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1286:", citing the exhibition's 55 text cards accompanying the artworks as a direct rejection of the traditional view of United States history as a triumphant, inevitable march westward. The head of the Smithsonian, Robert McAdams, responded to the attack by saying he welcomed an inquiry, which he hoped would allay concerns and added, "I don't think the Smithsonian has any business, or ever had any business, developing a political agenda." Stevens called the show "perverted" but later conceded to
598:"These images give visual expression to white attitudes toward Native peoples who were considered racially and culturally inferior." The edited version of this label read, "These images give visual expression to white attitudes toward Native peoples." Truettner explained in an oral interview with Andrew Gulliford that he made changes to the text because he "wanted to catch visitors, not alienate them" and because he believes "in communicating with the larger museum audience."
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523:, Truettner explains, was prompted by real-estate speculation. He writes, "…in fact were no more than commercial vanguards. They were trespassers on foreign territory who began the process of separating Indians from their land. These images communicated that opportunities on the frontier awaited everyone and perpetuated the myth that the settling of the west was peaceful, when in reality it was bitterly contested every step of the way."
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not to the actual events but to the memory of those events and its impact to future audiences." Critics saw this as the curator's attempt to deny that the art of
Frederic Remington, Charles Schreyvogel, Charles Russell, and Henry Farny had any basis in western realism and that their images were merely products of composite sketches based on photographs.
415:(1850), portrays a prosperous-looking man with his wife and son, all gazing west, posed against a golden landscape. The text labels called it "more rhetorical than factual", an image that "ignores the controversy that attended national expansion by equating the westward trek of the Grayson Family with white people's belief in the idea of progress."
443:", a notion popular in the 1840s and 1850s which expounded that the United States was impelled by providence to expand its territory. Called the "Spirit of the Frontier", the scene was widely distributed as an engraving that portrayed settlers moving west, guided and protected by a goddess-like national personification known as
1197:. By appealing to patriotism, the Senators used funding of the Smithsonian as an opportunity to criticize the "dangers of liberalism." Stevens argued that the institutional guardians of culture – the federally funded Smithsonian and other related federally funded arts programs in general – had become "enemies of freedom."
941:(1892), an image of an old chief with his young white "victim," raised explicit questions about the intersection of gender and race and the function of the gaze in constructing meaning in this troubled emotional and cultural territory in a way that shocked viewers because it had not been prepared for earlier." Stein adds:
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dissenting material. Through the use of the 55 text labels, the exhibition curator explicitly asked the audience to "see through" the images to the historical conditions that produced them. This technique raised what critics called "uncomfortable questions about basic
American myths and their relationship to art."
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was a fascinating study of gender issues from the first Leutze images forward. One may legitimately reply that gender was not the intellectual territory which this exhibition staked out in its verbal script, but my argument here is based upon the premise that a museum exhibition is – or ought to be –
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Both the curator and the director stated they presented an exhibition on
American art that described how images have been misconstrued as truthful representations of history, "But," Broun stated, "the public changed the terms of the debate." Truettner added, "We thought we were doing a show on images
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The paintings at the
Smithsonian American Art Museum represent the United States government's oldest art collection; in its 160-year history, the museum had not received much detrimental publicity before this exhibition. Several key factors, including a prominent venue, skillful promotion, widespread
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The
Smithsonian Institution receives funding from the United States government through the House and Senate Interior, Environmental and Related Agencies Appropriation subcommittees. The Smithsonian is approximately 62% federally funded. In addition, the Smithsonian generates revenue from trust funds
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I found several of the political commentaries thought provoking (e.g., the reading of the woman's position in The
Captive). Others seem less convincing, as in the commentary about the presence or absence of Native Americans. Painters are condemned for omitting the Native Americans (as in The Grayson
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These two conflicting romances account for the ironic combination of chastity and availability encoded by the woman's body. The demure turn of her head shows that she has turned away from the Indian. Yet this very gesture of refusal is also a sign of her availability: she turns toward the viewer. It
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Truettner writes that these works ".... support the myth that there was enough for everyone. Cities were models of organization and industry, exploitation of land and natural resources is featured with engaging naiveté, and industrial pollution is offered as a picturesque accessory to the landscape.
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show the discovery and settlement of the West as a heroic undertaking. Many nineteenth-century artists and the public believed that these images represented a faithful account of civilization moving westward. A more recent approach argues that these images are carefully staged fiction and that their
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In an effort to create a show that would effectively question past interpretations of familiar works by these artists, the curator divided the artworks into six thematic categories that were accompanied by 55 written text labels. The text labels commented on the artwork and introduced popular and/or
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received $ 455 million in 2011 (of which about $ 90 million goes to radio stations). With the total federal budget for fiscal year 2011 being $ 3.82 trillion, federal arts funding in that year accounted for approximately 0.066% (sixty-six one-thousandths of one percent) of the total federal budget.
