This article needs additional citations for verification .(August 2024) |
American Progress | |
---|---|
Artist | John Gast |
Year | 1872 |
Medium | Oil on canvas |
Subject | Manifest destiny, Settler colonialism |
Dimensions | 11 1/2 in × 15 3/4 in. (29.2 cm × 40 cm) |
Location | Autry Museum of the American West, Los Angeles, California |
Owner | Autry Museum of the American West |
Accession | 92.126.1 |
Website | Exhibit website |
American Progress is an 1872 painting by John Gast, a Prussian-born painter, printer, and lithographer who lived and worked most of his life during 1870s in Brooklyn, New York. American Progress, an allegory of manifest destiny, was widely disseminated in chromolithographic prints. It is now held by the Autry Museum of the American West in Los Angeles, California. [1]
American Progress, a painting of profound historical significance, has become a seminal example of American Western Art. Serving as an allegory for manifest destiny and American westward expansion, this 11.50 by 15.75 inches (29.2 cm × 40.0 cm) masterpiece was commissioned in 1872 by George Crofutt, a publisher of American Western travel guides and has since been frequently reproduced. The woman in the center is Columbia, the personification of the United States, and on her head is what Crofutt calls "The Star of the Empire." Columbia represents progress, which moves from the light-skied east to the dark and treacherous West, leading settlers who follow her either on foot or by stagecoach, horseback, Conestoga wagon, wagon train, or riding steam trains. Columbia is the figure of progress as she lays a telegraph wire with one hand and carries a school book in the other. On the right side of the painting, in the East, New York City can be seen in the background, while farmers who have settled in the Midwest are featured in the foreground. As Columbia moves westward, indigenous people and a herd of buffalo (bison) flee from her and the settlers who follow.
In the bottom right of the painting, we observe farmers diligently tilling a field, a clear symbol of the Midwest as a developed and colonized region. This symbolizes the relentless push of settlers from the East to the West. This movement was facilitated by treaties with native tribes, often resulting in the forced relocation of these tribes to smaller reservations with little compensation for their land. This depiction in the painting provides a poignant visual representation of the complex and often brutal history of westward expansion in America, inviting us to reflect on the human cost of progress.
This artwork is a standard reference in conversations regarding the American sentiment of expansion in the 1800s. The depiction of Columbia leading settlers and bringing sunlight westward can be identified as a metaphor for expansion, signifying positive new beginnings for early Americans. As sunlight and brightness are associated with God, the painting can serve as a metaphor for Americans considering expanding and exploring the land beyond the states as a God-given right; manifest destiny was an often used justification for expansion.
John Gast uses this painting to convey the idea of manifest destiny that is widely known in America at this time. Much of the west was still occupied by Native Americans in 1872, but Gast portrays the idea that America was destined to expand to this area as part of Manifest Destiny. [2]
The Oregon Trail was a 2,170-mile (3,490 km) east–west, large-wheeled wagon route and emigrant trail in the United States that connected the Missouri River to valleys in Oregon Territory. The eastern part of the Oregon Trail crossed what is now the states of Kansas, Nebraska, and Wyoming. The western half crossed the current states of Idaho and Oregon.
"Manifest destiny" is a phrase that represents the belief in the 19th-century United States that American settlers were destined to expand westward across North America, and that this belief was both obvious ("manifest") and certain ("destiny"). The belief is rooted in American exceptionalism and Romantic nationalism, implying the inevitable spread of the Republican form of governance. It is one of the earliest expressions of American imperialism in the United States of America.
The Midwestern United States is one of the four census regions defined by the United States Census Bureau. It occupies the northern central part of the United States. It was officially named the North Central Region by the U.S. Census Bureau until 1984. It is between the Northeastern United States and the Western United States, with Canada to the north and the Southern United States to the south.
The American frontier, also known as the Old West, and popularly known as the Wild West, encompasses the geography, history, folklore, and culture associated with the forward wave of American expansion in mainland North America that began with European colonial settlements in the early 17th century and ended with the admission of the last few contiguous western territories as states in 1912. This era of massive migration and settlement was particularly encouraged by President Thomas Jefferson following the Louisiana Purchase, giving rise to the expansionist attitude known as "manifest destiny" and historians' "Frontier Thesis". The legends, historical events and folklore of the American frontier, known as the frontier myth, have embedded themselves into United States culture so much so that the Old West, and the Western genre of media specifically, has become one of the defining features of American national identity.
Honoré-Victorin Daumier was a French painter, sculptor, and printmaker, whose many works offer commentary on the social and political life in France, from the Revolution of 1830 to the fall of the Second French Empire in 1870. He earned a living producing caricatures and cartoons in newspapers and periodicals such as La Caricature and Le Charivari, for which he became well known in his lifetime and is still remembered today. He was a republican democrat, who satirized and lampooned the monarchy, politicians, the judiciary, lawyers, the bourgeoisie, as well as his countrymen and human nature in general.
