<em><strong><span class="irc_su" style="text-align:left;">Western Expansion: Emigrants to the Western Country</span></strong></em>
<strong>Westward expansion, Manifest Destiny</strong>
<strong>Wagon train with settler traveling west in America</strong>
<strong>Unknown</strong>
<strong>http://ushistoryimages.com/western-expansion.shtm</strong>
<strong>Unknown</strong>
<strong>Public Domain</strong>
<strong>Engraving, dimensions unknown</strong>
<strong>English</strong>
<strong>Still Image</strong>
<strong><em>John L. O'Sullivan</em><br /></strong>
<strong>John L. O'Sullivan, editor, United States Magazine and Democratic Review</strong>
<strong>Engraving, Portrait of John L. O'Sullivan</strong>
<strong>Unknown</strong>
<strong>The New York Historical Society</strong>
<strong>Harper's Weekly</strong>
<strong>1874</strong>
<strong>Public Domain</strong>
<strong>Image size:</strong><br /><strong>220 × 262</strong>
<strong>English</strong>
<strong>Still image</strong>
<em><strong>John L. O'Sullivan</strong></em>
<strong>John L. O'Sullivan, editor, United States Magazine and Democratic Review</strong>
<strong>John L. O'Sullivan, portrait photograph</strong>
<strong> Timothy H. O’Sullivan</strong>
<p><strong>The Black Hawk War: Utah's Forgotten Tragedy</strong></p>
<p><strong>http://www.blackhawkproductions.com/Manifest%20Destiny.htm</strong></p>
<strong>Unknown</strong>
<strong>Public Domain</strong>
<strong>Image size:</strong><br /><strong>201 × 248</strong>
<strong>English</strong>
<strong>Still Image</strong>
<em><strong><span class="field-content">Daniel Boone Escorting Settlers through the Cumberland Gap</span><br /></strong></em>
<strong>Westward Expansion, Manifest Destiny, Daniel Boone</strong>
<strong><span class="field-content">Missouri artist George Caleb Bingham's Daniel Boone Escorting Settlers through the Cumberland Gap is among the most popular American paintings addressing the theme of westward expansion. Rich with symbolism, it helped establish the mythic status of Daniel Boone and legends of western settlement. Like Charles Wimar in The Abduction of Daniel Boone's Daughter by the Indians (1853, WU 4355), 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.</span></strong>
<strong><span class="field-content">George Caleb Bingham</span></strong>
<p><strong>Mildred Lane Kemper Museum</strong></p>
<p><strong>http://www.kemperartmuseum.wustl.edu/collection/explore/artwork/19um</strong></p>
<strong>1851-1852</strong>
<strong><span class="field-content"><span class="field-content">Gift of Nathaniel Phillips, 1890</span></span></strong>
<strong>Public Domain</strong>
<div class="views-field-obj-material-s"><strong><span class="field-content">Oil on canvas</span></strong></div>
<div class="views-field-obj-crate-s"><strong><span class="field-content">36 1/2" x 50 1/4 "</span></strong></div>
<strong>English</strong>
<strong>Still Image</strong>
<strong><em>Jane Cazneau With Books</em><br /></strong>
<strong>Jane Cazneau with a sampling of her books.</strong>
<p><strong>Image of a middle-aged Jane Cazneau, including two of her book covers, from <em>The Queen of Islands and King of Rivers </em>(1850), and <em>The Eagle Pass, or Life on the Border </em>(1852)</strong></p>
<p><strong>Also included is the cover of a Cazneau biography, by Linda Hudson, entitled <em>Mistress of Manifest Destiny: A Biography of Jane McManus Storm Cazneau (1808-1878).</em></strong></p>
<p><strong>Unknown</strong></p>
<p><strong><br /></strong></p>
<p><strong>Getty Images</strong></p>
<p><strong>http://www.gettyimages.ae/detail/news-photo/engraving-depicting-jane-maria-eliza-mcmanus-storms-cazneau-news-photo/114947575</strong></p>
<strong>1850</strong>
<strong>Photo by Kean Collection/Getty Images</strong>
<strong>Public Domain</strong>
<strong>Unknown</strong>
<strong>English</strong>
<strong>Still Image</strong>
<em><strong>Westward the Star of Empire Takes its Way</strong></em>
<strong>Westward expansion, Manifest Destiny</strong>
