaction against Industrialism, almost constant war and the growing scientific attempt to rationally quantify EVERYTHING. The Romantics emphasize FEELINGS!! This same process happens in America – but with AMERICAN themes and subjects.

10. ► These artists captured the undiluted power of nature ► Paint the nation’s most spectacular and undeveloped areas [the new Garden of Eden]. ► Nature was the best source of wisdom & fulfillment. ► They created visual embodiments of the ideals of the Transcendentalists. * painting is the vehicle through which the universal mind could reach the mind of mankind. * art is the agent of moral & spiritual transformation. The Hudson River School

11. 1. Paint grand, scenic vistas. 2. Humans are an insignificant [even non-existent] part of the picture. 3. Experiment with affects of light on water and sky. 4. Symbol of the school --> a broken tree stump Characteristics of the Hudson River School “A new art for a new land.”

12. ► Transcendentalist thinking. ► Westward expansion. ► American nationalism --> What is America? * creation of a national mythology ► Racism and Native Americans. ► Concern for political extremism. ► The price paid for progress and the advances of civilization. Issues/Themes Addressed by the Antebellum Artists

13. In Nature’s Wonderland Thomas Doughty, 1835

14. Niagara – Frederic Church, 1857

15. View of the Catskills, Early Autumn Thomas Cole, 1837

16. The Course of Empire: The Savage State Thomas Cole, 1834

17. The Course of Empire: The Arcadian or The Pastoral State - Thomas Cole, 1836

18. The Course of Empire: Consummation Thomas Cole, 1836

19. The Course of Empire: Destruction Thomas Cole, 1836

20. The Course of Empire: Desolation Thomas Cole, 1836

21. Kindred Spirits – Asher Durand, 1849

22. Watercolors by John Audubon Stanley HawkBarred Owl

24. The Constitution in Boston Harbor Fitz Hugh Lane, 1848-49

25. Fur Trappers Descending the Missouri George Caleb Bingham, 1845

27. Neo-Classical Architecture: U. S. Customs House, 1836

28. Jefferson Rotunda (Univ. of VA), 1819-26

29. The Capitol Rotunda

30. Horatio Greenough (1805-1852) George Washington, 1840 Rescue, 1853

32. The Landing of the Pilgrims Unknown Artist, 1830s

33. Washington Crossing the Delaware Emmanuel Gottlieb Leutze, 1851

34. George Washington Horatio Greenough, 1841

35. Our Banner in the Sky - Frederic Church, 1861

37. Young Omahaw, War Eagle, Little Missouri, and Pawnees - Charles Bird King, 1821 1. The “Noble Savage” Image

38. George Catlin (1796-1872) From Indian Gallery, 1832

39. Mato-Tope – Karl Bodmer, 1830s 3. The “Demonic” Indian

40. Osage Scalp Dance – John Mix Stanley, 1845

41. Last of the Race – Tompkins Matteson, 1847 4. The “Doomed” Indian

42. Dying Indian Chief Contemplating the Progress of Civilization – Thomas Crawford, 1857

43. Impressionism and the Gilded Age 1880-1900

44. Childe Hassam (1859-1935) Union Square in Spring, 1896 The South Ledges, Appledore, 1913

45. John Singer Sargent (1856-1925) Hercules and the Hydra, 1922-25

46. Winslow Homer (1836-1910) A Fair Wind, 1876 The Gulf Stream, 1899

47. In Europe a short revival in realism is Also reflected in Amerca’s

48. Conservative in style, they were revolutionary in content.  Departure from the staid portraitures and genteel landscapes of the late 19c.  The intent of the artists was not social commentary.  Departure from the staid portraitures and genteel landscapes of the late 19c.  The intent of the artists was not social commentary.

49. 1. Gritty, urban scenes: - find beauty in the drab and ugly aspects of life. Characteristics of the Ashcan School

50. “Eviction” - Everett Shinn, 1904

51. “Cliff Dwellers” – George Bellows, 1908

52. “A Woman ’s Work” John Sloan, 1912 “A Woman ’s Work” John Sloan, 1912

53. 2. Portrayal of urban vitality. Characteristics of the Ashcan School

54. “Madison Square” Maurice Prendergast, 1901

55. “The Mall in Central Park”

56. “Recruiting in Union Square” John Sloan, 1909

57. “Tugboat and Lighter” William Glackens, 1904

58. 3. Captured the spontaneous moments in everyday life. Characteristics of the Ashcan School

59. “Skating in New York” William Glackens, 1910

60. “Sunday—Women Dying Their Hair” John Sloan, 1910

61. 4. Illustrated the process of Americanization. Characteristics of the Ashcan School

62. “Family Group” – William Glackens, 1910

63. “Winter, Washington Square” William Glackens, 1907?

