ARH 210 AA American Art Fall 2014Mondays and Wednesdays, 11:30 to 12:45Prerequisite: ART107 (Foundations II), 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 Description (as it appears in the catalogue): American art and architecture from the Colonial era to the nineteenth century are explored within their changing historical contexts.

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. A writing assignment provides students with the opportunity to use rudimentary research skills and to focus their attention more narrowly on a single works of art related to their personal and/or cultural interests.

Required Text:There is no required text for this course. 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

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 Street 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. Select a work of American art before 1900 at a nearby museum that is relevant to your cultural

concerns and interests, conduct rudimentary research about the artwork online, visit, observe, and describe the work carefully, and write a seven-page paper explaining the work’s likely meaning.

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:Your final grade will be based on attendance, punctuality and participation; four scheduled quizzes (40%); a Description-Analysis Paper (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 in advance.

On the day of the quiz, you must identify the images that I select. Then you should take five minutes to sketch out and organize the topics that you will discuss in your essay. At the head of your essay, you should create an introduction that summarizes the topics that you will discuss. 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). For the remaining 20 minutes, you should explain the claims you made in the introduction.

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.

The quizzes will be assessed on: Identification of the images (20%)

Discussion of context (40%) Introduction and Paragraph Construction (20%) Description and writing (20%) [spelling does not count]

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Description-Analysis Paper with Works Cited Page:This paper is due on November 12, at the beginning of class. Email me before it is due (no later than the day before) if for any reason you will not be able to turn your paper in on time.

This is not intended to be a research project (and will not satisfy the Art Department’s learning outcome related to writing a research paper). Rather it is an opportunity for you to select, look up online, look at in person, describe, and come to some conclusion about the meaning of a work of art in a nearby museum.

To narrow down your selection of possible topics for this paper, first visit the websites for the Detroit Institute of Art, the Toledo Museum of Art and the University of Michigan Museum of Art to find several American objects created before 1900 that interest you.

The Detroit Institute of Arts (313 883-7900; dia.org) is located an hour and twenty minutes northeast of Adrian, at 5200 Woodward Avenue. It has one of the best collections of American Art in the world. The DIA is open Tuesday through Thursday 9-4, Friday 9-10, Saturday and Sunday 10-5, closed Monday. Admission is $5 for students with ID and free for residents of Wayne, Oakland and McComb Counties. Parking costs $5 at the Science Museum lot across John R Street.

The Toledo Museum of Art (800 644-6862; toledomuseum.org) is located 45 minutes southeast of Adrian, off Interstate 75, exit 202B; follow the signs. The collection of American art at the TMA is diverse, with several choice examples. It is open Tuesday and Wednesday 10-4, Thursday and Friday 10-9, Saturday 10-5, and Sunday, noon to 5, closed Monday. Admission is free; parking costs $5 in the museum’s lot.

The University of Michigan Museum of Art (734 764-3731; umma.umich.edu) is located 55 minutes northeast of Adrian, at 525 South State Street, Ann Arbor. The collection of American art is limited but includes a handful of excellent examples. The museum is open Tuesday through Saturday 11 to 5; Sunday 12 to 5, closed Monday. Admission is free; you can find metered parking on adjacent streets and in city-own parking lots.

As you explore the museums’ online collections, try to select objects that allow you to investigate aspects of your personal or cultural interests or concerns. For example, you might be curious about successful women artists, such as Lily Martin Spencer, or depictions of or by women, African-Americans, or Native Americans, such as Mary Edmonia Lewis, or Biblical allegories or mythical subjects by artists such as Rembrandt Peale, or picturesque landscapes depicting American agricultural and industrial prosperity, such as by Jasper Francis Cropsey. Once you’ve started to narrow down your choices, write down examples of the kinds of images that interest you.

I am aware that the museums’ websites are not always set up well for searching by topic. So if you can’t find anything by looking online, come see me and I will give you some guidance.

No later than October 15, have a conversation with me about which objects will allow you to write a successful paper. During our meeting, be sure to ask if I have any useful information in my office library.

After narrowing your topic in conversation with me, do a bit of rudimentary research. For example, you should do a quick Google search of the artist’s name, the title of the work, the date, etc. Focus on information from credible sources, such as other museums’ websites. If you look at wiki sites, confirm the information you find there is credible by also looking at the sources cited in the wiki. This might require you to look for books and articles in Siena’s library databases.

