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Teachers Resource Book NATIONAL ENDOWMENT for the HUMANITIES National Endowment for the Humanities I Ii Teachers Resource Book NATIONAL ENDOWMENT for the HUMANITIES

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Teachers Resource Book NATIONAL ENDOWMENT for the HUMANITIES National Endowment for the Humanities I Ii Teachers Resource Book NATIONAL ENDOWMENT for the HUMANITIES teachers resource book NATIONAL ENDOWMENT FOR THE HUMANITIES National Endowment for the Humanities i ii teachers resource book NATIONAL ENDOWMENT FOR THE HUMANITIES National Endowment for the Humanities 1100 Pennsylvania Avenue, NW Washington, D.C. 20506 www.neh.gov In cooperation with the American Library Association 50 E. Huron Chicago, IL 60611 iii Picturing America is a part of We the People, the flagship initiative of the National Endowment for the Humanities. The Teachers Resource Book accompanies a set of 40 large-scale reproductions of American art, which are awarded as grants to K–12 schools, public libraries, and other entities chosen by the National Endowment for the Humanities, 1100 Pennsylvania Avenue, NW, Washington, D.C. 20506. CHAIRMAN Bruce Cole DEPUTY CHAIRMAN AND DIRECTOR OF WE THE PEOPLE Thomas Lindsay PROJECT DIRECTOR Barbara Bays PROJECT EDITOR Carol Peters DESIGN DIRECTOR Maria Biernik WRITERS Linda Merrill, Lisa Rogers, Linda Simmons (art history), Kaye Passmore (education) EDUCATIONAL CONSULTANT StandardsWork, Washington, D.C. INTERNS Samantha Cooper, Mary Conley PERMISSIONS AND CITATIONS Carousel Research, Inc. NEH DIRECTOR OF PUBLICATIONS David Skinner NEH ASSISTANT EDITOR OF PUBLICATIONS Amy Lifson Printed on Burgo Chorus Art Silk 63 lb. and 130 lb. cover, a Forest Stewardship Council (FSC) certified paper made from 25 percent post-consumer recycled material. Printed by Schmitz Press 37 Loveton Circle, Sparks, Md 21152 Picturing America is a recognized service mark of the National Endowment for the Humanities. Cover: Grant Wood (1892–1942), detail, THE MIDNIGHT RIDE OF PAUL REVERE, 1931. Oil on Masonite, 30 x 40 in. (76.2 x 101.6 cm.). The Metropolitan Museum of Art, Arthur Hoppick Hearn Fund, 1950 (50.117). Photograph © Estate of Grant Wood/Licensed by VAGA, New York. See Image 3-A. Library of Congress Cataloging-in-Publication Data Picturing America : teachers resource book / [writers, Linda Merrill, Lisa Rogers, Kaye Passmore]. 126 p. 340 x 255 cm. “The Teachers Guide was designed to accompany the Picturing America project, a part of We the People, the flagship initiative of the National Endowment for the Humanities. It is to be distributed free of charge to participating K-12 schools, public libraries, and other entities chosen by the National Endowment for the Humanities”—T.p. verso. Includes bibliographical references and indexes. 1. Art, American—Study and teaching—United States. 2. Art appreciation”—Study and teaching—United States. I. Merrill, Linda, 1959- II. Rogers, Lisa. III. Passmore, Kaye. IV. National Endowment for the Humanities. N353.P52 2008 709.73—dc22 2008014414 iv democracy demands wisdom and vision in its citizens — from the founding legislation of the National Foundation on the Arts and Humanities, signed into law on September 29, 1965 v contents Preface . ix Acknowledgments . xi Introduction . xii Using Picturing America to Teach Core Curriculum Classes . xiv Artwork, Essays, and Activities . 1 1-A Pottery and Baskets: c. 1100 to c. 1960. 3 1-B Mission Nuestra Se~nora de la Concepción, 1755 . 8 2-A John Singleton Copley, Paul Revere, 1768 . 10 2-B Silver of the 18th, 19th, & 20th Centuries . 12 3-A Grant Wood, The Midnight Ride of Paul Revere, 1931 . 16 3-B Gilbert Stuart, George Washington, 1796 . 18 4-A Emanuel Leutze, Washington Crossing the Delaware, 1851 . 20 4-B Hiram Powers, Benjamin Franklin, 1862. 22 5-A Thomas Cole, View from Mount Holyoke (The Oxbow), 1836 . 24 5-B N. C. Wyeth, Cover Illustration for The Last of the Mohicans, 1919. 26 6-A John James Audubon, American Flamingo, 1838. 28 6-B George Catlin, Catlin Painting the Portrait of Mah-to-toh-pa — Mandan, 1861/1869. 30 7-A State Capitol, Columbus, Ohio, 1838–1861. 32 7-B George Caleb Bingham, The County Election, 1852 . 34 8-A Albert Bierstadt, Looking Down Yosemite Valley, California, 1865. 36 8-B Black Hawk, “Sans Arc Lakota” Ledger Book, 1880 –1881 . 38 9-A Winslow Homer, The Veteran in a New Field, 1865 . 40 9-B Alexander Gardner, Abraham Lincoln, February 5, 1865. 42 10-A Augustus Saint-Gaudens, Robert Shaw Memorial, 1884–1897 . 44 10-B Quilts: 19th through 20th Centuries. 46 vi 11-A Thomas Eakins, John Biglin in a Single Scull, c. 1873 . 50 11-B James McNeill Whistler, The Peacock Room, 1876–1877 . 52 12-A John Singer Sargent, Portrait of a Boy, 1890 . 54 12-B Childe Hassam, Allies Day, May 1917, 1917 . 56 13-A Walker Evans, Brooklyn Bridge, New York, 1929 . 58 13-B Louis Comfort Tiffany, Autumn Landscape — The River of Life, 1923–1924 . 60 14-A Mary Cassatt, The Boating Party, 1893/1894 . 62 14-B Joseph Stella, Brooklyn Bridge, c. 1919–1920. 