Presentation on theme: "We will begin promptly on the hour. The silence you hear is normal. If you do not hear anything when the images change, Caryn Koplik"— Presentation transcript:
We will begin promptly on the hour. The silence you hear is normal. If you do not hear anything when the images change, e-mail Caryn Koplik email@example.com firstname.lastname@example.org for assistance. Art and American Identity: 1670 - 1789 An Online Professional Development Seminar Maurie McInnis Associate Professor of American Art and Material Culture Director of American Studies University of Virginia
americainclass.org2 GOALS To understand how different cultures came together, first as colonies then as an independent nation, to form a new identity that was distinctly American To learn how to ask questions of art Art and American Identity: 1670 - 1789
americainclass.org3 FROM THE FORUM Challenges, Issues, Questions In 1690, to what extent were the arts and material culture of the British Atlantic colonies “American”? To what extent were they “American” by 1789? What major factors defined the evolution in American arts and material culture in this period? To what extent did this evolution reflect the changing self-image of Americans? How do issues of gender shape national identity? Challenge: I don’t feel comfortable using art in my classes because I don’t have the training to critique it. Art and American Identity: 1670 - 1789
americainclass.org4 Maurie McInnis Professor of American Art and Material Culture Associate Dean College of Arts and Sciences University of Virginia In Pursuit of Refinement: Charlestonians Abroad, 1740-1860 (1999) The Politics of Taste in Antebellum Charleston (2005) Slaves Waiting for Sale: Visualizing the Southern Slave Trade (2011)
americainclass.org5 Discussion Questions How does the William Byrd of the image compare to the William Byrd of his diary? How should we read and teach our students to read primary sources like diaries? Art and American Identity: 1670 - 1789 William Byrd II oil on canvas, c. 1724 Attributed to Hans Hysing
americainclass.org6 Art and American Identity: 1670 - 1789 Frere Luc: France Bringing the Faith to the Indians of New France, ca. 1675
americainclass.org7 Art and American Identity: 1670 - 1789 Tishcohan, oil and canvas, 1735 Gustavus Hesselius Lopowinso, oil on canvas, 1735 Gustavus Hesselius Discussion Question How do Euro-American artists choose to represent Native Americans?
americainclass.org8 Art and American Identity: 1670 - 1789 Charles Calvert and His Slave oil on canvas, 1761 John Hesselius Discussion Questions What does this portrait say about the individuals portrayed? How can we use images such as these to teach about colonial life? What limitations might there be?
americainclass.org9 Art and American Identity: 1670 - 1789 John Rose, The Old Plantation, before 1795 Discussion Questions How does the representation of African American slaves differ in this image? What can we learn from this image?
americainclass.org10 Art and American Identity: 1670 - 1789 Discussion Question What is the Consumer Revolution? On Acquiring a China Bowl & Silver Spoon, ca. 1730 as described in his autobiography (written 1771, 1784-85, 1788) We have an English Proverb that says “He that would thrive / Must ask his Wife”; it was lucky for me that I had one as much dispos’d to Industry and Frugality as my self. She assisted me cheerfully in my Business, folding and stitching Pamphlets, tending Shop, purchasing old Linen Rags for the Paper-makers, &c. &c [etc.]. We kept no idle Servants, our Table was plain and simple, our Furniture of the cheapest. For instance my Breakfast was a long time Bread and Milk (no Tea), and I ate it out of a twopenny earthen Porringer with a Pewter Spoon. But mark how Luxury will enter Families, and make a Progress in Spite of Principle. Being call’d one Morning to Breakfast, I found it in a China Bowl with a Spoon of Silver. They had been bought for me without my Knowledge by my Wife, and had cost her the enormous Sum of three and twenty Shillings, for which she had no other Excuse or Apology to make but that she thought her Husband deserv’d a Silver Spoon and China Bowl as well as any of his Neighbours. This was the first Appearance of Plate and China in our House, which afterwards in a Course of Years as our Wealth increas’d augmented gradually to several Hundred Pounds in Value.
americainclass.org11 Art and American Identity: 1670 - 1789 On Accumulating Luxuries Too Soon, 1732 Franklin, writing as “Anthony Afterwit,” The Pennsylvania Gazette,... I soon saw that with Care and Industry we might live tolerably easy, and in Credit with our Neigh-bours: But my Wife had a strong Inclination to be a Gentlewoman. In Consequence of this, my old-fashioned Looking-Glass [mirror] was one Day broke, as she said, No Mortal could tell which way. However, since we could not be without a Glass in the Room, My Dear, says she, we may as well buy a large fashionable One that Mr. Such-a-one has to sell; it will cost but little more than a common Glass, and will be much handsomer and more creditable. Accordingly the Glass was bought, and hung against the Wall: But in a Week’s time, I was made sensible by little and little, that the Table was by no Means suitable to such a Glass. And a more proper Table being procur’d, my Spouse, who was an excellent Contriver, inform’d me where we might have very handsome Chairs in the Way; And thus, by Degrees, I found all my old Furniture stow’d up into the Garret, and every thing below alter’d for the better.