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I always thought painting was supposed to be about hopes, dreams, the imagination. Instead, you seem to say it's political statement at every brushstroke. Your tendentious opinions betray a lack of understanding of the artist and a blindness to the paintings themselves. Every painting is, according
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The painting establishes two "romances." The first – suggested but not denied – is between the woman and the Indian. The two figures belong to different worlds that cannot mix except by violence. (Note the blood on the woman's left arm). The second romance is between the woman and the viewer of the
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produced a 390-page book with more than 300 illustrations for the exhibit, which was edited by
Truettner and included a foreword by Broun. In addition, the NMAA produced a handbook entitled "A Guide for Teachers", intended for grades 10–12, to help students develop the ability to interpret works of
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Truettner explained that the ideology used to justify expansion had suddenly achieved permanent status, and without more frontier left to conquer, artists and their images were now called on to relay the ideology of the past to future generations. Truettner claims the images in this section "speak
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According to
Truettner, the market for scenes of commerce and industry coexisted with a "taste for heroic landscape" and included photographs and paintings of the western landscape as both symbol and exploitable resource. The images of the vast west meant to serve as a promotion to inspire further
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Although they reveal isolated facts about the West, the paintings in this section reveal far more about the urban, industrial culture in which they were made and sold. For it was according to this culture's attitudes – attitudes about race, class, and history – that artists such as
Schreyvogel and
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The
Smithsonian's federal appropriation for 2012 of $ 811.5 million represents an increase of $ 52 million above its 2011 appropriation. The requested budget for fiscal year 2013 is $ 857 million, a $ 45.5 million increase over 2012 funding. With a fiscal year 2013 total federal budget of $ 3.803
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Comments in the guestbook show that for many of the exhibition's younger supporters, asking questions about western images seemed not only correct but even the obvious thing to do. Those disagreeing with the text generally thought the images should be allowed to speak for themselves and felt that
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writer B. Byron Price, the traditions and myths at the core of western art, in addition to the expense of exhibit installations and practical constraints such as time, space, format, patronage, and availability of collections, contribute to the resistance of museums to attempt shows of historical
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Truettner's original label read, "This predominance of negative and violent views was a manifestation of Indian hatred, a largely manufactured, calculated reversal of the basic facts of white encroachment and deceit." Truettner eliminated this sentence from the revised text. Another label stated,
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was the show's "strident rhetoric". Andrew Gulliford writes, "Few Americans were prepared for the blunt and incisive exhibit labels, which sought to reshape the opinions of museum visitors and to jar them out of their traditional assumptions about western art as authentic." According to B. Byron
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Many who visited the exhibition missed the curators' point and instead became incensed with what they saw as the curators' dismantling of the history and legacy of the American frontier, which caused an unforeseen controversy that, according to art critics, "engaged the public in the debate over
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There were more than 700 visitor comments recorded in the museum's guestbook in Washington, D.C., generating three large volumes of commentary. Viewers passed judgment on the works, the curator's competence, and the tone of the explanatory texts, previous comments in the comment book, and local
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entitled "Visualizing Conflict in 'The West As America'", took the view that the show effectively communicated its revisionist claims by insisting upon a non-literal way of reading images through its use of textblocks. He writes, "Visually the exhibition made its subject not just "images of the
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Attempting to place these artists of western frontier images in an eastern urban context, the exhibit label states, "Although they reveal isolated facts about the West, the paintings in this section reveal far more about the urban, industrial culture in which they were made and sold." Truettner
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The exhibition began with historical paintings that introduced the concept of national expansion and included representations of colonial and pre-colonial events such as white male Europeans encountering the unknown North American continent for the first time. One of the first text labels read:
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in 1991. According to reviewers in the media, for those who understood the war as a triumph of American values, the exhibition's critical stance toward western expansion seemed like a full-blown attack on the nation's founding principles. The language of the show, while not the curator's goal,
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cost $ 500,000 and was covered with private money. At the time of the exhibition in 1991, the Smithsonian received about $ 300 million per year in federal funds. Federal funding to the Smithsonian has increased by 170.5% over the last 21 years, with funding for 2012 totaling $ 811.5 million.
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It's refreshing to see an exhibit on early U.S. history which includes the atrocities that were performed on the native or "original" North American populations. Thank you for challenging the mythology of white supremacy. The paintings are truly interpretative, and without the commentary and
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Artistic representations of Indians developed simultaneously with white interest in taking their land. At first, Indians were seen as possessing nobility and innocence. This assessment gave way gradually to a far more violent view that stressed hostile savagery…apparent in contrasting works…
1224:, Stevens warned Robert McAdams, the head of the Smithsonian, that he was "in for a battle." In a reference to the funding of the Smithsonian, which in part is regulated by the Senate Appropriations Committee, Stevens added, "I'm going to get other people to help me make you make sense."
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writes in the show's catalog that when artist Charles Russell was asked in 1919 who purchased his paintings, the Montana artist explained that his paintings were purchased by "Pittsburghers most of all. They may not be so strong on art but they are real men and they like real life."
212:, and other turn-of-the-century artists has been called a "permanent record" of nineteenth century frontier America. Yet, as the accompanying photographs of Schreyvogel attests, these artists often created their work in circumstances vastly removed from frontier America itself.
489:. The canvas shows the warmth of the setting sun and spectacular hues streaking across the sky, which illuminate the sheer cliffs to the right. According to Truettner, paintings constructed this way brought to life for nineteenth-century viewers the western pioneer experience.
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even without the text explanations the images would reveal a truthful account of westward expansion. The opposing group, some of whom still objected to the texts, agreed the images misrepresented history in that they cast the westward movement as too much of a heroic odyssey.
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as the quintessential pioneer, whose energy and resourcefulness helped him to build a generous livelihood from a succession of wilderness homesteads. His image had become a national symbol exemplifying the spirit of adventure and accomplishment. But Boone's initial visit to
447:, aided by technology (such as railways and telegraphs), and driving Native Americans and bison into obscurity. The painting shows the angel-like Columbia symbolically "enlightening" the darkened west as light from the eastern side of the painting follows her.
