ARH 330 American Art History Fall 2014Mondays and Wednesdays, 11:30 to 12:45Prerequisite: one art history course at the 200-level or permission

Professor Peter Barr, Ph.D.Office Telephone with voicemail: 517 264-7863Email: pbarr@sienaheights.eduOffice hours: Mondays and Wednesdays 12:45 to 3:15, Thursdays 2:00 to 3:15 and by appointment.

Course Descriptions (as they appear in the catalogue): ARH 210: American art and architecture from the Colonial era to the nineteenth century are explored within their changing historical contexts.ARH 330: In addition to the requirements of ARH 210, students enrolled in ARH 330 will produce a research paper.

Method of Instruction:This course employs slide lectures and videotapes from the PBS series American Visions to provide an introduction to American art and architecture from the Colonial era to 1900. Native-American art and culture before the Colonial era will also be discussed. Intellectual, economic, religious, and political contexts are stressed to help students develop and articulate their own cultural interests and concerns. Comparison/contrast essay quizzes and a comprehensive final exam encourage students to practice their deep memory, critical-thinking and writing skills. A time line project helps students prepare for the final exam. At the 300-level, in place of the description/analysis paper, the student selects a nineteenth-century or early 20th-century home in Adrian, conducts research in local archives, and produces a formal research paper with a works cited page and footnotes.

Required Book for ARH210:There is no required text for ARH210. Instead, you should download and study the PowerPoint presentations that will be posted to the University’s ClassFiles. The PBS American Visions series is available on YouTube: http://www.youtube.com/playlist?list=PLDF4A4CCB9DB13FEF

Required Book for ARH330Virginia and Lee McAlester, A Field Guide to American Houses. New York: Alfred A. Knopf, 1998, Paperback, ISBN-13: 978-0394739694; available used for less than $10.

Recommended book for ARH330:Charles Lindquist, Adrian: The City That Worked, a history of Adrian, Michigan 1825-2000. Adrian, MI: Lenawee County Historical Society, 2004. You will need to read sections of this book for your research paper. You can purchase it at the Historical Museum for about $20.00 or used at Amazon.com for about the same price. There is one copy in Siena’s Library, a couple copies in other local libraries, and one in my office.

Museum Visit:We will tour the American art collection at the Detroit Institute of Art on Sunday, November 23. The DIA has one of the best collections of American art in the world. Attendance is required. The Art Department will pay for your admission if you are at the Farnsworth entrance at 11:30. The tour will start at noon in the Diego Rivera Court.

Course Goals:By the end of this course, you will:

Write in-class quizzes that demonstrate your deep memory, critical-thinking, and essay-writing skills.

Demonstrate through class discussions and in-class essays the ways that both art and art history reflect the cultural concerns and interests of their creators.

Help to develop the comparison-contrast essay quizzes and final exam for this course that reflect your own cultural concerns and interests.

Create a timeline that places key examples of American art in chronological order and reveals the turning points in American history.

Define key terms associated with American art and history. Conduct primary and secondary research pertaining to an historical home in Adrian

and write a ten-page paper explaining the home’s key features and historical significance.

Art Department Learning Outcomes:You can find learning outcomes for the Art Department and all of the programs within the Art Department at MySiena > Departments and Offices Tab > Art Department.

Grading and Assignments:For the 300-level course, your final grade will be based on attendance, punctuality and participation; four scheduled quizzes (40%); your research paper with footnotes and bibliography (30%), a Time Line Exercise (10%); and a Final Exam (20%).

Grading Standards A (100% to 90%) means that you have thoroughly demonstrated assessment criteria. B (89% to 80%) means that you have sufficiently demonstrated assessment criteria. C (79% to 70%) means that you have demonstrated some of the assessment criteria. D (69% to 60%) means that you have demonstrated a little of the assessment criteria. F (below 60%) means no significant demonstration of assessment criteria has been

demonstrated.

Attendance, Punctuality and Participation:All three are essential if you expect to do well in this course. The primary source of information for the quizzes and final exam comes from the class lectures, discussions, videotapes, and museum visit. Moreover, various announcements, including possible revisions to the syllabus and a review of previous lecture material take place at the start of many classes. Therefore it is important that you be on time for every class. I take attendance every day and notice whether you are on time, prepared, and participating. If you are habitually late, absent more than twice, or not participating, you can expect to receive a lowered final grade.

Quizzes:Four quizzes are scheduled periodically throughout the semester. See the class schedule for quiz dates. No make-up quiz will be offered for any reason. If the grade you receive on the final exam is higher than any or all of the quiz grades, the higher grade will be substituted.

The purposes of the quizzes are to allow you to demonstrate that you have taken good notes during class and to exercise your deep-memory, critical-thinking and writing skills.

Unless I tell you otherwise, each quiz will be a comparison/contrast essay that you will write during class. To help make the course relevant to your own interests and concerns, you will be asked to participate in the selection of possible topics for each quiz about a week before.

On the day of the quiz, you must identify the images that I select and should take five minutes to sketch out and organize the topics that you will discuss in your essay. Then you should create an introduction that summarizes the topics that you will discuss in your essay. A typical introduction might read “These two objects are similar in that they…” (Name the topics); however, they are different in that they…” (Name the topics). The rest of the essay, which you will write in the remaining 20 minutes, should explain the claims you made in the introduction.