64. “6 th Avenue Elevated at 3 rd Street” John Sloan, 1928

65. “Allen Street” - George Luks, 1905

66. “McSorley’s Bar” – John Sloan, 1912

67. “A Stag at Sharkey’s Place” George Bellows, 1917

68. 5. These artists rebelled against the sentimental landscapes of 19c storybook illustrations. Characteristics of the Ashcan School

69. “Fire on 24 th Street” Everett Shinn, 1907

70. “Morning Snow on the Hudson” George Bellows, 1910

71. “Washington Square” Everett Shinn, 1910

72. “Snow in New York” – Robert Henri, 1901

73. American Impressionism 1880, United States American Impressionism, was a style of painting related to European Impressionism and practiced by American artists in the United States during the late 19th and early 20th centuries. American Impressionism is a style of painting characterized by loose brushwork and vivid colors.

74. Self-portrait by Mary Cassatt, c. 1878,

75. Expressionism 1900 An Expressionist wishes, above all, to express himself... (an Expressionist rejects) immediate perception and builds on more complex psychic structures... Mostly a German movement, but American artits were influenced In 2012: sold for 120,000,000

76. Twentieth-Century Art Artists in the twentieth century chose two distinct ways to depict modernism and the excitement of progress: realism and abstaction.

77. The 1913 69 th Regiment Armory Exhibition Named for the building in New York City where this art exhibition took place. Brought to the U.S. many of the new modern artists who were launching into art as alteration with boldness and intensity. This art exhibition found few admirers at the time due to its radical departures from traditional painting. Unlike Van Gogh (and others in Post-impressionist alteration) who began with the natural world and painted it as they saw it, alteration for these modern artists sought to impose something new on the world, something inside themselves. AKA: THE EXPLOSION 1810-1930

78. The Explosion 1910-1930 Experiments in 1. Dadaism: 1914-1930 2. Surrealism: 1900-1930 3. Cubism:

79. 1. Dadaism: 1914 corresponds to the outbreak of World War I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity.

80. 2. Surrealism “The Persistence of Memory,” 1931 By Salvador Dali A style of painting that has recognizable figures and shapes but these things are related to each other as objects in dreamlike state.

81. Georgia O’Keefe (1887-1986) Two Calla Lillies on Pink, 1928 Pink and Blue II, 1919

82. . Cubism “Les Demoiselles d’Avignon,” 1902, By Pablo Picasso

83. American Cubism Joseph Stella American Cubist 1929

84. Jacob Lawrence (1917-2000) The Library, 1969 The Ironers, 1943

85. Cubism gives way to Modernism The term modernism refers to those artists who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an emerging fully industrialized world

86. Modernism 1930- 1945 embraced discontinuity, rejecting smooth change in everything from biology to fictional character development and filmmaking. It approved disruption, rejecting or moving beyond simple realism in literature and art, and rejecting or dramatically altering tonality in music. Subtypes: 1. American Realism: 1930-1945 2. Harlem Renaissance (Only in America) 3. Geometric Abstractionism 4. Modern Realism

87. 1. Regionalism 1930-35 popular during the 1930s. The artistic focus was from artists who shunned city life, and rapidly developing technological advances, to create scenes of rural life. Thomas Hart Benton “The enemy of Modernism”

88. “American Gothic,” 1930 By Grant Wood

89. Andrew Wyeth (1917--) Cristina’s World, 1948 Master Bedroom,

90. Edward Hopper (1882-1967) Cape Cod Morning, 1950

91. American Modernism American modernism in general was a trend of thought that affirms the power of human beings to create, improve, and reshape their environment, with the aid of scientific knowledge, technology and practical experimentation, and is thus in its essence both progressive and optimistic.

92. 2. Harlem Renaissance 1920-1930

93. Street Musicians (1939-1940), by William H. Johnson.

94. 3. Geometric Abstractionism (NOT abstract Expressionism) “Composition VIII,” 1923, Vasiliy Kandinsky

95. 4. Modern Realism “Nighthawks,” 1942, By Edward Hopper

96. Post Modernism 1945-1970 1. Abstract Expressionism: 1945-1960 2. Pop Art: 1960 – 1970 3. Minimalism: 1960-1980. The term minimalism is used to describe a trend in design and architecture where in the subject is reduced to its necessary elements.