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The paintings in this gallery and those that follow should not be seen as a record of time and place. More often than not they are contrived views, meant to answer the hopes and desires of people facing a seemingly unlimited and mostly unsettled portion of the
1332:." Shame on you for choosing to make a statement (a very limited statement) about your "political correctness" instead of really looking at the art for what it says about the appeal of the West to our collective imagination. Art is bigger than everyday logic.
185:, including paintings, drawings, prints, engravings, photographs, sculptures, and others, created by 86 well-known artists of varying nationality during the period between 1820 and 1920. It was curated by William H. Truettner and a team of seven scholars of
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Indians were inevitably represented as hostile aggressors at the very moment settlers and the army were invading their land. Such a patent change of image tells us that white artists were presenting a stereotype rather than a balanced view of Indian life.
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publicity, an elaborate catalog, and the importance of the artworks themselves, all contributed to the impact of the exhibition. Timing also played a part in fostering public response both pro and con, as the show's run coincided with events such as the
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The fourth section included paintings that portrayed the successful lives of miners and settlers and depicted the give-and-take of American frontier democracy; also included were popular culture and advertising images. Works in this section included
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West," but the process of seeing and the process of making images – the images are social and aesthetic constructions, choices we make about a subject matter." Other critics accused the NMAA curator of "redefining western artists as apologists for
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This exhibition assumes that all history is unconsciously edited by those who make it. Looking beneath the surface of these images gives us a better understanding of why national problems created during the era of western expansion still affect us
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raised questions about the U.S. government's involvement in and funding of the arts, and whether public museums were able or unable to express ideas that are critical of the United States without the risk of being censored by the government.
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Truettner's intention was not to criticize western art but to acknowledge the way the art of the West imaginatively invented its subjects. Truettner sought to demonstrate the deep ties between the art and the artists' participation in the
1413:, show promoters were denied the opportunity to measure the variety and intensity of reaction in other parts of the country, notably in the Western United States itself, because of the cancellation of two proposed exhibit tours at the
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was scheduled to run from March 15 – July 7, 1991, but was extended an additional 13 days to accommodate a growing audience. Attendance to the National Museum of American Art increased by 60% over the same period in the previous year.
678:(1867) was among this group of paintings. Truettner concludes, "The myth in this case denies the Indian problem by solving it two ways: those who could not accept Anglo-Saxon standards of progress were doomed to extinction."
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reviews of the exhibition. Praise dominated the criticism – 510 of the 735 comments were generally positive. One hundred and ninety-nine people signaled out the wall texts for praise, while 177 felt negatively about them.
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With the first five sections serving as metaphors of progress, the sixth and last section took the exhibit in a different direction and was deemed by many critics as the most controversial phase of the exhibition.
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Total funding of arts-related federal programs in 2011 totaled just over $ 2.5 billion. The Smithsonian Institution continues to receive the biggest federal arts allocation, receiving $ 761 million in 2011. The
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From Puritan cultures onwards, the captivity theme had been an occasion for white writers and artists to advocate the "unnaturalness" of intermarriage between races. Couse's painting is part of this tradition.
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western revisionism on an unprecedented scale." Controversial reviews generated widespread media coverage, both negative and positive, in leading newspapers, magazines, and art journals. Television crews from
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art and to see how and why works of art create meaning. The handbook states, "…the exhibition at the NMAA argues that this art is not an objective account of history and that art is not necessarily history;
1421:. The cancellations were not due to the controversy, but rather a result of the continuing recession and the $ 90,000 participation fee, which was only part of a total estimated cost of $ 150,000 per site.
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The "reinterpretations" accompanying these great paintings go too far. Too much supposition in artistic intent. Granted wasn't all a "dream," and inequalities were there – but it took guts and spirit to go
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Family). But they are also condemned for portraying them. I leave the exhibit with the sense that the painters could not have done anything right, and I think the exhibit should address that question.
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Another series of paintings represented acculturation themes that predicted Indians would be peacefully absorbed into white society, thereby neutralizing "aggressive" racial characteristics.
1267:, in an editorial entitled "Pilgrims and Other Imperialists", labeled the exhibition "an entirely hostile ideological assault on the nation's founding and history." Syndicated columnist
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role was to justify the hardship and conflict of nation building. Western scenes extolled progress but rarely noted damaging social and environmental change." Another text label read:
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Price, "Several people appreciated the serious, critical attention accorded to artwork and found merit in the complexity of analysis and the curator's interpretation of western art."
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The second section of the exhibition focused on portraits of prominent settlers and images of scouts, pioneers, and European immigrants moving west across an unpopulated landscape.
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I sometimes feel that I am trying to do the impossible with my pictures in not having a chance to work direct but as there are no people such as I paint it's "studio" or nothing.
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art, the curators sought not only to show how these frontier images have defined American ideas of the national past but also to dispel the traditional beliefs behind the images.
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The curatorial experiment failed not because what the textblock said was untrue (though it was partial, inadequate and rhetorically over-insistent) but because the significant
580:(1980) generated so much antagonism that Truettner voluntarily revised about ten of the fifty-five labels in an effort to tone down the message and to please anthropologists.
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in 1991, featuring a large collection of paintings, photographs, and other visual art created during the period from 1820 to 1920 which depicted images and iconography of the
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vied to videotape the show before its 164 paintings, drawings, photographs, sculptures, and prints, along with the 55 text panels accompanying the artworks, were taken down.