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The best essays will not only identify the name of the artist, name of the artwork, date, art movement, but also all relevant information presented in class—especially information not visible in the work itself, such as the materials or techniques used, related objects, the patron’s name and motivations for commissioning the work, the artist’s motivations, or other relevant historical context, including the historical forces that shaped the art produced during that era.

Rubric for assessing the quizzes

Identification of the images (deep memory):Have you accurately identified the names of the artists, the names of the artworks, their dates, etc.?

…Thoroughly……....Sufficiently...........Somewhat...............A Little.......................None20…..19…..18...........17..........16...........15..........14.............13........12........................0

Context (deep memory):Did you discuss all of the cultural and historical topics associated with the images as presented in

class? This would typically include related works of art, biographical information about the artist or patron, information about related political, religious, technical, or philosophical ideas, and/or important quotes.

…Thoroughly……....Sufficiently...........Somewhat...............A Little.......................None40…..38…..36...........34..........32...........30..........28..............26........24........................0

Introduction and Paragraph Construction (critical thinking):Did you organize your essay into a coherent whole and identify the key topics of your essay in your

introduction? Was your essay organized into well-constructed paragraphs? The best essays will also reveal your own interests, values and point of view in the introduction and/or conclusion.

…Thoroughly……....Sufficiently...........Somewhat...............A Little.......................None20…..19…..18...........17..........16...........15..........14.............13........12........................0

Description and Writing:Have you described the key aspects of the works of art that contribute to their meanings, such as the

elements, principles, materials, process, style, etc.? Is your description detailed and evocative? Is your writing clear and free of errors?

…Thoroughly……....Sufficiently...........Somewhat...............A Little.......................None20…..19…..18...........17..........16...........15..........14.............13........12........................0

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Research PaperWrite a research paper on a home in Adrian built in the nineteenth or early 20th century, preferably one illustrated at the 19th-Century Adrian Architecture website: http://web2.sienaheights.edu/personal/PBARR/. If possible, try to uncover who built it, when and how, and whether it is typical of homes built in this style. Also provide some of the cultural context about Adrian at that time to lend meaning to the home.

This assignment has been broken down into a series of steps: selection of a topic, initial research, interview, archival research, library research, draft, and final paper.

Select a topic:1. Visit the website http://web2.sienaheights.edu/personal/PBARR/ and open several of the links that

open essays about individual houses (most often written by former students). They offer you examples of the kind of paper that you will need to produce for this course. Read at least three of these and take notes about the qualities and features that make some essays better than others. Bring these notes with you to your meeting with me on or before September 10.

2. Select, for your own research project, two houses for which existing papers could be better written or one house for which there is currently no additional information. The owner of the Ketchum-Hoben-Nelson House at 440 State Street is willing to work with you, as are the McGraths, who live at 415 Dennis Street. I am especially interested in having someone rewrite the essay on the Burnham Historical Building at 204 E. Church Street.

3. Meet with me on or before September 10 to discuss your choices. You may sign up to research the home of your preference on a first-come, first served basis. Only one student will be permitted to research each home.

4. Once I approve your choices, visit and carefully describe the exterior of the home as it appears from the street. (Do not trespass without first knocking on the door and asking permission.) Sketch a plan (as much as possible from the exterior) and elevations. Take photographs. Note the colors, materials, shapes and textures. Be sure to consult an architectural dictionary, such as http://buffaloah.com/a/DCTNRY/vocab.html or http://web2.sienaheights.edu/personal/PBARR/glossary.html for proper architectural vocabulary.

Conduct initial research:1. Investigate at least three sources of information (books, websites, etc.) that describe the origins

and typical features of the style of your selected home. Start with the McAlesters’ book. I also have several other books in my office that you can borrow and photocopy the relevant pages.

2. Create a bibliography for these sources using a consistent style, such as the Turabian Style (http://library.osu.edu/help/research-strategies/cite-references/turabian/).

3. Write a statement about whether and how these sources agree with each other. Summarize the architectural style’s origins and characteristic features.

4. Write another statement analyzing whether your selected house is characteristic of the style. To what extent is it typical and to what extent is it not typical?

5. Look through Charles Lindquist’s book Adrian: The City That Worked, A History of Adrian, Michigan, 1825-2000 (Lenawee County Historical Society, 2004). There are numerous copies in nearby libraries. The book is organized by decade, so read the chapter carefully that describes the city at the time your home was built. Write a one- to two-paragraph summary of the main ideas about Adrian during that period. Add this information to your bibliography and to your statements (as appropriate).

6. Meet with me to review this information on or before October 1.7. Revise your statements based on our conversation.

Interview (should be conducted no later than mid-October.)1. After our first meeting meeting, I will try to help you make contact the owners of the house and

ask if you might tour their home for a research paper you are doing for a class at Siena Heights. I will tell them that you would like, with their permission, to photograph architectural details, sketch a floor plan of their home, ask them some questions, and record whatever information they have about the home. Ask them if they have an “Abstract of Title” that you could see or a list of the names of previous owners.

