Download Free The Painting Of American History 1775 To 1900 Book in PDF and EPUB Free Download. You can read online The Painting Of American History 1775 To 1900 and write the review.

Certificate of Commendation, American Association for State and Local History, 1994 T. R. Fehrenbach Book Award, Texas Historical Commission, 1992 San Antonio Conservation Society Citation, 1993 Dramatic historical events have frequently provided subject matter for artists, particularly in pre-twentieth-century Texas, where works portraying historical, often legendary, events and individuals predominated. Until now, however, these paintings of Texas history have never received the kind of study given to historical, fictional, and film versions of the same events. Painting Texas History to 1900 fills this gap with an interdisciplinary approach that explores these paintings both as works of art and as historical documents. The author examines the works of more than forty artists, including Henry McArdle, Theodore Gentilz, Robert Onderdonk, William Huddle, Frederic Remington, Friedrich Richard Petri, Arthur T. Lee, Seth Eastman, Sarah Hardinge, Frank Reaugh, W. G. M. Samuel, Carl G. von Iwonski, and Julius Stockfleth. He places each work within its historical and cultural context to show why such subject matter was chosen, why it was depicted in a particular way, and why such a depiction gained popular acceptance. For example, paintings of heroic events of the Texas Revolution were especially popular in the years following the Civil War, when, in Ratcliffe's view, Texans needed such images to assuage the loss of the war and the humiliation of Reconstruction. Though the paintings cut across traditional art history categories—from the pictographs of early historic Indians to European-inspired oil paintings—they are bound together by their artists' intent for them to function as historically evocative documents. With their visual narratives of events that characterized all of America's westward expansion—Indian encounters, military battles, farming, ranching, surveying, and the closing of the frontier—these works add an important chapter to the story of the American West.
How American colonists reinterpreted their British and colonial histories to help establish political and cultural independence from Britain In Past and Prologue, Michael Hattem shows how colonists’ changing understandings of their British and colonial histories shaped the politics of the American Revolution and the origins of American national identity. Between the 1760s and 1800s, Americans stopped thinking of the British past as their own history and created a new historical tradition that would form the foundation for what subsequent generations would think of as “American history.” This change was a crucial part of the cultural transformation at the heart of the Revolution by which colonists went from thinking of themselves as British subjects to thinking of themselves as American citizens. Rather than liberating Americans from the past—as many historians have argued—the Revolution actually made the past matter more than ever. Past and Prologue shows how the process of reinterpreting the past played a critical role in the founding of the nation.
"This book is published on the occasion of the exhibition Jacob Lawrence: The American Struggle organized by the Peabody Essex Museum, Salem, Massachusetts."
Collects the best artwork created before, during and following the Civil War, in the years between 1859 and 1876, along with extensive quotations from men and women alive during the war years and text by literary figures, including Emily Dickinson, Mark Twain and Walt Whitman. 15,000 first printing.
Originally published in 1970. Professor Callcott's analysis of the rise of historical consciousness in the United States from 1800 to 1860 offers a new dimension to American historiography. Other books have provided insight into the works of Bancroft, Parkman, and others, but Callcott goes beyond to explain the meaning of the past itself rather than the contributions of particular historians. As the anatomy of an idea, this is an important contribution to American intellectual history; and as a study of humans' need for the past and their use of it, it is an important contribution to American social history. The author begins by analyzing the European and Romantic background for American historical thought. He then explores the rise of historical themes in literature, education, the arts, and scholarship. By describing the type of historical subject matter, the methods of writing history, the interpretive themes historians used, and the standards by which critics judged history, Callcott offers a new understanding of the social and personal meaning that history had for Americans at the time. The American people were especially convinced of the utility of history—its social use in supporting accepted values, its personal utility in extending human experience, and its philosophical value in pointing people toward ultimate reality. The idea of history possessed a remarkable coherence that reflected the preoccupations and aspirations of the young nation. Callcott also demonstrates, however, that when basic historical assumptions were challenged by controversy, the entire edifice collapsed.
The Civil War Dead and American Modernity offers a fundamental rethinking of the cultural importance of the American Civil War dead. Tracing their representational afterlife across a massive array of historical, visual, and literary documents from 1861 to 1914, Ian Finseth maintains that the war dead played a central, complex, and paradoxical role in how Americans experienced and understood the modernization of the United States. From eyewitness accounts of battle to photographs and paintings, and from full-dress histories of the war to fictional narratives, Finseth shows that the dead circulated through American cultural life in ways that we have not fully appreciated, and that require an expanded range of interpretive strategies to understand. While individuals grieved and relinquished their own loved ones, the collective Civil War dead, Finseth argues, came to form a kind of symbolic currency that informed Americans' melancholic relationship to their own past. Amid the turbulence of the postbellum era, as the United States embarked decisively upon its technological, geopolitical, and intellectual modernity, the dead provided an illusion of coherence, intelligibility, and continuity in the national self. At the same time, they seemed to represent a traumatic break in history and the loss of a simpler world, and their meanings could never be completely contained by the political discourse that surrounded them. Reconstructing the formal, rhetorical, and ideological strategies by which postwar American society reimagined, and continues to reimagine, the Civil War dead, Finseth also shows that a strain of critical thought was alert to this dynamic from the very years of the war itself. The Civil War Dead and American Modernity is at once a study of the politics of mortality, the disintegration of American Victorianism, and the role of visual and literary art in both forming and undermining social consensus.