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wrote that the exhibition was "...a perverse, historically inaccurate, destructive exhibit… and no credit to the Smithsonian." Boorstin's comment prompted Senator
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1025:. Instead, exhibition labels presented the truth of conquest and exploitation in US history, an approach that struck many visitors and reviewers as heretical."
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is viewed by some as a vital component in interpreting the structure of American culture and the modern national identity. There are competing visions of the
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magazine he had not actually seen the exhibit on the West but had "merely been alerted by the comment posted by Daniel Boorstin in the museum's guestbook."
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condemned the exhibition as "tendentious, dishonest, and finally, puerile" and called it "the most politically correct museum exhibit in American history."
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who were culturally blind to the displacement of indigenous people and ignored the environmental degradation that accompanied the settling of the West."
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220:(1903), which was displayed in the last section of the show's thematic exhibit, was accompanied by a wall text with a quote from the artist that read:
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that assume different western significances; it was the newer versions of western history that were emphasized at the 1991 exhibition. NMAA director
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and Andre Serrano photographs, was that it "breeds division within our country." Citing two other Smithsonian projects, a documentary about the
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Truettner, William H.; Alexander Nemerov (Summer 1992). "What You See is Not Necessarily What You Get: New Meaning in Images of the Old West".
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revision and why conventional monolithic views of the West as a romantic and triumphant adventure remain the mode in many art exhibits today.
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1259:". In the minds of the critics, the exhibition served as proof that multicultural education had spread from the campuses to the Smithsonian.
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641:(1847), Truettner writes, "Violent encounters were not the only means of "solving the Indian problem."" Truettner adds that both Matteson's
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trillion, Smithsonian funding represents 0.00023% (twenty-three hundred-thousandths of one percent) of the total 2013 federal budget.
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painting, implicitly a white man, who is cast in the heroic role of rescuer. This relationship is the painting's "natural" romance.
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discussion that was included alongside the paintings, visitors would not necessarily consider all sides of the westward expansion.
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The label also went on to suggest that an open teepee flap implied sexual encounter and that arrow shafts become phallic objects.
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Deverell, William (Summer 1994). "Fighting Words: The Significance of the American West in the History of the United States".
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In a hearing of the Senate Appropriations Committee on May 15, 1991, Stevens criticized the Smithsonian for demonstrating a "
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To many in the national press and the museum community, the Senators' attack on the Smithsonian and the exhibition at the
624:(1845) depicts a white man and a Native American locked in mortal combat and tumbling over a cliff. The text labels read:
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gave no praise or tribute to the grandeur and majesty of the western landscape or to the nation-building ethos of the
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in 1988. Revisionist themes appear more often in the story lines of high-profile temporary and traveling shows like
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Wolf, Bryan J. (Sep 1992). "How The West Was Hung, Or, When I Hear the Word "Culture" I Take Out My Checkbook".
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stated, "The museum took a major step toward redefining western history, western art and national culture."
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The exhibition's third section used several rooms to group three different and conflicting stereotypes of
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first and last a visual experience (the book or catalog is another and different mode of communication).
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Gulliford, Andrew (June 1992). "The West As America: Reinterpreting Images of the Frontier 1820–1920".
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The art is terrific. The labels are propaganda – distortions in the name of "multicultural" education.
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and a television series about the founding of America that reportedly accused the United States of
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862:(1873), as well as commercial landscapes and advertising images by unidentified artists, entitled
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Previous exhibitions and programs that had focused on the history of the American West include
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Panzer, Mary (1992). "Panning 'The West As America': or Why One Exhibit Did Not Strike Gold".
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is by her role as sexual stereotype that the woman in Couse's painting is really captive.
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2623:"Federal Arts Funding: A Trace Ingredient in the Sausage Factory of Government Spending"
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in history, but the public was more concerned that we had challenged a sacred premise."
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and contributions from corporate, foundation, and individual sources, as well as from
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These paintings convert frontier life to a national idiom of prosperity and promise."
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653:(1857) "suggested Indians would eventually be buried under the waves of the Pacific."
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as well as with other curatorial controversies produced by the Smithsonian and the
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comment on gender had been withheld until the last room of the exhibit. Visually,
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was to reveal how artists during this period visually revised the conquest of the
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Price, Byron B. (May 1993). "Cutting for Sign: Museums and Western Revisionism".
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Stein, Roger B. (Summer 1992). "Visualizing Conflict in "The West As America"".
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Margaretta (Maggie) Favorite Brown (aka Mrs. John W. Brown, Mrs. Jonas), painter
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Regeneration Through Violence: The Mythology of the American Frontier, 1600–1860
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Regeneration Through Violence: The Mythology of the American Frontier, 1600–1860
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exhibit. According to art reviews, what set apart past shows on the west and
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migration. Photographs chronicle the building of railroads and depict black
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in an effort to correspond with a prevailing national ideology that favored
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These shows did not generate the level of controversy seen at the NMAA's
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that represented, in succession, the Green River Bluffs of Wyoming, the
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The West As America: Reinterpreting Images of the Frontier, 1820–1920
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The West as America, Reinterpreting Images of the Frontier, 1820–1920
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2663:"Smithsonian fiscal year 2013 Budget Request Totals $ 857 Million"
1027:
996:
957:
881:
803:
757:
743:
685:
655:
582:
549:
491:
463:
449:
417:
387:
Embarkation of the Pilgrims at Delft Haven, Holland, July 22, 1620
304:
Embarkation of the Pilgrims at Delft Haven, Holland, July 22, 1620
298:
274:
80:
1308:
One commentary typical of those disagreeing with the texts read:
1231:
was one movement in a larger effort to transform culture into a "
578:
Facing West: The Metaphysics of Indian-Hating and Empire building
1443:
43:(then known as the National Museum of American Art, or NMAA) in
1251:" in the exhibit's text labels allowed critics of so-called "
844:
Temporary and Permanent Bridges and Citadel Rock, Green River
809:
Temporary and Permanent Bridges and Citadel Rock, Green River
564:
Combined sample portraits with revisionist text informed by
485:(1867) portrays a picturesque party of Germans traveling to
1239:
to divide the opposing voter base and to galvanize a large
2030:. Washington and London: Smithsonian Institutional Press.