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2. If you are granted a tour, take the homeowner a copy of this assignment and the information you have generated so far.

3. Interview the homeowner about what they know of the house—what interesting people have owned it in the past, what additions or changes had been made and when do they think these alterations were made, what are their favorite parts of the house’s architecture etc.

a. Ask if they know any of the former owners (or their descendants) and whether they might have contact information for them.

b. Sketch the floor plan for each floor.c. Ask permission to take photographs of characteristic architectural details of the interior. d. Ask for a photocopy of the Abstract of Title, if they have it. Ask if they have any

additional information about the home. Offer to pay for the photocopy expense.e. Ask them if they would like a copy of your paper when it is finished.

Archival research:1. After talking with the homeowner, visit the archives of the Lenawee County Historical Society

Museum (110 East Church Street, 265-6071; open Tuesday through Saturday 10:00 am to 2:00 pm.). I will be in the archives on Saturday, October 25 from 10 to noon to assist you in your search.

2. Here are a few of the things you should look at when you are in the archives:a. The Sanborn Insurance Maps, which include ground plans of many homes in Adrian.b. The Adrian city directories (these are like phone books before telephones were invented,

some of which are also available at the Adrian Public Library) c. County Tax Assessments for your property.d. The Hollinger box labeled “Historic Buildings—Architecture Home Tours” e. Pictures of your selected home. Look first in the photo-archive card catalog as well as

the Hollinger boxes labeled “Adrian Pictures” (organized geographically) and the 1981-82 Survey Cards (organized by street name and house number).

f. Be sure to see if there is any relevant information about your home or previous homeowners in the following books that are preserved in the Heritage Room:

i. Whitney, W. A. and R. I. Bonner. History and Biographical Record of Lenawee County, Michigan (two volumes). Adrian, Michigan: W. Stearns & Co. Printers, 1879, 1880.

ii. Portrait and Biographical Album of Lenawee County. Chicago: Chapman Brothers, 1888.

iii. Knapp, John I., and R. I Bonner, Illustrated history and biographical record of Lenawee County, Mich. ... Adrian: The Times Printing Company, 1903. (Available on-line at http://www.hti.umich.edu/cgi/t/text/text-idx?c=micounty;idno=BAD0970.0001.001.)

iv. Bonner, Richard Illenden. Memoirs of Lenawee County, Michigan, From the Earliest Historical Times Down to the Present, Including a Genealogical and Biographic Record of Representative Families in Lenawee County, Illustrated (two volumes). Madison, Wisconsin: Western Historical Association, 1909.

3. Record any relevant information. Photocopies will cost you $0.25 each. You can take snapshots of images with your cell phone for free.

Library Research1. Follow up on any leads that your interviews, links in other essays, and archival research generate.2. Visit the Adrian Public Library (143 East Maumee, 265-2265; open Monday, Tuesday and

Thursday 10:00 to 8:00, Wednesday and Friday 10:00 to 5:30, Saturday 10:00 to 3:00). Ask one of the librarians to let you into the History Room, where local newspapers are preserved on microfilm. http://www.adrian.lib.mi.us/History.aspx

3. Use the information on the home’s Abstract of Title, from the city directories and from the County Tax Assessments, etc., to direct your newspaper research. Focus on the home when it was built. You can transcribe the information by hand, make snapshots with your cell phone, or save images to a flash drive.

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Draft 1. Update your bibliography. Be sure to use a consistent citation style.2. Organize the paper. Provide an introductory paragraph that summarizes all of the information that

you have collected.3. Revisit other papers at the site to help guide you.4. Write a draft of this paper. Make sure there is a clear introduction that mentions the topics that

will follow in your paper. Make sure each paragraph has a topic sentence. Provide citations (endnotes, footnotes, whatever) to help the reader trace information you discuss back to their original sources.

5. Email me a draft of your paper by November 22, when we visit the Detroit Institute of Art. I will read your paper with an eye toward making it presentable to the current homeowners. If you have followed all of the steps above, you can expect to earn a high grade.

Final paper (worth 30% of your course grade)1. Conduct any required additional research and rewrite your paper based on my comments to your

draft. Submit the work via email or on a flash drive so that I can convert it to a pdf file and post it at the Adrian Architecture website.

Time Line ProjectDue December 1, at the beginning of class

In preparation for the final exam, develop your own personalized time line of American Art from the Colonial period (starting with Early European Images of the Americas) to 1900, worth 10% of your final grade. For advice on how to create a timeline, see: http://dohistory.org/on_your_own/toolkit/timeline.html.

This assignment should help you conceive of works of art in relationship to each other, within the context of turning points, and linear trends. It should help you see possible relationships and sharpen your memory. You may complete this assignment on sheets of graph paper or on a computer, etc. (The style is not as significant as the content.) But you must present the duration of sequential periods in American art. Time should progress across the page at a uniform rate; for example, one inch might represent 100 years. In addition, your time line should indicate both the agreed upon dates that begin and end a given period (indicated in bold on the object list, below), and two characteristic examples of artworks produced during each. Only objects that appear on the attached object list should appear on your time line. This assignment will be graded on whether you have followed these directions and whether I believe you have grasped the concept of art trends co-existing and succeeding each other in time.

