John L. O'Sullivan
(new evidence indicates that it is possible Jane Cazneau was the author)
Also included is the cover of a Cazneau biography, by Linda Hudson, entitled Mistress of Manifest Destiny: A Biography of Jane McManus Storm Cazneau (1808-1878).
]]>Image of a middle-aged Jane Cazneau, including two of her book covers, from The Queen of Islands and King of Rivers (1850), and The Eagle Pass, or Life on the Border (1852)
Also included is the cover of a Cazneau biography, by Linda Hudson, entitled Mistress of Manifest Destiny: A Biography of Jane McManus Storm Cazneau (1808-1878).
Unknown
Getty Images
http://www.gettyimages.ae/detail/news-photo/engraving-depicting-jane-maria-eliza-mcmanus-storms-cazneau-news-photo/114947575
The Black Hawk War: Utah's Forgotten Tragedy
http://www.blackhawkproductions.com/Manifest%20Destiny.htm
George Caleb Bingham drew from Christian and classical imagery to justify and heroicize westward expansion and the ideal of Manifest Destiny, or the providential mission of the American nation to settle the frontier.
Referring to Boone's first journeys into Kentucky in the early 1770s, the group is pictured traveling from east to west, dramatically emerging from the sun-filled landscape in the background and crossing into the dark, foreboding landscape in the foreground, where the snarled trees help signify the dangerous power of nature.
Portrayed with idealized features and poses, the intrepid Daniel Boone, a rifle resting on his shoulder, suggests the figure of Moses - an archetype for pioneer patriarchs - leading his people toward the Promised Land, while Rebecca Boone, atop the horse, suggests the Virgin Mary, symbolizing the courageous spirit of pioneer women.
]]>This is a popular American painting addressing the theme of westward expansion. Rich with symbolism, it helped establish the mythic status of Daniel Boone and legends of western settlement.
George Caleb Bingham drew from Christian and classical imagery to justify and heroicize westward expansion and the ideal of Manifest Destiny, or the providential mission of the American nation to settle the frontier.
Referring to Boone's first journeys into Kentucky in the early 1770s, the group is pictured traveling from east to west, dramatically emerging from the sun-filled landscape in the background and crossing into the dark, foreboding landscape in the foreground, where the snarled trees help signify the dangerous power of nature.
Portrayed with idealized features and poses, the intrepid Daniel Boone, a rifle resting on his shoulder, suggests the figure of Moses - an archetype for pioneer patriarchs - leading his people toward the Promised Land, while Rebecca Boone, atop the horse, suggests the Virgin Mary, symbolizing the courageous spirit of pioneer women.
Mildred Lane Kemper Art Museum
Washington University in St. Louis
http://www.kemperartmuseum.wustl.edu/collection/explore/artwork/193
Mildred Lane Kemper Museum
http://www.kemperartmuseum.wustl.edu/collection/explore/artwork/19um
(new evidence indicates that it is possible Jane Cazneau was the author)
United States Magazine and Democratic Review
United States Magazine and Democratic Review
Study for Westward Movement: Justice of the Plains
artnet
http://www.artnet.com/artists/john-steuart-curry/study-for-westward-movement-justice-of-the-plains-a-484q5WinWaCurD_s1wSsXQ2
Painting
14 x 32 in. (35.6 x 81.3 cm.)
Mr. Grayson became very wealthy in the West and commissioned this painting to tell his family’s story. He gave specific instructions to the artist, William Jewett, about the clothing, the setting, and other details in the portrait.
The people shown are the Graysons, and they were part of the great westward expansion of the United States during the mid-1800s.The Graysons traveled overland from Missouri to California in 1846, two years ahead of the Gold Rush that drew so many more fortune seekers to California.
Mr. Grayson became very wealthy in the West and commissioned this painting to tell his family’s story. He gave specific instructions to the artist, William Jewett, about the clothing, the setting, and other details in the portrait.
Terra Foundation for American Art
Daniel J. Terra Collection
Chicago, Illinois
Oil on canvas
50 3/4" by 64"
Over the course of fifty years, almost 400,000 people traveled the 2,170-mile route, leaving their farms along the East Coast in hopes of securing fertile land in the Oregon Territory.
American artist Albert Bierstadt documented his journey on the trail, capturing the dramatic panoramas and indomitable spirit of the emigrants on his oversized canvases. With their rich colors and pristine details, these romanticized images roused an already fascinated American public to begin their own westward adventure.
]]>Redefined by territorial expansion in the mid-1800s, the boundary of the American West shifted from the Mississippi River to the Pacific Ocean, fueled largely by exploration and emigration along the Oregon Trail, among others.
Over the course of fifty years, almost 400,000 people traveled the 2,170-mile route, leaving their farms along the East Coast in hopes of securing fertile land in the Oregon Territory.
American artist Albert Bierstadt documented his journey on the trail, capturing the dramatic panoramas and indomitable spirit of the emigrants on his oversized canvases. With their rich colors and pristine details, these romanticized images roused an already fascinated American public to begin their own westward adventure.
Oil on canvas
67" x 102"
Museum of the American West
Los Angeles, CA
Oil on canvas
Height: 64.8 cm (25.51 in.)
Width: 116.8 cm (45.98 in.)