From its earliest days, the United States has been home to talented, often self-trained artists. In this first lecture, you preview the signature themes, modes, and styles employed by these homegrown geniuses and begin your trip through American art with some of the earliest examples of art of the colonial period.
Continue our survey of art produced during the colonial period with a close examination of some of the great portraits by such talented painters as John Smibert, Robert Feke, and Joseph Blackburn. You see how portraiture reflected not only the character of its sitters, but also had much to say about this burgeoning society, its practices, and its values.
This lecture examines the fascinating interplay between American and British schools of art during the second half of the 18th century, beginning with detailed, realistic portraits by John Singleton Copley and concluding with two highly symbolic portraits by Charles Willson Peale.
Trace the development of history painting from its roots in classical subject matter to its role in military commemoration, starting with Benjamin West, whose unprecedented use of contemporary subjects created a sensation and revolutionized the genre. This consideration also includes the work of two artists—Charles Willson Peale and John Trumbull—Revolutionary War veterans who applied their talents to recording the birth of the nation.
From Gilbert Stuart's famous "Lansdowne" portrait of George Washington to the witty, skillful Staircase Group by Charles Willson Peale, the art of portraiture flourished during the early days of the American Republic. Throughout, these masterworks showcase the ability of these great painters to capture the intelligence, dignity, and character of the founding generation.
Historical subjects continued to have a hold on American painters, but many painters turned their skills to the project of documenting the beauties of the new country through landscape painting. Examine both genres and see how painters who traveled abroad incorporated the influence of Romanticism and Neoclassicism.
Following the tumultuous Revolutionary era, the country experienced a period of relative peace, which was echoed in the flourishing of still-life painting. Here, you examine examples from the masterful still-life painter Raphaelle Peale, as well as the historical portraits that commemorated the nation's first citizens.
At the age of 25, with only a year of formal training, painter Thomas Cole became a founding member of the National Academy of Design. In this lecture, you explore the early works of Cole, the first great American landscape painter, including his The Subsiding of the Waters of the Deluge and Distant View of Niagara Falls, and examine how his innovative series, The Course of Empire, reveals a surprisingly pessimistic perspective on the fate of civilization.
You look at some of Cole's later paintings, which ranged from depictions of distinctly American subjects to works that reflected his time in Europe. The lecture concludes with a consideration of his unfinished religious cycle, The Cross and the World.
Cole's legacy continued in the works of his peer, Asher B. Durand, who added his own Transcendentalist sensibilities and commitment to nature to the landscape art pioneered by Cole. This lecture also considers the work of Cole's student, Frederic Edwin Church, who contributed a new and daring perspective on the natural wonder of Niagara, and the luminous landscapes of Fitz Henry Lane.
In genre painting, the artist acts as storyteller, capturing implied narratives in scenes from everyday life. Here, you sample some masterful examples of this mode, and see how literature, landscape, and history painting interact on the canvas.
Next, turn your attention to the frontier and the depiction of Native Americans produced by some of the period's greatest painters, including Charles Bird King, George Catlin, and William Ranney. You see how these images combined a sympathy for the native people with a faith in the idea of Manifest Destiny.
As the Civil War approached, artists turned to landscape painting and symbolic representations to interpret the rising conflict. You survey a range of these images, from the quiet, reassuring paintings of George Henry Durrie and John Frederick Kensett to Winslow Homer's detailed and startling images from the front.
At the end of the war, artists expressed a new hope, as seen in glowing images of peace and harvest captured by Winslow Homer and George Inness. The evocations of a "New Eden" are seen in the majestic western landscapes of Albert Bierstadt and George P. A. Healy's bittersweet evocation of the move from war to peace.
The paintings of Winslow Homer and others provide a remarkable perspective on the striking social changes after the Civil War, including shifts in gender roles, professions, national identity, and race relations. You also look at the cult of childhood that surfaced, as portrayed in Eastman Johnson's Barn Swallows.
The period 1876–1893 witnessed an increasing devotion to artistic endeavors as American cultural life began to emulate European models. Paintings reflected this greater interest in the arts, including images inspired by opera and literature.
You examine the striking dichotomy between light and dark through the dark, quiet tableaus of William Harnett and John F. Peto, with their beautiful trompe l'oeil illusions, and the vibrant paintings of plein air artists such as William Merritt Chase and Childe Hassam.
In their search for the finest American artists, the organizers of the 1893 World's Columbian Exposition considered painters living in American cities as well as those in Europe. This lecture examines three famous American artists who, despite their expatriate status, are among America's greatest talents: James McNeill Whistler, Mary Cassatt, and John Singer Sargent.
This lecture initiates a three-part consideration of one of the greatest and most controversial of American artists, Thomas Eakins. In this first lecture, you examine his early works, including his series of paintings of rowers and his masterpiece, The Gross Clinic.
Eakins' interest in verisimilitude can be seen in some of his virtuoso representations of the human form based on his careful observations of the body in motion. This interest ultimately led to his downfall, as his studies of and professional fixation on the nude human body elicited outrage and led to scandal.
This final lecture on Thomas Eakins examines the artist's later works, including his remarkable images of boxing scenes and his haunting portraits of women that seem to reflect the artist's own increasing sense of isolation and disappointment.
Here, you return to the works of Winslow Homer, You start by viewing some of his powerful paintings of seascapes and nature scenes that reflect his time spent in England and New England. You also begin to explore Homer's remarkable sympathy for animals, as seen in his remarkable hunting scenes.
By his mid-50s, Homer was not so much a recluse as a man deeply immersed in the natural world—in the wilderness, the tropics, and the sea. You explore how he rendered these settings in some of his greatest paintings, including Fox Hunt and The Gulf Stream.
In this final lecture, you take a fresh look at the trajectory of American art and reconsider some of these great paintings within the broader context of our rich artistic legacy, a legacy that endures and continues to inspire American artists to interpret our world.