Final ExamThe final exam is scheduled for this room on Monday, December 8, 11:00 to 1:00. No make-up exam will be offered except for a documented medical emergency. The final, worth 20% of your final grade, will consist of vocabulary definitions; slide comparisons, and a choice of a long essay that you should prepare in advance. You are encouraged to study for this exam in small groups.

Students with Learning Disabilities:Siena Heights University is committed to providing a learning environment that benefits all students. Pursuant to the Americans with Disabilities Act of 1990 all reasonable accommodations will be made to meet the documented needs of students. Siena’s Accommodations Policy for Students with Disabilities requires students to provide written documentation of their disabilities to the Academic Advising Office. If you require special accommodations, it is your responsibility to notify each instructor during the first two weeks of the semester.

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Classroom RulesThese rules are designed to suggest the kinds of behaviors expected of you in this classroom: Respect each other.

o We will discuss a variety of topics in this course. Our discussions will always be scholarly and civil. Candor and constructive criticism of each other's ideas and work are expected. Disagreement is okay and often leads to great discussions, but degrading comments and personal attacks will not be tolerated.

Come to class prepared.o Make a calendar of due dates and pay attention them. o Think of school as rehearsal for your professional life.

In the workplace, your inability to meet deadlines might result in you losing your job.

o Come to class even if you are not prepared. There is no reason to make things even worse.

Laptops are permitted for legitimate purposes related to this course.

o You may use a laptop during class to take notes, work on class projects, or to conduct research relevant to this course—so long as it does not distract other students because of noise, etc.

o However, even permitted uses of your laptop might be inappropriate at times. For example, you should not be staring at your laptop or clacking away at the keyboard during discussions. Your focus should be on the topic at hand. Multitasking can seem rude.

o If I catch you using your laptop for personal "business" or amusement during class, you will no longer be permitted to use a laptop in any of my classes again. This includes visits to Facebook, Twitter, Tumblr, texting, emailing friends or family, instant messaging, etc.

No cell phones during class. Period. o In the workplace, you should not bring your cell phone to meetings—such as our class

meetings. To give us practice using this level of self-control, you will turn off and deposit your phones on the table near the door to the classroom when you enter. You may pick up and turn on your phone at the end of class.

o If you have an emergency brewing at home that requires you to keep your cell phone handy, let me know at the beginning of the class. Should your emergency call come in during class, please step out in the hall to answer it. This is the only reason that anyone should leave the class to use a phone.

Clean up after yourself. o If you plan to eat in class, please be aware of how loud or pungent your food is. Don't be

gross. o Be mindful not to spill food, drink, or anything during class. o Make sure you throw away trash. Please separate trash from recyclables. o Leave the room looking as good as, or better than, when you came in.

No juggling hatchets. Just ask the Venus de Milo.

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Course Schedule (subject to change):Class 1: August 25 Read this syllabusWatch DVD: Jack Leustig, “Episode 1: The Ancestors,” 500 Nations, 500 Nations Productions, 2004, 1:16. http://www.youtube.com/watch?v=6Dr_Qqja4RY

Class 2: August 27Timeline #1 and excerpt from Diana L. Eck, “Sacred Lands and Treaty Rights: The Black Hills.” Pre-Columbian Art of North America

September 1: Labor Day—No Class

Class 3: September 3Early European Images of the AmericasTimeline #2

Class 4: September 8Religious Pluralism in Colonial America, Part I

Class 5: September 10Religious Pluralism in Colonial America, Part II

Class 6: September 15Aristocrats in the British American Colonies

Class 7: September 17Twenty-five minute Quiz #1Video: Robert Hughes's "Promised Land" from American Visions.

Class 8: September 22Discuss Hughes’s video seriesJohn Singleton Copley and Benjamin West

Class 9: September 24Timeline #3Sons of Liberty and the Revolution

Class 10: September 29Images of George Washington

Class 11: October 1Neoclassicism and the Construction of Washington DC

Class 12: October 6Twenty-five minute Quiz #2Video: Robert Hughes's "The Republic of Virtue" from American Visions.

Class 13: October 8National Treasures, part 1

Class 14: October 13National Treasures, part 2

Class 15: October 15National Treasures, part 3Deadline to speak with Peter to select a paper topic

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Class 16: October 20Timeline #4Antebellum America

Class 17: October 22Revival Architecture at Mid-Century

Class 18: October 27Thomas Cole and the Hudson River School

Class 19: October 29Twenty-five minute Quiz #3Video: Robert Hughes's "The Wilderness and the West" from American Visions.

Class 20: November 3Timeline #5Westward Expansion and the Political Divide

Class 21: November 5Gender and Class after the Civil War, part 1

Class 22: November 10Gender and Class after the Civil War, part 2

Class 23: November 12World Fairs and Revival Architecture, part 1Due: Descriptive-Analysis Paper

Class 24: November 17World Fairs and Revival Architecture, part 2

Class 25: November 19Late Nineteenth-Century Aesthetic Movements

Sunday, November 23: Meet at Farnsworth entrance of the Detroit Institute of Art at 11:30 if you want SHU to pay for your admission. Meet at noon at the Diego Rivera Court for a tour of the American Art collection.