512:
Daniel Boone Escorting Settlers through the Cumberland Gap
497:
Daniel Boone Escorting Settlers through the Cumberland Gap
1174:
In a book for comments by visitors, historian and former
2444:
2442:
2440:
2438:
2436:
1409:
While praise dominated the comments in the guestbook in
246:
Remington created that place we know as the "Old West.""
2372:
Trachtenberg, Alan (Sep 1991). "Contesting the West".
2322:. National Museum of American Art, Smithsonian Museum.
555:
Young Omahaw, War Eagle, Little Missouri and Pawneess
1762:(aka Erneste-Etienne de Franceville Narjot), painter
606:
Young Omahaw, War Eagle, Little Missouri and Pawnees
401:"Picturing Progress in the Era of Western Expansion"
192:
A text panel in the last section of the show reads:
2665:. Newsdesk, Newsroom of the Smithsonian Institution
2649:Newsdesk, Newsroom of the Smithsonian Institution
2608:Newsdesk, Newsroom of the Smithsonian Institution
350:The Storming of Teocalli by Cortez and his Troops
156:Virgin Land: The American West as Symbol and Myth
1573:Sallie Cover (aka Mrs. Ferdinand Cover), painter
731:Mining in the Boise Basin in the Early Seventies
1789:(aka Fanny Palmer), watercolorist, lithographer
1384:
1370:
1356:
1344:
1325:
1310:
974:
682:"Settlement and Development: Claiming the West"
2320:"The West As America, "A Guide for Teachers""
95:were angered by what they termed the show's "
8:
2163:
2161:
2159:
2157:
2155:
2153:
2151:
2149:
2021:
2019:
1200:According to the Senators, the problem with
2571:
2569:
2567:
2565:
2563:
2561:
2559:
2212:
2210:
2208:
2206:
2147:
2145:
2143:
2141:
2139:
2137:
2135:
2133:
2131:
2129:
2017:
2015:
2013:
2011:
2009:
2007:
2005:
2003:
2001:
1999:
1068:"The American Frontier: Images & Myths"
1003:Westward the Course of Empire Takes Its Way
608:(1822). The accompanying text labels read:
604:painted noble images of Indians as seen in
535:, which were thematically subtitled as the
506:Other images of western migration included
389:(1857). Colonial paintings included Weir's
337:Christopher Columbus on Santa Maria in 1492
280:Christopher Columbus on Santa Maria in 1492
271:"Prelude to Expansion: Repainting the Past"
1879:George Tirrell (aka John Tirrell), painter
1489:Joseph Hubert Becker, painter, illustrator
2485:
2483:
2481:
2479:
1189:of Washington, two senior members of the
1140:Beinecke Rare Book and Manuscript Library
781:The fifth section focused on a series of
2393:
2391:
2389:
2387:
2333:
2331:
2329:
2219:"Old West, New Twist at the Smithsonian"
1591:Alexander Edouart, painter, photographer
2590:"Smithsonian Institution FY'08 Funding"
2516:
2514:
2512:
2086:
2084:
2082:
2080:
2078:
2076:
2074:
2072:
1995:
1783:Thomas Proudly Otter, painter, engraver
1392:Signed JM, University of North Carolina
797:, and the Sequoia and Redwood trees of
2291:
2289:
2287:
2285:
2283:
2281:
1979:Western Expansion of the United States
1594:Augustus William Ericson, photographer
1166:coincided with the final phase of the
413:The Promised Land – The Grayson Family
2708:History of United States expansionism
2592:. The National Coalition for History.
1799:Frederick Augustus Ferdinand Pettrich
1442:, which include stores, restaurants,
216:Artist Frederic Remington's painting
99:" and threatened to cut funds to the
7:
2703:Art exhibitions in the United States
2577:https://www.jstor.org/stable/3109055
1382:Some commented on others' comments:
2713:Smithsonian Institution exhibitions
2698:Art exhibitions in Washington, D.C.
2026:Truettner, William H., ed. (1991).
1964:National Museum of American History
1457:Corporation for Public Broadcasting
1342:Those defending the exhibit wrote:
763:Oregon City on the Willamette River
729:(1851–1852), Mrs. Jonas W. Brown's
719:Oregon City on the Willamette River
257:seeing is not necessarily believing
1801:(aka Ferdinand Pettrich), sculptor
1768:, painter, illustrator, cartoonist
1328:to you, an evil, cunning, greedy "
1052:Roger B. Stein, in an article for
929:(1885). Another painting entitled
127:The history of the United States'
25:
2217:Kimmelman, Michael (1991-05-26).