americainclass.org12 Art and American Identity: 1670 - 1789 On Accumulating Luxuries Too Soon, 1732 (Cont’d) Had we stopp’d here, we might have done well enough; but my Wife being entertain’d with Tea by the Good Women she visited, we could do no less than the like when they visited us; and so we got a Tea-Table with all its Appurtenances of China and Silver. Then my Spouse unfortunately overwork’d herself in washing the House, so that we could do no longer without a Maid. Besides this, it happened frequently, that when I came home at One, the Dinner was but just put in the Pot; for, My Dear thought really it had been but Eleven: At other Times when I came at the same Hour, She wondered I would stay so long, for Dinner was ready and had waited for me these two Hours. These Irregularities, occasioned by mistaking the Time, convinced me, that it was absolutely necessary to buy a Clock; which my Spouse observ’d, was a great Ornament to the Room! And lastly, to my Grief, she was frequently troubled with some Ailment or other, and nothing did her so much Good as Riding; And these Hackney Horses were such wretched ugly Creatures, that — I bought a very fine pacing Mare, which cost £20 [English pounds, sterling]. And hereabouts Affairs have stood for some Months past.
americainclass.org13 Art and American Identity: 1670 - 1789 Teapot, 1700–1715 Jacob Boelen (American, ca. 1657–1729/30) Silver; Overall: 6 7/16 x 10 3/8 x 5 3/16 in., 713.3 grams (16.4 x 26.4 x 13.2 cm, 22.933 troy ounces); Diam. of foot: 3 11/16 in. (9.4 cm) Gift of Mrs. Lloyd K. Garrison, in memory of her father, Pierre Jay, 1961 (61.246a,b) Discussion Question What is the importance of stuff?
americainclass.org14 Art and American Identity: 1670 - 1789 Covered punchbowl with platter, ca. 1745 Chinese for the Swedish market Hard paste; Punchbowl: H. with cover 12 1/2 in. (31.8 cm); Platter: Diam. 21 3/4 in. (55.2 cm) Purchase, Joseph Pulitzer Bequest, 1940 (40.133.1a,b–.2) Discussion Question What can a punch bowl teach us about global markets and social traditions?
americainclass.org15 Art and American Identity: 1670 - 1789 Elizabeth Harrison Randolph (Mrs. Peyton Randolph) oil on canvas, c. 1755 John Wollaston Discussion Question How can we use portraits to talk about the lives of women?
americainclass.org16 Art and American Identity: 1670 - 1789 Elizabeth Randolph, oil on canvas, c. 1755 John Wollaston Discussion Question How can we use portraits of children to connect children with the past?
americainclass.org17 Art and American Identity: 1670 - 1789 Bureau table, ca. 1765 Attributed to John Townsend (American, 1733–1809) Newport, Rhode Island Mahogany, chestnut, tulip poplar, white pine; Discussion Question What can furniture tell us about the past?
americainclass.org18 Art and American Identity: 1670 - 1789 Sea Captains Carousing in Surinam, oil on bed ticking, ca. 1752-1758, John Greenwood Discussion Question What does this image tell us about life in the 18th century?
americainclass.org19 Art and American Identity: 1670 - 1789 “No Stamp Act,” teapot, ca. 1765 Discussion Question What role did objects play in defining American identity? “The Repeal, or the Funeral of Miss Ame-Stamp,” ca. 1765
americainclass.org20 Art and American Identity: 1670 - 1789 “The Repeal, or the Funeral of Miss Ame-Stamp,” ca. 1765.
americainclass.org21 Art and American Identity: 1670 - 1789
americainclass.org22 Last Shot Have we answered your questions? Art and American Identity: 1670 - 1789
americainclass.org23 Use The Forum To continue the discussion. To share fresh approaches and discussion questions that work. We will monitor the forum until December 20. Art and American Identity: 1670 - 1789
americainclass.org24 Art and American Identity: 1670 - 1789 Next seminar: “Winslow Homer’s Civil War Art” 7:00 - 8:30 p.m. EST Tuesday, December 4 Kirk Savage University of Pittsburgh
americainclass.org25 Thank you. Please submit your evaluations. Art and American Identity: 1670 - 1789