Class 26: November 24Twenty-five minute Quiz #4Video: Robert Hughes's "The Gilded Age" from American Visions.

Class Cancelled on Wednesday, November 26 for Thanksgiving Break.

Class 27: December 1Video: Robert Hughes's "Wave from the Atlantic" from American Visions.Due: Timeline Project

Class 28: December 7Video: Robert Hughes's "Streamlines and Breadlines" from American Visions.

The final exam is scheduled for this room on Monday, December 8, 11:00 to 1:00. The final exam will include definitions, a comparison essay, and a long essay that you can prepare in advance.

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Object ListFrom Angela Miller et al., American Encounters: Art, History and Cultural Identity, (Upper Saddle River, N.J.: Pearson Prentice Hall, 2008).

NIB = Not in book.

Pre-Columbian Art of North America(before 1492)Archaic(2000 to 500 BCE)1.3 Reconstruction of ceremonial enclosure, Poverty Point, Louisiana, c. 1500 BCE

Woodland(500 BCE to 400 CE)1.4 Falcon-shaped cut out, copper, 200 BCE – 1 CE, from Mound City, Ohio

Mississippian(800 to 1400 CE)1.1, 10 Ceremonial shell cup with engraving of “Birdman,” from Spiro Mounds, Okla., c. 1300 CE1.11 Monk's Mound, Cahokia, Illinois, c. 900-1200NIB Great Serpent Mound, near Locust Grove, Ohio, c. 1066

Anasazi(700 to 1300 CE)1.15 Anasazi artist, Olla (jar), northern Arizona, c. 1150 CE1.17, 18 Pueblo Bonito, Chaco Canyon, NM, 850-1150 CE9.26 Timothy O'Sullivan (photographer), Ancient Ruins in the Canyon de Chelly, New Mexico, 1873

Mimbres(600 to 1150 CE)1.20 Mimbres artist, Bowl with Koshare (clown) figure and “kill hole,” New Mexico, c. 1200 CE

Early European Images of the Americas(1564 to 1638)French:2.11 Jacques Le Moyne de Morgues, Rene Laudonniere and the Indian Chief Athore Visit Ribaut's

Column, 27 June 1564

English:2.4 John White, Indian Village of Secoton, c. 15852.23 Unknown artist, Sir John Caldwell of the Ojibwa Indians, c. 1785

Flemish (worked in Italy):2.3 Phillippe Galle (Dutch engraver), after design by Johannes Stradanus (Flemish, worked in

Florence and Rome), "Amerigo Vespucci Awakens a Sleeping America" from Nova Reperta, engraving of 1600 after a drawing of 1589

German:2.9 Theodor de Bry, The Landing on Española, 1594

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Religious Pluralism in Colonial America(1620 – 1760)

Catholic:2.31, 32 San Esteban, Acoma, New Mexico, 1629-424.19, 20 Pedro Huizar, Portal sculpture from San Jose y San Miguel de Aguayo, San Antonio, Texas, c.

1770-75

Congregationalist (Puritan):3.6 John Wadsworth, Plan of New Haven, Connecticut in 1748, based on plan of 16383.14 Anonymous, Elizabeth Freake and Baby Mary, c. 1671-743.16 Thomas Smith, Self-Portrait, c. 1680-903.24 Old Ship Meetinghouse, Hingham, Massachusetts, 1681 with additions of 1731 and 17553.29 John Ward House, Salem, Massachusetts, 1684

Anglican:3.25, 26 St. Luke's Church, Newport Parish, Virginia, c. 16804.17 St. Michael’s Church, Charleston, SC, 1752-61

Jewish:4.15, 16 Peter Harrison, Touro Synagogue, Newport, Rhode Island, 1759-63

Quaker:NIB Quaker Meetinghouse, Stony Brook, New Jersey, 1760

Dutch Reform Church:NIB Anonymous, Belshazzar's Feast, c. 1742

Moravian:NIB John Valentine Haidt (Polish-born), Lamentation over Christ's Body, c. 1760

African:3.41 Anonymous blacksmith, wrought iron “Watchman” (West African Tribal Art), late 18th

century

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Aristocrats in the British American Colonies(1700 – 1775)

4.2 Thomas Coram, Slave Quarters and Mulberry Plantation (1714), South Carolina, 18054.10 Mount Airy, Richmond County, Virginia (built for John Tayloe), 1754-644.27 John Goddard, Desk and Bookcase, Newport, Rhode Island, 1760-904.28 Ezra Stiles, Phebe and Elizabeth Moheegan’s Wigwam, Niantic, Connecticut, 17614.29 John Smibert, The Bermuda Group: Dean George Berkeley and Entourage, 1729NIB Isaac Royall House, 1733-37, Medford, MassachusettsNIB Robert Feke, Isaac Royall and Family, 1741 (Massachusetts)4.36 Justus Engelhardt Kuhn, Henry Darnell II, c. 1710 (Annapolis, Maryland)5.30 Prudence Punderson, The First, Second and Last Scene of Mortality, c. 1778NIB Wren Building, 1695-98, College of William and Mary, Williamsburg, Virginia