Please note: this paper should focus on the work of art and its meaning. Even though you might discover fascinating details about the artist’s life, this is not a biography assignment and the biographical information should take no more than a paragraph. Of course, if some event in the artist’s life (or other contextual

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information) helps to explain the meaning of the artwork, by all means include those details in your paper. Just remember to keep the focus of the paper on the selected artwork itself.

Next, you need to visit the museum and look at the object in person. (Beware: not every object is on display at all times, so have a back-up plan or two—just in case.) Looking at the work in person will better allow you to grasp the scale, surface textures, minute details, correct color, etc. Also, by looking around the gallery, you might discover other related artworks and interpretive information that could help you make sense of your selected object.

When you go to the museum, take a sketchbook and a camera (a cell phone camera will do). Please be sure to turn off the flash on your camera. To prove that you’ve actually visited the museum, take two snapshots (more if you want). One must depict you standing next to the object. The other must record all of the information provided by the museum in the galleries that helps you with your interpretation. Insert these images into your paper. Then record and describe (in your own words) the key features of the object in your sketchbook. A quick drawing with notes is a great idea.

Finally, produce a seven-page, double-spaced, typed paper discussing your interpretation of the work based on the information that you uncovered in your research.

Assessment Rubric for the paper:

Interpretation:Did you focus the paper on the meaning of the selected work of art and formulate an introduction with a logical thesis that states what you think the artist (and/or his/her patron) was trying to communicate with this object? In this thesis, you should explicitly state the: who, what, when, where and especially why and how of the work (for example: “Velasquez painted Las Meninas in 1656 in order to elevate his own status in society by depicting himself in the company of royalty.” Does your analysis make sense?

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

Organization and Writing:Did you organize your paper into topics and create a sequence of carefully crafted paragraphs (each paragraph with a topic sentence) that support your thesis? Is the paper free from spelling and grammatical errors?

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

Description:Did you describe your object in detail immediately after the introduction—and before you jump into a detailed analysis of the work's meaning? Your description might take up two or three paragraphs—depending on the complexity of the object. Be sure to provide enough detailed description that it becomes visible to the reader’s mind’s eye. For example, this might include a discussion of the work’s tendency toward abstraction or truth to optical reality, and/or the artist’s choice of elements and principles (composition), style, subject matter, etc. Use your own words; that way there is no need to cite the sources of your description.

….Thoroughly……....Sufficiently...........Somewhat...............A Little.......................None30…29…28....27........26....25....24..........23…22…21..........20…19…18..................0

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Contextual Information:Did you provide enough convincing contextual information to explain the meaning of the work, and did you cite the sources of all contextual information? This might be information relevant to the artist’s life, patrons, the subject matter, historical events, etc. Each piece of contextual information must be accompanied by a citation that allows the reader to find your source, whether it is the museum’s label, a website, a book, an article, etc. Citation style is not important so long as your approach is consistent throughout the paper.

…Thoroughly……....Sufficiently...........Somewhat...............A Little.......................None10…………..9………..………..8............................7...............................6……........................0

Works Cited PageDid you provide a list of all reference materials mentioned in your paper? The format of the this page is not important so long as you are consistent and provide enough information that I can easily find and confirm your sources.

…Thoroughly……....Sufficiently...........Somewhat...............A Little.......................None10…………..9………..…8............................7..........................6……........................0

Snapshots in the museum:Did you provide evidence that you actually visited the museum? Be sure to include one snapshot of you standing next to the artwork and another snapshot of all information provided in the galleries that helps you to interpret the meaning of the object.

…Thoroughly……....Sufficiently...........Somewhat...............A Little.......................None10…………..9………..…8............................7..........................6……........................0

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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 is 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. 900-1200, near Saint Louis, MONIB Great Serpent Mound, near Locust Grove, Ohio, c. 1066, east of Cincinnati, Ohio

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, 1833-34NIB Mathew Brady, John James Audubon, 1847 Daguerreotype (1850 lithograph by Francois D’Avignon from the portfolio of 12 images, “Gallery of Illustrious Americans”)

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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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