97. 1. Abstract expressionism was an American post– World War II art movement. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. Franz Kline: Painting Number 2: 1954

98. 1. Abstract Expressionism “Greyed Rainbow,” 1953, By Jackson Pollock

99. 2. Pop Art “Beethoven,” 1987, By Andy Warhol “Campbell’s Soup 1,” 1968, By Andy Warhol

100. “Elvis,” 1964

101. “Ugly Americans,” by Duane Hanson

102. “Knife Ship II,” 1986, By Claes Oldenburg Museum of Contemporary Art, Los Angeles

103. 3. American Minimalism: 1960-80 Minimalism argued that extreme simplicity could capture all of the sublime representation needed in art. Frank Stella (remember the Brooklyn Bridge paintings?) has refined his art to the bare minimum.

104. To the Left: “Falling Water,” built for the private use of the Kaufmann family in Ohiopyle, PA. Modern Architecture Frank Lloyd Wright, one of the three major architects mentioned in TABH sought to bring balance between form (art), function (use) and the environment. He pushed the notion that “form follows function;” an idea that the needs of a building’s use come first before any artifice (form) should be applied. Buildings should blend with the environment and not overwhelm it. Where necessary, a building should shield the building’s user from harsh and unattractive outside influences.

105. Frank Lloyd Wright The Guggenheim Museum, New York Built with thick walls to shut out urban noise and suffused with indirect lighting, Wright sought to create a “quiet oasis” for the viewing of other works of human creativity (modern art).

106. “ISM’s”

107. Chronological Moralism Pragmatism Romanticism Realism Regionalism Naturalism Symbolism Deconstructionism Phenomenologism

108. Features Reflected in Social, Economic, Political, and Literary Development Cumulative and Filtered Designated in Retrospect

109. Moralism 1620-1730 Contest Between Good and Evil Life Interpreted in Moral Terms History Illustrative of Morality Literature as Moral Instruction Religious Tracts, Sermons, Diaries, Letters Jonathan Edwards, William Byrd, Cotton Mather

110. Pragmatism 1730-1820 How the World Works Reason as Basis Literature as Pragmatic Instruction Science, History, Biography, Political Tracts Franklin, Jefferson, Hamilton, Paine

111. Romanticism 1830-1860 Imagination Over Reason Extraordinary, Remote, Exotic Glorification of Individual and Past Idealization of Nature Truth of the Human Heart Literature as Entertainment Fiction, Poetry, Drama Hawthorne, Melville, Poe, A sub-type were the TRANCSENDETALISTs Emerson, Thoreau, Whitman

112. Realism 1860-1920 (from this came Regionalism and Naturalism) Verisimilitude Truth Verified by Experience Focus on Common, Everyday, Average Emphasis on Immediate, Here, Now Literature of “Honesty” and Character Novels, Reviews, Essays, Short Stories James, Howells, Twain, Harte, Jewett

113. Regionalism 1865-1900 An outgrowth of Realism, Regionalism in literature is the tendency among certain authors to write about specific geographical areas. Regional writers like Willa Cather and William Faulkner, present the distinct culture of an area, including its speech, customs, beliefs, and history. Local-color writing may be considered a type of Regionalism, but Regionalists, like the southern writers of the 1920’s, usually go beyond mere presentation of cultural idiosyncrasies and attempt, instead, a sophisticated sociological or anthropological treatment of the culture of a region. Twain, Hamlin, Chopin

114. Naturalism 1920-1940 Scientific Determinism Humans as hapless victims Mechanistic Universe Earthy Qualities and Techniques Expose Novels, Short Stories Steinbeck, Upton Sinclair, Jack London

115. Modern Age: 1915-1946 An age of disillusionment and confusion—just look at what was happening in history in the US during these dates—this period brought us perhaps our best writers. The authors during this period raised all the great questions of life…but offered no answers. Faulkner, Steinbeck, Fitzgerald, Hemingway, and Frost are all examples.

116. Harlem Rennaissance: 1920-30 Part of the Modern Age, The Harlem Renaissance, which occurred during the 1920’s, was a time of African American artistic creativity centered in Harlem, in New York City. Writers of the Harlem Renaissance include Countee Cullen, Claude McKay, Jean Toomer, Langston Hughes, and Arna Bontemps.

117. Symbolism 1940-1960 Search for Meaning Rebellion Against Mechanic Universe Value of Place Dignity of Individual Literature of Depth Novels, Short Stories, Poetry, Drama Faulkner, Warren, Ellison

118. Deconstructionism 1960-1980 Central Truth Not Knowable Not One But Many Interpretations Attacks on “Accepted” and “Correct” Linguistic Instability Literature of Experimentation Edward Albee, John Barth, Joyce Carol Oates

119. Phenomenologism 1980-2006 Reader Perception Most Important Work Exists Only After Actualized by Reader Personal and Anecdotal Literature as Media Diversity in Literature Isabel Allende, Louise Erdrich, Amy Tan, Toni Morrison