John Singleton Copley:4.32 Copley, Paul Revere, 17684.38 Copley, Watson and the Shark, 1778, 5.1 Copley, The Deplorable State of America, 1765NIB Copley, Mrs. Jerathmael Bowers, ca. 1763 (Rococo style)

Benjamin West and the “American School”:4.33 West, Agrippina Landing at Brundisium with the Ashes of Germanicus, 17684.34 West, The Death of General Wolfe, 17704.35 West, William Penn’s Treaty with the Indians in 1683, 1771-72NIB Matthew Pratt, The American School, 1765

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The Sons of Liberty, the Revolution, and National Treasures(1765 - 1825)

Paul Revere and the Sons of Liberty:4.24 Paul Revere, Sons of Liberty Bowl, 17685.2 Revere, Bloody Massacre, 17705.3 Revere, America Swallowing the Bitter Draught, 1774

Images of Liberty and Equality:5.9 Scipio Moorhead (attributed), Phyllis Wheatley, 17735.10 Samuel Jennings, Liberty Displaying the Arts and Sciences, 1790-92p. 135 Maria Crowninshield, Allegory of Female Education, 1804

Images of George Washington:NIB Jean-Antoine Houdon, George Washington, 17885.6 Gilbert Stuart, George Washington (Athenaeum portrait), 17965.7 Adolph Wertmüller, George Washington, c. 1794 NIB Trumbull, George Washington Resigning his Commission as Commander of the Army, 18245.8 Horatio Greenough, George Washington, 18406.9 Robert Mills, Washington Monument, 1848-88

Neoclassical Architecture:3.12 Peter Charles L'Enfant, Plan of the City of Washington, 17915.14 Thomas Jefferson, Monticello, near Charlottesville, VA, 1770-82, 1796-18095.15 Jefferson et al, model for the Virginia State Capitol, Richmond, VA, 1785 plaster5.16 Jefferson, Drawing of the University of Virginia, 1817-265.17 Charles Bulfinch, Massachusetts State House, Boston, 1795-85.18 William Thornton, U. S. Capitol, Washington, DC, 1793 (rebuilt after the War of 1812 by Latrobe and Bulfinch, expanded in 1855 by Thomas U. Walter)5.19 Benjamin Henry Latrobe, Tobacco Capital for the Vestibule to the Supreme Court, c. 18105.20 Samuel F. B. Morse, The Old House of Representatives, 1822NIB James Hoban, White House, 1793, south portico by Jefferson and Latrobe, 1824NIB Benjamin Latrobe, Bank of Pennsylvania Building, Philadelphia, 1798 (column erected in Memorial Park, Adrian, Michigan in 1870)NIB John Trumbull, Declaration of Independence 4 July 1776, 1818, US Capitol Rotunda

John Vanderlyn, Washington Allston and Samuel Morse:5.34 John Vanderlyn, Ariadne Asleep on the Island of Naxos, 1809-145.35 Washington Allston, Elijah in the Desert, 1817-186.26 Samuel F. B. Morse, The Gallery of the Louvre, 1833

The Peale Family:5.5 Charles Willson Peale, Benjamin Franklin, 17895.32 Charles Willson Peale, Staircase Group (Titian and Raphaelle Peale), 17955.33 Charles Willson Peale, The Artist in his Museum, 1822NIB Rembrandt Peale, The Court of Death, 1820, Detroit Institute of ArtNIB Raphaelle Peale, Venus Rising from the Sea—A Deception (After the Bath), c. 18226.16 Moses Williams, Cutter of Profiles, c. 1803

James John Audubon, George Catlin, Karl Bodmer and Mathew Brady:p.171 James John Audubon, Carolina Parakeet, 18257.5 George Catlin, Portrait of Four Bears (Mah-to-toh-pa) in full dress, 18327.7 Karl Bodmer, Kia-Sax, Piegan Blackfeet Man, 1833-34

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NIB Mathew Brady, John James Audubon, 1847 Daguerreotype (1850 lithograph by Francois D’Avignon from the portfolio of 12 images, “Gallery of Illustrious Americans”)Antebellum American Art(1825 – 65)

New Industries, Technology, and Transportation:8.11 Samuel Gragg, Elastic Side Chair, 1808 (bent wood)8.12 Ithiel Town, lattice truss bridge, Meriwether County, Georgia, c. 1830 8.13 Augustine Taylor, Balloon Frame Construction, 18338.14 William Munson, Eli Whitney Armory, c. 1826-28 (interchangeable parts)NIB W H Bartlett, Lockport, Erie Canal, engraved by W. Tombleson, London, 1838 (canal)NIB Erie and Kalamazoo Railroad Bank note, Two Dollar Bill, August 1, 1854 (railroads)

New Religions:Mormon: NIB William Weeks and Joseph Smith, Jr., Sunstone Capital from the Nauvoo,

Illinois, Mormon Temple, 1846, destroyed by arson fire in 1848; rebuilt in 2002Shaker: 6.23 Ministry dining room, Hancock Shaker Village, Hancock, Massachusetts, 1790+

6.24 Polly Collins, Gift Drawing: An Emblem of the Heavenly Sphere, 1854

Picturesque Cemeteries and City Parks:8.4 Alexander Wadsworth and Dr. Jacob Bigelow, Mount Auburn Cemetery, established 1831, Prang &