1663:, painter, draftsman, illustrator
1368:Some viewers had mixed feelings:
1096:Amon Carter Museum of Western Art
514:(1851–1852). Truettner describes
313:Truettner writes "...images from
2245:The Western Historical Quarterly
2093:The Western Historical Quarterly
1819:, painter, sculptor, illustrator
1128:Discovered Lands, Invented Pasts
1118:, a 1990 show offering from the
1076:"Frontier America: The Far West"
1045:The Western Historical Quarterly
85:United States Information Agency
2451:The Magazine of Western History
2170:The Journal of American History
1576:Charles C. Curtis, photographer
1522:William Josiah Brickey, painter
1446:theaters, gifts, and catalogs.
1229:National Museum of American Art
1206:National Endowment for the Arts
1191:Senate Appropriations Committee
1015:The Journal of American History
905:Other works included Russell's
830:Works in this section included
526:
331:Works in this section included
252:National Museum of American Art
93:Senate Appropriations Committee
41:Smithsonian American Art Museum
1480:Edward O. Beaman, photographer
1130:, a cooperative effort of the
1104:Buffalo Bill Historical Center
1072:Whitney Museum of American Art
721:(1850–1852), Charles Nahl and
371:Ponce de León in Florida, 1514
113:allied victory in the Gulf War
51:. The goal of the curators of
1:
2604:"Facts About the Smithsonian"
483:Emigrants Crossing the Plains
469:Emigrants Crossing the Plains
439:(1872) depicts the ideal of "
142:The conclusions set forth in
2352:10.1215/01636545-1992-52-105
1922:Thomas Worthington Wittredge
1817:Frederic Sackrider Remington
1398:Attendance and cancellations
109:collapse of the Soviet Union
2490:Thomas, Evan (1991-05-26).
1805:Alexander Phimister Proctor
1699:(aka Olaf Olofson), painter
1136:Yale University Art Gallery
1084:"Treasures of the Old West"
860:Donner Lake from the Summit
836:A Showery Day, Grand Canyon
676:Sacramento Indian with Dogs
661:Sacramento Indian with Dogs
391:The Landing of Henry Hudson
379:The Coming of the White Man
168:The West of the Imagination
2729:
2492:"Time to Circle the Wagon"
1916:Frederick August Wenderoth
1718:Tompkins Harrison Matteson
1363:Signed DC, Great Falls, VA
1255:" to condemn the show as "
1088:Thomas Gilcrease Institute
753:Frederick August Wenderoth
723:Frederick August Wenderoth
241:. Another wall text read:
1829:Peter Frederick Rothermel
1787:Frances Flora Bond Palmer
1352:Signed IN, Washington, DC
1337:Signed VC, Alexandria, VA
852:The Chasm of the Colorado
359:Columbus before the Queen
2693:1991 in Washington, D.C.
2579:(accessed March 5, 2012)
2300:. University of Virginia
2053:Exhibiting Contradiction
1625:Sanford Robinson Gifford
1526:Valentine Walter Bromley
1493:Oscar Edmund Berninghaus
1323:Another viewer offered:
1124:University of Washington
1092:"American Frontier Life"
527:"Inventing 'The Indian'"
218:Fight for the Water Hole
1959:Smithsonian Institution
1934:Richard Caton Woodville
1898:Carleton Eugene Watkins
1868:Arthur Fitzwilliam Tait
1795:, painter, lithographer
1706:Emanuel Gottlieb Leutze
1645:, painter, photographer
1639:, painter, photographer
1621:, painter, lithographer
1615:William Fuller, painter
1519:, painter, lithographer
1440:Smithsonian Enterprises
1429:The debate surrounding
1377:Signed PL, New York, NY
1264:The Wall Street Journal
1253:multicultural education
1195:Smithsonian Institution
1033:Coming of the White Man
1008:Emanuel Gottlieb Leutze
363:Landing of the Pilgrims
333:Emanuel Gottlieb Leutze
284:Emanuel Gottlieb Leutze
101:Smithsonian Institution
2340:Radical History Review
2051:Wallach, Alan (1998).
1942:, painter, illustrator
1876:, painter, illustrator
1870:, painter, illustrator
1841:Charles Marion Russell
1756:, painter, illustrator
1754:Charles Christian Nahl
1738:, painter, illustrator
1600:, painter, illustrator
1558:, painter, illustrator
1535:George de Forest Brush
1477:, painter, illustrator
1395:
1380:
1366:
1355:
1340:
1321:
1214:Exxon Valdez oil spill
1185:of Alaska and Senator
1039:
1010:
987:
969:
956:
919:Defending the Stockade
893:
891:Charles Marion Russell
823:traveling through the
815:
769:
755:
697:
667:
665:Charles Christian Nahl
631:
615:
594:
561:
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475:
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429:
329:
310:
297:
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214:
181:included 164 works of
2550:registration required
2470:registration required
2427:registration required
2359:registration required
2272:registration required
2197:registration required
2120:registration required
1894:James Walker, painter
1835:Andrew Joseph Russell
1712:Hermon Atkins MacNeil
1667:William Henry Jackson
1562:Frederic Edwin Church
1541:Elbridge Ayer Burbank
1528:, painters, draftsman
1245:Political correctness
1176:Librarian of Congress
1031:
1023:pioneering experience
1000:
961:
943:
885:
840:Andrew Joseph Russell
807:
761:
749:Miners in the Sierras
747:
727:Miners in the Sierras
711:Canvassing for a Vote
689:
659:
626:
610:
586:
553:
495:
467:
453:
421:
343:gesturing toward the
324:
302:
292:
278:
243:
222:
194:
63:. By mixing New West
2651:. December 27, 2011.