<strong>The railroad disrupts nature and bears down on the viewer, with the locomotive's light shining like a jewel. Wild deer scatter to the left, but the cleared field offers no refuge--the stumps, that catch the light of the west-setting sun, and the still sunlit cabin, are a sign of progress.</strong>
<strong>Andrew W. Melrose</strong>
<p><strong>Museum of the American West</strong></p>
<p><strong>Los Angeles, CA </strong></p>
<strong>1867</strong>
<strong>Public Domain</strong>
<p><strong>Oil on canvas</strong></p>
<p><br /><strong> Height: 64.8 cm (25.51 in.)</strong></p>
<p><strong> Width: 116.8 cm (45.98 in.)</strong></p>
<strong>English</strong>
<strong>Still Image</strong>
<em><strong>American Progress</strong></em>
<strong>Weatward expansion, Manifest Destiny</strong>
<p><strong>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.</strong></p>
<p><strong>This painting has come to represent the ideal of Manifest Destiny.<br /></strong></p>
<strong>John Gast</strong>
<p>Museum of the American West</p>
<p>Griffith Park, Los Angeles, CA</p>
<strong>1872</strong>
<strong>Public Domain</strong>
<p><strong>Oil painting</strong></p>
<p><strong>12 ¾” x 16 ¾”</strong></p>
<strong>English</strong>
<strong>Still Image</strong>
<em><strong><span class="field-content">Daniel Boone Escorting Settlers through the Cumberland Gap</span></strong></em>
<strong>Westward expansion</strong>
<p><strong><span class="field-content">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. <strong></strong></span></strong></p>
<p><strong><span class="field-content"><strong><span class="field-content">George Caleb </span></strong>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. </span></strong></p>
<p><strong><span class="field-content">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.</span></strong></p>
<p><strong><span class="field-content">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.</span></strong></p>
<strong><span class="field-content"><strong><span class="field-content">George Caleb </span></strong>Bingham</span></strong>
<p><strong>Mildred Lane Kemper Art Museum</strong></p>
<p><strong>Washington University in St. Louis</strong></p>
<p><strong>http://www.kemperartmuseum.wustl.edu/collection/explore/artwork/193</strong></p>
<p><strong><br /></strong></p>
<strong>1851-1852</strong>
<strong>Public Domain</strong>
<div class="views-field-obj-material-s"><strong><span class="field-content">Oil on canvas</span></strong></div>
<div class="views-field-obj-crate-s"><strong><span class="field-content">36 1/2" x 50 1/4 "</span></strong></div>
<strong>English</strong>
<strong>Still Image</strong>
<em><strong>Westward the Course of Empire Takes Its Way</strong></em>
<strong>Westward expansion, Manifest Destiny</strong>
<strong>Emanuel Leutze’s mural celebrates the western expansion of the United States. A group of pioneers and their train of covered wagons are pictured at the continental divide, looking towards the sunset and the Pacific Ocean. The border depicts vignettes of exploration and frontier mythology. Beneath the central composition is a panoramic view of their destination “Golden Gate,” in San Francisco Bay. The mural’s title is a verse from the poem “On the Prospect of Planting Arts and Learning in America” by Bishop George Berkeley (1685–1753).</strong>
<strong>Emanuel Leutze</strong>
<p><strong>United States Capitol, Washington D.C. </strong></p>
<p><strong>Architect of the Capitol </strong></p>
<p><strong>http://www.aoc.gov/capitol-hill/other-paintings-and-murals/westward-course-empire-takes-its-way</strong></p>
<strong>July 1861 to November 1862</strong>
<strong>Public Domain</strong>
<strong>20'-by-30'-foot mural using a German technique called stereochromy, in which pigments are applied to plaster and sealed with waterglass, a silica solution that preserves and enhances the colors.</strong>
<strong>English</strong>
<strong>Still Image</strong>