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
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
This painting has come to represent the ideal of Manifest Destiny.
This painting is an allegorical representation of the modernization of the new west. Here Columbia, a personification of the United States, leads civilization westward with American settlers, stringing telegraph wire as she sweeps west; she holds a school book as well. The different stages of economic activity of the pioneers are highlighted and, especially, the changing forms of transportation.
This painting has come to represent the ideal of Manifest Destiny.
Museum of the American West
Griffith Park, Los Angeles, CA
Oil painting
12 ¾” x 16 ¾”