2400:The Public Historian
1940:Newell Convers Wyeth
1928:Karl Ferdinand Wimar
1858:Otto Sommer, painter
1811:William Tylee Ranney
1742:William Sidney Mount
1673:William Smith Jewett
1661:William Henry Holmes
1546:John Burgum, painter
1511:George Caleb Bingham
1475:Thomas Allmond Ayres
1415:St. Louis Art Museum
1116:The Myth of the West
1055:The Public Historian
907:Caught in the Circle
832:Oscar E. Berninghaus
739:Record Wheat Harvest
703:George Caleb Bingham
695:George Caleb Bingham
643:The Last of the Race
639:The Last of the Race
508:George Caleb Bingham
501:George Caleb Bingham
395:Founding of Maryland
393:(1838) and Leutze's
341:Christopher Columbus
339:(1855), which shows
315:Christopher Columbus
115:, the resurgence of
67:interpretation with
1974:Revisionist Western
1847:Charles Schreyvogel
1843:, painter, sculptor
1807:, sculptor, painter
1793:Marie Adrien Persac
1730:Alfred Jacob Miller
1714:, sculptor, painter
1702:Joseph Lee, painter
1598:Henry Francis Farny
1568:Eanger Irving Couse
1556:John Gadsby Chapman
1448:The West as America
1431:The West as America
1403:The West as America
1280:The West As America
1269:Charles Krauthammer
1257:politically correct
1243:around the issue. "
1202:The West As America
1164:The West as America
1151:The West as America
1147:The West As America
1112:Library of Congress
1110:, organized by the
1108:The American Cowboy
1082:in Boston in 1975;
1080:Museum of Fine Arts
1019:The West as America
951:The West As America
915:Charles Schreyvogel
202:Charles Schreyvogel
179:The West as America
144:The West as America
53:The West as America
27:1991 art exhibition
18:The West As America
2523:American Quarterly
2223:The New York Times
1910:Robert Walter Weir
1904:John Ferguson Weir
1823:Peter Rindisbacher
1778:Timothy O'Sullivan
1643:Andrew Putnam Hill
1604:James Earle Fraser
1100:"Frontier America"
1040:
1011:
970:
894:
816:
770:
756:
733:(c. 1870–80), and
698:
668:
651:Last of Their Race
622:The Death Struggle
595:
562:
541:Threatening Savage
504:
476:
462:
430:
383:Robert Walter Weir
355:Peter F. Rothermel
311:
308:Robert Walter Weir
287:
231:American Art-Union
198:Frederic Remington
129:westward expansion
2625:. createquity.com
2621:Anderson, Aaron.
2037:978-1-56098-023-0
1954:American Old West
1724:Andrew W. Melrose
1691:Charles Bird King
1679:Theodore Kaufmann
1631:Carl William Hahn
1505:Charles Bierstadt
1484:James Henry Beard
1419:Denver Art Museum
1296:Public commentary
1249:sexual stereotype
854:(1873–1874), and
813:Andrew J. Russell
602:Charles Bird King
559:Charles Bird King
459:James Henry Beard
437:American Progress
423:American Progress
409:William S. Jewett
235:antebellum period
65:historiographical
61:Western expansion
49:American frontier
39:organized by the
16:(Redirected from
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2610:. April 7, 2021.
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1969:Manifest Destiny
1883:Domenico Tojetti
1862:John Mix Stanley
1499:Albert Bierstadt
1468:Featured artists
1411:Washington, D.C.
1393:
1378:
1364:
1353:
1338:
1319:
1284:political agenda
1222:Native Americans
1158:Political issues
1132:Gilcrease Museum
1061:Manifest Destiny
972:The label read:
856:Albert Bierstadt
767:John Mix Stanley
715:John Mix Stanley
709:(1853–1854) and
647:John Mix Stanley
588:A Death Struggle
533:Native Americans
479:Albert Bierstadt
473:Albert Bierstadt
441:Manifest Destiny
152:Henry Nash Smith
150:studies such as
117:multiculturalism
97:political agenda
45:Washington, D.C.
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1179:Daniel Boorstin
1162:The opening of
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921:(c. 1905), and
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825:Rocky Mountains
779:
751:(1851–1852) by
693:(1853–1854) by
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566:Richard Slotkin
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206:Charles Russell
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160:Richard Slotkin
146:were rooted in
137:Elizabeth Broun
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2529:(3): 418–438.
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2374:Art in America
2364:
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2257:10.2307/971462
2251:(2): 185–206.
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2176:(1): 199–208.
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2105:10.2307/970937
2099:(2): 229–234.
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2062:978-1558491175
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707:Stump Speaking
691:Stump Speaking
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545:Vanishing Race
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1772:Victor Nehlig
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1748:Joseph Mozier
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1282:of having a "
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1117:
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1098:in 1987; and
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1042:According to
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1013:A writer for
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911:For Supremacy
908:
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887:For Supremacy
884:
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869:
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828:
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821:steam engines
814:
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765:(1850–52) by
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635:T.H. Matteson
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2657:
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2627:. Retrieved
2616:
2607:
2598:
2584:
2526:
2522:
2499:. Retrieved
2495:
2457:(3): 70–76.
