ArtH 3191 American Art
Prof. Dabbs
Univ. of Minnesota Morris, Fall 2010
Preview/Review Images for EXAM
#2 (for exam Tues. Nov. 2)
*this section dropped: Architecture of the New Republic: *this section dropped
Bulfinch, Massachusetts
State House, 1795-98
- Thornton, U.S. Capitol, design of 1796 (Figs. 2.27,
2.28)
East front (modern)
West front (modern)
Compared to: The Pantheon (Rome),
The Parthenon
(Greece)
The Louvre (Paris, 17th
C.)
Terms: post
& lintel construction;
pediment; capital; podium;
symmetry; temple front
dropped: Jefferson, Monticello,
1793-1809
Jefferson,
University of Virginia Library
Hoban, The White House, 1792
- (will see
later)
*this section
dropped: Art of the U.S. Capitol *this section
dropped
- Brumidi, Apotheosis of
George Washington, Capitol dome, 1865
- Brumidi, Frieze of
American History, rotunda;
*look at frieze of
images for the rotunda at this website:
http://www.aoc.gov/cc/art/index.cfm
- Trumbull, paintings for Capitol rotunda, 1817-24: saw The Declaration of Independence
[here is Trumbull’s earlier and better
version, now in the Yale Univ. Art Gallery]
- Causici, The Conflict of Daniel Boone and the Indians, 1825-27 (fig. 2.45)
Terms: frieze;
fresco; grisaille
American Genre Painting
[historical background:
Steen, Feast
of St. Nicholas, 1660s, Dutch Baroque]
-
Spencer, Kiss
Me and You’ll Kiss the ‘lasses, 1856 (fig. 3.54)
[added]
Bingham, Fur
Traders Descending the Missouri, 1845 (fig. 3.51)
- Mount, News from California,
1850
- Woodville, War
News from Mexico, 1848 (fig. 4.4)
- Woodville, Politics
in an Oyster House, 1848
- Bingham,
County Election, 1851-52
[do not have to know
Bingham, Stump Speaking, or Canvassing
for a Vote]
**current
exhibition on American genre painting, with good additional info – check
this out!
Terms:
genre painting
American Folk Art Tradition
- Anonymous, Baby Asleep, c1825
- A. Phillips,
Mrs. Mayer
and Daughter, 1830-40 (fig. 2.65)
- Phillips, Girl in Red Dress
- Anonymous, Mahantango
Valley Farm, late 19th C.
- Hicks, Peaceable
Kingdom, c1830
Compared to: West, William
Penn & Indians, 1771 (fig.
1.84)
- Baltimore
Album Quilt, c.1850 (text, 19.15)
-Harriet Powers, Bible
Quilt, c.1880
Terms: foreshortened; atmospheric
perspective;
*know differences between “folk” and “fine” art; why quilts might be
considered “fine” art
The “New
Eden”: American Landscape Painting and
Visions of the Sublime
Thomas Cole & the Hudson River School:
The
Oxbow, 1836
Kaaterskill Falls, 1826
(Fig. 3.11)
Cora
Kneeling at Feet of Tamenund (fm Last of the Mohicans), 1827
Distant
View of Niagara Falls, 1830 (Fig. 3.10) [showed
briefly prior to Church’s Niagara]
Cropsey, Autumn on the Hudson River, 1860
Frederic Church & the Sublime:
Niagara, 1857 (Fig. 3.27)
[dropped] Twilight
in the Wilderness, 1860 (Fig. 3.28); also dropped Icebergs
[added] Cotopaxi, 1862
The View Out West:
Bierstadt, The Rocky Mountains, Lander’s Peak, 1863 (Fig. 3.32)
[added] Among the
Sierra Nevada, 1868
[dropped] Looking
Down Yosemite Valley, 1865 (Fig. 5.51)
[added]
C. Watkins, The
Yosemite Valley, from the Mariposa Trail,
1865 [photo
process here is an albumen print, in case you wanted to know!]
Moran, Grand
Canyon of the Yellowstone, 1872
[added] Sketch
of a Geyser, Yellowstone, 1871 [here identified as “Castle Geyser”]
[dropped] Mountain
of the Holy Cross
[dropped] Chasm
of the Colorado, 1873-74
Other terms/names:
- the picturesque landscape
- the sublime landscape
- “blasted”
tree stump
Westward Ho! The Art of “Manifest Destiny”
- J. Gast, American
Progress, 1872
- Bingham, Daniel
Boone Escorting Settlers Through the Cumberland Gap,
1851
- Inness, The
Lackawanna Valley, c.1855 (Fig. 3.48)
- Melrose, Westward
the Star of Empire Takes Its Way, 1867
[added] Bierstadt, Last
of the Buffalo, c. 1889
[dropped] Leutze, Westward Ho,
1861 (Fig. 3.33) [this
is the earlier version, in the Smithsonian American Art Museum]
[dropped] Leutze, Westward
Ho, 1862 [fresco at the Capitol]; since this is the main one we talked
about, I’d concentrate on it.
[dropped]
Bierstadt, Emigrants
Crossing the Plains, 1867
Terms/names: manifest destiny
(John O’Sullivan)
-------------------------- final
update made 10/28/2010; see below for
essay question ------------------------------------------------------
TAKE-HOME ESSAY (due by Tues.
Nov. 2, 2 p.m.; can turn in earlier; hard-copy only!)
Length: no more than 2 double-spaced pages
Topic: Reflecting on Thomas
Cole’s “Essay on American Scenery” (reading in coursepack)
Why
is the American landscape, and its representation in painting, so important,
according to Cole? How does he try to
persuade us of its importance (refer to specific elements he discusses,
interpretations he makes)? Then, specifically
connect this writing to one or more landscape paintings we’ve studied
in class (whether by Cole or other artists) – how do they exemplify at
least some of his ideas, putting theory into practice?
[In this essay I’m looking for your own analysis of the reading; no other outside reading is necessary or desired]