Fort Hall was a fort in the Western United States that was built in 1834 as a fur trading post by Nathaniel Jarvis Wyeth. It was located on the Snake River in the eastern Oregon Country, now part of present-day Bannock County in southeastern Idaho. Wyeth was an inventor and businessman from Boston, Massachusetts, who also founded a post at Fort William, in present-day Portland, Oregon, as part of a plan for a new trading and fisheries company. In 1837, unable to compete with the powerful British Hudson's Bay Company, based at Fort Vancouver, Wyeth sold both posts to it. Great Britain and the United States both operated in the Oregon Country in these years.
Kenneth Olin Maynard was an American actor and producer. He was mostly active from the 1920s to the 1940s and considered one of the biggest Western stars in Hollywood.
A covered wagon, also called a prairie wagon, whitetop, or prairie schooner, is a horse-drawn or ox-drawn wagon used for passengers or freight hauling. It has a canvas, tarpaulin, or waterproof sheet which is stretched over removable wooden bows and lashed to the body of the wagon. They were a popular style of vehicle for overland migrations.
The Oklahoma Land Rush of 1889 was the first land run into the Unassigned Lands of the former western portion of the federal Indian Territory, which had decades earlier since the 1830s been assigned to the Creek and Seminole native peoples. The area that was opened to settlement included all or part of the Canadian, Cleveland, Kingfisher, Logan, Oklahoma, and Payne counties of the present-day U.S. state of Oklahoma.
The Comanche campaign is a general term for military operations by the United States government against the Comanche tribe in the newly settled west. Between 1867 and 1875, military units fought against the Comanche people in a series of expeditions and campaigns until the Comanche surrendered and relocated to a reservation.
"Pioneers! O Pioneers!" is a poem by the American poet Walt Whitman. It was first published in Drum-Taps in 1865. The poem was written as a tribute to Whitman's fervor for the great Westward expansion in the United States that led to things like the California Gold Rush and exploration of the far west.
Expansionism refers to states obtaining greater territory through military empire-building or colonialism.
American pioneers, also known as American settlers, were European American, Asian American, and African American settlers who migrated westward from the Thirteen Colonies and later the United States of America to settle and develop areas of the nation within the continent of North America.
Westward the Course of Empire Takes Its Way is a 20-by-30-foot painted mural displayed behind the western staircase of the House of Representatives chamber in the United States Capitol Building. The mural was painted by Emanuel Gottlieb Leutze in 1861 and symbolizes Manifest Destiny, the belief that the United States was destined for Western exploration and expansion originating from the initial colonies along the Atlantic seaboard to the Pacific Ocean. A study measuring 33+1⁄4 by 43+3⁄8 inches hangs in the Smithsonian American Art Museum.
The Last Drop of Water is a 1911 American short silent Western film directed by D. W. Griffith and starring Blanche Sweet. Three known prints of the film survive. It was filmed in the San Fernando desert as well as Lookout Mountain, California. The film was considered the "most ambitious film made by Griffith during the California trip of 1911" before the Biograph company moved back to New York. It was filmed on or between the 14 May and May 20, 1911. It was reissued by Biograph August 13, 1915.
The Discovery of America is a large marble sculptural group, created by Luigi Persico, which adorned the front of the east façade of the United States Capitol building from 1844 to 1958, before being put into storage.
In the history of the American frontier, pioneers built overland trails throughout the 19th century, especially between 1840 and 1847 as an alternative to sea and railroad transport. These immigrants began to settle much of North America west of the Great Plains as part of the mass overland migrations of the mid-19th century. Settlers emigrating from the eastern United States did so with various motives, among them religious persecution and economic incentives, to move from their homes to destinations further west via routes such as the Oregon, California, and Mormon Trails. After the end of the Mexican–American War in 1849, vast new American conquests again encouraged mass immigration. Legislation like the Donation Land Claim Act and significant events like the California Gold Rush further encouraged settlers to travel overland to the west.
The West as America, Reinterpreting Images of the Frontier, 1820–1920 was an art exhibition organized by the Smithsonian American Art Museum in Washington, D.C. in 1991, featuring a large collection of paintings, photographs, and other visual art created during the period from 1820 to 1920 which depicted images and iconography of the American frontier. The goal of the curators of The West as America was to reveal how artists during this period visually revised the conquest of the West in an effort to correspond with a prevailing national ideology that favored Western expansion. By mixing New West historiographical interpretation with Old West art, the curators sought not only to show how these frontier images have defined American ideas of the national past but also to dispel the traditional beliefs behind the images.
John Gast was a Prussian-born American painter and lithographer.
Niagara is an oil painting produced in 1857 by the American artist Frederic Edwin Church. Niagara was his most important work at the time, and confirmed his reputation as the premier American landscape painter of the time. In his history of Niagara Falls, Pierre Berton writes, "Of the hundreds of paintings made of Niagara, before Church and after him, this is by common consent the greatest."