2454:
2450:
2406:(3): 85–91.
2403:
2399:
2377:
2373:
2367:
2343:
2339:
2314:
2302:. Retrieved
2296:Wood, Mary.
2248:
2244:
2238:
2226:. Retrieved
2222:
2173:
2169:
2096:
2092:
2052:
2046:
2027:
1736:Thomas Moran
1586:Seth Eastman
1580:Charles Deas
1462:
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1210:Mapplethorpe
1208:such as the
1201:
1199:
1187:Slade Gorton
1173:
1163:
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1127:
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983:
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962:
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944:
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935:Irving Couse
930:
926:
918:
910:
906:
903:
899:
895:
886:
877:
868:Desert Bloom
867:
863:
859:
851:
848:Thomas Moran
843:
835:
829:
817:
808:
791:Grand Canyon
780:
771:
762:
748:
738:
730:
726:
718:
710:
706:
699:
690:
675:
672:Charles Nahl
669:
660:
650:
642:
638:
632:
627:
621:
618:Charles Deas
616:
611:
605:
600:
596:
592:Charles Deas
587:
577:
569:
563:
554:
544:
540:
537:Noble Savage
536:
530:
516:Daniel Boone
511:
505:
496:
482:
477:
468:
455:Westward Ho!
454:
436:
431:
422:
412:
407:
404:
394:
390:
386:
381:(1850); and
378:
370:
367:Thomas Moran
362:
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348:
336:
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293:
288:
279:
265:
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227:
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217:
215:
195:
191:
187:American art
178:
177:
167:
163:
155:
143:
141:
133:western past
126:
105:
73:
52:
31:
30:
29:
1853:Joshua Shaw
1766:Thomas Nast
1649:Thomas Hill
1612:, draftsman
1517:Karl Bodmer
1233:wedge issue
1183:Ted Stevens
1037:Joshua Shaw
963:The Captive
939:The Captive
933:(1892), by
931:The Captive
927:The Captive
923:Henry Farny
909:(1903) and
866:(1935) and
795:Donner Pass
713:(1851–52),
572:(1973) and
375:Joshua Shaw
361:(1852) and
233:during the
210:Henry Farny
196:The art of
148:revisionist
2687:Categories
1990:References
1750:, sculptor
1697:Olof Krans
1606:, sculptor
1241:electorate
1138:, and the
1035:(1850) by
1006:(1862) by
965:(1892) by
889:(1895) by
811:(1868) by
799:California
783:landscapes
663:(1857) by
590:(1845) by
557:(1821) by
543:, and the
471:(1867) by
457:(1850) by
425:(1872) by
319:Kit Carson
306:(1844) by
282:(1855) by
239:Gilded Age
183:visual art
123:Background
89:Republican
83:, and the
2501:March 17,
2380:(9): 118.
2304:March 17,
1984:Patronage
1936:, painter
1930:, painter
1924:, painter
1918:, painter
1912:, painter
1906:, painter
1891:, painter
1885:, painter
1864:, painter
1855:, painter
1849:, painter
1831:, painter
1825:, painter
1813:, painter
1774:, painter
1744:, painter
1732:, painter
1726:, painter
1720:, painter
1708:, painter
1693:, painter
1687:, painter
1681:, painter
1675:, painter
1651:, painter
1633:, painter
1627:, painter
1619:John Gast
1588:, painter
1582:, painter
1570:, painter
1564:, painter
1552:, painter
1543:, painter
1537:, painter
1513:, painter
1501:, painter
1495:, painter
1486:, painter
1318:Signed DC
1313:westward.
1142:in 1992.
1114:in 1983,
1090:in 1984;
1074:in 1973;
993:Reactions
433:John Gast
427:John Gast
345:New World
2669:March 8,
2629:March 8,
2228:March 8,
1948:See also
1417:and the
1390:—
1375:—
1361:—
1350:—
1335:—
1316:—
1289:Newsweek
1220:against
1218:genocide
1168:Gulf War
913:(1895),
870:(1938).
864:Splendid
846:(1868),
838:(1915),
741:(1876).
568:'s book
521:Kentucky
445:Columbia
397:(1860).
373:(1878);
365:(1854);
353:(1848);
69:Old West
2543:2712983
2463:4519500
2420:3378233
2190:2078477
1122:of the
1102:at the
1094:at the
1086:at the
1078:at the
1070:at the
295:nation.
77:Austria
35:was an
2541:
2461:
2418:
2265:971462
2263:
2188:
2113:970937
2111:
2059:
2034:
1425:Legacy
1134:, the
1126:, and
947:verbal
789:, the
539:, the
487:Oregon
347:, and
327:today.
174:Layout
111:, the
2539:JSTOR
2459:JSTOR
2416:JSTOR
2261:JSTOR
2186:JSTOR
2109:JSTOR
81:Italy
2671:2012
2631:2012
2503:2012
2344:1992
2306:2012
2230:2012
2057:ISBN
2032:ISBN
1444:IMAX
645:and
250:The
57:West
2531:doi
2408:doi
2348:doi
2253:doi
2178:doi
2101:doi
925:'s
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317:to
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2689::
2647:.
2606:.
2558:^
2537:.
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2511:^
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2478:^
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2453:.
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2328:^
2280:^
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1998:^
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2255::
2232:.
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2195:(
2192:.
2180::
2122:)
2118:(
2115:.
2103::
2065:.
2040:.
20:)
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