Mayer's lithographers, Mount Auburn Cemetery, View from Consecration Dell, 1856-60NIB Oakwood Cemetery, Adrian, Michigan, 18488.6 John Bachman (printmaker), Central Park, New York City (designed by Frederick Law Olmsted

and Calvert Vaux, opened in 1859), 1863

Revival Architecture:NIB Governor Croswell House (built for and by Croswell’s uncle Daniel Hicks), 228 North Broad Street,

Adrian, Michigan, 1841-43 (Greek Revival)5.27 Andrew Jackson Davis, Study for a Greek Revival Double Parlor, c. 18306.6 Alexander Jackson Davis, Lyndhurst, near Terrytown, New York, elevation and plan, 1838, 1865

(Gothic Revival)8.8 Andrew Jackson Downing, Villa in the Italianate Style, 1850NIB Hart-Cavallero House, 430 Dennis Street, Adrian, 1856 (Italian Villa Style)8.9 A. J. Downing, Rotch House elevation, New Bedford, Massachusetts, 1845-47 (Gothic Revival)

Orson S. Fowler's Octagon Houses:NIB Orson Fowler, Fowler Residence, Fishkill, NY, 1845 NIB J. H. Champion House, 523 South Winter Street, Adrian, 1856

Thomas Cole:8.17 Cole, Expulsion from the Garden of Eden, 1827-88.18 Cole, The Course of Empire: The Pastoral State, 18348.19 Cole, The Course of Empire: The Consummation of Empire, 1835-368.20 Cole, The Course of Empire: Destruction, 1836NIB Cole, View from Mount Holyoke, Northampton, after a Thunderstorm (The Oxbow), 1836NIB Cole, Dream of Arcadia, 19386.5 Cole, The Architect’s Dream, 1840 (Toledo Museum of Art)

Asher B. Durand, Frederic Edwin Church and the “Hudson River School”:8.21 Asher B. Durand, Kindred Spirits (Thomas Cole and William Cullen Bryant), 18498.22 Frederic Church, New England Scenery, 18518.24,25 Church, The Heart of the Andes, 18598.29 Church, Cotopaxi, 1862

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Westward Expansion, the Middle Ground and the Displaced Indians:6.20 Unknown, Chief Blackhawk (Cigar Store Indian), c. 18507.12 Asher B. Durand, Progress (The Advance of Civilization), 18537.15 Charles Deas, Death Struggle, c. 18457.16 George Caleb Bingham, Daniel Boone Escorting Settlers through the Cumberland Gap, 1851-27.18 Bingham, Fur Traders Descending the Missouri, 1845NIB Emanuel Leutze, Westward the Course of Empire Takes Its Way, 1861-29.22 Carlton Watkins, Yosemite Valley from the Best General View, 1865

Race in the Political Divide:6.4 Hiram Powers, The Greek Slave, 18436.26 Samuel FB Morse, Gallery of the Louvre, 18336.28 Richard Caton Woodville, War News from Mexico, 18486.33 William Sidney Mount, Farmers Nooning, 18366.38 Zip Coon, A Favorite Comic Song, Sheet music cover, 18348.31 Eastman Johnson, Negro Life at the South (Old Kentucky Home), 18598.33 J. T Zealy (commissioned by Louis Agassiz), Jack (driver), Guinea, Plantation of B.F. Taylor, Esq.,

Columbia, S.C., 1850 daguerreotype

Genre Paintings and Prints from the American Art-Union Lottery:6.1 Lilly Martin Spencer, Domestic Happiness, 1849, Detroit Institute of Art6.27 William Sidney Mount, Painter’s Triumph, 18386.31 Spencer, Young Husband: First Marketing, 18548.23 Currier & Ives (after G H Durrie & J Schatler), Home to Thanksgiving, 1867

Civil War Photography (albumin prints from collodion negatives)8.36 Timothy O'Sullivan (photographer) & Alexander Gardner (printer), A Harvest of Death,

Gettysburg, Pennsylvania, 1863, from Gardner's Photographic Sketchbook of the War, 18658.37 Alexander Gardner, Home of a Rebel Sharpshooter, Gettysburg, 18638.39 Mathew Brady, Robert E. Lee at his Home, April, 1865

“Luminists”:8.26 John F. Kensett, Eaton's Neck, Long Island, 18728.27 Fitz Henry Lane, Owl’s Head, Penobscot Bay, Maine, 18628.30 Martin Johnson Heade, Thunderstorm over Narragansett Bay, 1868

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The Gilded Age (1865 – 1913)

Westward Expansion after the Civil War6.39 Frances “Fanny” Palmer, Across the Continent: “Westward the Course of Empire Takes its

Way,” 1868 lithograph7.20 Charles Christian Nahl, Sunday Morning at the Mines, 18729.21 Andrew Jackson Russell, East and West Shaking Hands, Promontory Point, Utah, 19699.23 Albert Bierstadt, Donner Lake from the Summit, 18739.24 Thomas Moran, Grand Canyon of the Yellowstone, 18729.25 Timothy O’Sullivan, Sand Dunes, Carson Desert, Nevada, 1868 (albumin print from a collodion

on glass negative)9.26 Timothy O'Sullivan, Ancient Ruins in the Canyon de Chelly, New Mexico, 1873 (albumin print

from a collodion on glass negative)