64 15-A Charles Sheeler, American Landscape, 1930 . 66 15-B William Van Alen, The Chrysler Building, 1926–1930 . 68 16-A Edward Hopper, House by the Railroad, 1925 . 70 16-B Frank Lloyd Wright, Fallingwater, 1935–1939 . 72 17-A Jacob Lawrence, The Migration Series, no. 57, 1940–1941 . 74 17-B Romare Bearden, The Dove, 1964. 76 18-A Thomas Hart Benton, The Sources of Country Music, 1975 . 78 18-B Dorothea Lange, Migrant Mother, 1936. 80 19-A Norman Rockwell, Freedom of Speech, The Saturday Evening Post, 1943 . 82 19-B James Karales, Selma-to-Montgomery March for Voting Rights in 1965, 1965 . 84 20-A Richard Diebenkorn, Cityscape I, 1963 . 86 20-B Martin Puryear, Ladder for Booker T. Washington, 1996 . 88 Bibliography and Indexes . 93 Selected Bibliography . 93 – 98 Indexes . 99 – 104 vii preface Picturing America is the newest initiative of the We the People program of the National Endowment for the Humanities. Launched in 2002, We the People seeks to strengthen the teaching, study, and under- standing of America’s history and founding principles. To promote this goal, Picturing America brings some of our nation’s most significant images into classrooms nationwide. It offers a way to understand the history of America — its diverse people and places, its travails and triumphs — through some of our greatest artistic masterpieces. This excit- ing new effort in humanities education will expose thousands of citizens to outstanding American art, and it will provide a valuable resource that can help bring the past alive. In so doing, Picturing America fits squarely within the mission of the NEH. The Endowment’s founding legislation declares that “democracy demands Chairman Bruce Cole at the National wisdom.” A nation that does not know where it comes from, why it Gallery of Art, Washington, D.C. —Photograph © DavidHills.net exists, or what it stands for, cannot be expected to long endure — so each generation of Americans must learn about our nation’s founding principles and its rich heritage. Studying the visual arts can help accomplish this. An appreciation of American art takes us beyond the essential facts of our history and gives us insights into our nation’s character, ideals, and aspirations. By using art to help our young people to see better, we can help them to understand better the continuing drama of the American experiment in self-government. My own experience testifies to art’s power to stimulate intellectual awakenings. When I was a young child my parents visited the National Gallery of Art in Washington, and they brought home a souvenir that would alter my life: a portfolio of illustrations from the collections of the National Gallery. As I pondered these great works of art, I had the first glimmerings of what would become a lifelong pursuit: to study and understand the form, history, and meaning of art. This was my gateway to a wider intellectual world. Through that open door, I would delve into history, philosophy, religion, architecture, and literature — the entire universe of the humanities. I hope that Picturing America will provide a similar intellectual gateway for students across America.This program will help today’s young Americans learn about our nation’s history. And that, in turn, will make them good citizens — citizens who are motivated by the stirring narrative of our past, and prepared to add their own chapters to America’s remarkable story. Bruce Cole Chairman National Endowment for the Humanities PREFACE ix acknowledgments Picturing America is presented by the National Endowment for the Humanities (NEH), in cooperation with the American Library Association. NEH also wishes to recognize the following organizations and individuals for their support of the program: • The Institute of Museum and Library Services • The Department of Health and Human Services, Office of Head Start • The National Park Service • The U.S. Department of State, Bureau of Educational & Cultural Affairs Picturing America has also been generously supported by Mr. and Mrs. Robert H. Smith. NEH appreciates the support and guidance this program received from the National Trust for the Humanities, the President’s Committee for the Arts and Humanities, and the State Humanities Councils. We are also grateful to the History Channel. The NEH also thanks the U.S. Department of Education and Crayola LLC for promoting Picturing America. xi introduction The stakes could not be higher as these men march forth to make a desperate attempt to take Fort Wagner, a Confederate strong- hold at Charleston, South Carolina. They know the battle will be hard and that the odds are against them; but still, they lean into the advance, united in their resolve. The taut, athletic horse, sensing their mood, jerks back its head, whinnying and snorting against the rumble of feet, metal, and drums. The soldiers do not yet know what we know — how many will die, or that among those will be the steadfast colonel who rides at their side. They will fail to take the fort, but their unflinching heroism will open doors for others.
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