Blacks After Abolition:p. 280 John Quincy Adams Ward, Freedman, 18638.42 Edmonia Lewis, Forever Free, 18679.3 Thomas Nast, “The Ignorant Vote—Honors are Easy,” Harper’s, December 9, 18769.6 Augustus Saint-Gaudens, The Robert Gould Shaw Memorial, Boston, Massachusetts, 1884-979.9 Winslow Homer, The Gulf Stream, 18999.12 Henry Ossawa Tanner, The Banjo Lesson, 1893

Masculinity in the Gilded AgeNIB Homer, Veteran in a New Field, 1865NIB Homer, Snap the Whip, 1872NIB William Michael Harnett, After the Hunt, 1885NIB Thomas Pollock Anschutz, Ironworkers' Noontime, 1880NIB Daniel Chester French, Minute Man, 1873-510.5 Thomas Hovenden, Breaking Home Ties, 189011.13 Thomas Eakins, Champion Single Sculls (Max Schmitt), 187111.15 Eakins, Surgical Clinic of Dr. Samuel Gross, 187511.17 Augustus Saint Gaudens, Memorial to William Tecumseh Sherman, New York City, 1903

Femininity in the Gilded Age:8.41 Spencer, War Spirit at Home (Celebrating the Victory at Vicksburg), 18668.42 Edmonia Lewis, Forever Free, 186710.9 John Singer Sargent, The Daughters of Edward Boit, 1882-310.15 Mary Cassatt, Mother and Child, 188911.9 William Paxton, Tea Leaves, 190911.12 Cecilia Beaux, Dorothea and Francesca, 1898

The “difficult” Woman in the Gilded Age:10.10 Sargent, Madame X (Virginie Gautreau of New Orleans), 1883-411.11 Cassatt, At the Opera (In the Loge), 1879NIB Cassatt, Reading "Le Figaro," 1877-78

Documentary-style Photography:Chronophotography:

11.28 Eadward Muybridge, “Sallie Gardner,” from The Horse in Motion, June 1878Social Reform Photojournalism:

11.26 Jacob Riis, Five Cents a Spot, 1888 (from How the Other Half Lives)11.27 Riis (or assistant), Bandit’s Roost, c. 1888

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Revival Architecture and Interior Design after the Centennial Exposition (Philadelphia, 1876), and the World’s Columbian Exposition (Chicago, 1893):

Medieval Revivals:14.14 John and Washington Roebling, Brooklyn Bridge, New York City, 1869-83 (Gothic) (engraving by Charles Graham from Harper’s Weekly, May 26, 1883)10.20,21 H. H. Richardson and John La Farge, Trinity Church, Boston, c. 1875 (Romanesque)NIB Richard Norman Shaw, Centennial Exposition Pavilion for Great Britain, Philadelphia, 1876 (British “Jacobethan” revival)NIB Christian Frederick Matthes, Old Presbyterian Manse, 435 Dennis Street, 1895 (so-called “Queen-Anne” style)

Colonial and Classical Revival: NIB Harry Wachter, Mott House, 304 State Street, Adrian, 1925 (Georgian Colonial Revival)11.23 Daniel Burnham et al., World's Columbian Exposition, Chicago, Illinois, 189311.19, 20 McKim, Mead and White, Pennsylvania Station, NYC, 1905-10 (above ground)NIB Christian Frederick Matthes, Adrian City Hall (formerly Lenawee County Savings Bank,

135 East Maumee Street, Adrian, 1907Exoticism:

10.17 Louis Comfort Tiffany & Candace Wheeler, Mr. George Kemp’s Studio, c. 1883 (Islamic)10.37 Grace Nicholson’s Indian Art Gallery, Pasadena, California, c. 1925 (Native American)11.25 Midway Plaisance (Street of Cairo), World’s Columbian Exposition, Chicago, Illinois,

1893

Machine Aesthetic in Architecture:9.15 The Great Corliss Engine in Machinery Hall, Philadelphia Centennial

Exhibition, 187610.2 Machinery Hall, World’s Columbian Exposition, Chicago, Illinois, 1893NIB George Ferris, Jr., Ferris Wheel, Columbian Exposition, Chicago, Illinois, 189311.19, 20 McKim, Mead and White, Pennsylvania Station, NYC, 1905-10 (under ground),

torn down in 1963

Art Nouveau, Aestheticism, Impressionism and Symbolism:10.1 Louis Comfort Tiffany, Vase, 1893-9610.4 William Merritt Chase, In the Studio (15 West Tenth Street), c. 1880 10.6 Childe Hassam, The El, New York, 189410.7 John Twachtman, Winter Harmony, c. 189010.11 James Abbott McNeill Whistler, Arrangement in Gray and Black (Portrait of the Artist's

Mother), 187110.12 Whistler, Nocturne in Blue and Gold (The Old Battersea Bridge), c. 187511.2 George Inness, Scene at Durham, an Idyl, 1882-8511.4 Albert Pinkham Ryder, Toilers of the Sea, 1883-84

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