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Teachers Resource Book N ATIONAL ENDOWMENT for the H U M a N I T I E S

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Teachers Resource Book N ATIONAL ENDOWMENT for the H U M a N I T I E S Teachers Re s o u r c e B o o k THE NATIONAL ENDOWMENT FOR THE H U M A N I T I E S Teachers Resource Book N ATIONAL ENDOWMENT FOR THE H U M A N I T I E S National Endowment for the Humanities 1100 Pennsylvania Avenue, N.W. Washington, D.C. 20506 www.neh.gov The Teachers Guide was designed to accompany the Picturing America pilot project, 2007, 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 and other entities chosen by the National Endowment for the Humanities, 1100 Pennsylvania Avenue, N.W., 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 (art history), Kaye Passmore (education) EDUCATIONAL CONSULTANT StandardsWork, Washington, D.C. RESEARCHER Linda Simmons INTERNS Samantha Cooper, Mary Conley PERMISSIONS AND CITATIONS Ellen Schlachter NEH DIRECTOR OF PUBLICATIONS David Skinner NEH ASSISTANT EDITOR OF PUBLICATIONS Amy Lifson PRODUCED BY Crabtree + Company, Falls Church, Virginia COLOPHON Printed by Monarch Litho, Inc. 1501 Date Street, Montebello, California 90640 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. Special thanks to John Kennedy, GPO Picturing America is a registered service mark for the National Endowment of the Humanities. Cover: Grant Wood (1892–1942), 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. democracy demands wisdom — from the founding legislation of the National Foundation on the Arts and Humanities, signed into law on September 29, 1965 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 exciting 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 vii artwork & historical biography 1-A Pottery and Baskets: c. 1100 to c. 1960 . 3 1-B Mission Concepción, San Antonio, Texas, 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, 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 Ohio State Capitol, 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 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, Elizabeth Winthrop Chanler, 1893 . 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, 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 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. Augustus Saint-Gaudens, Robert Gould Shaw and the Fifty-fourth Regiment These men are the first regiment of free black soldiers Memorial, Beacon and Park streets, Boston, Massachusetts, 1897. Bronze, 11 x 14 ft. (3.35 x 4.27 m.). Photograph courtesy of Carol Highsmith. recruited in the North, and they are fighting for more than others dared hope: freedom for their enslaved brethren and the right of African American soldiers to serve in the Union Army. Before the Civil War ends, almost 179,000 more black soldiers will enlist. Augustus Saint-Gaudens created this bronze monument to honor the memory of the abolitionist Colonel Robert Gould Shaw and the men of the Fifty-fourth Regiment of Massachusetts Volunteer Infantry. The artist could have depicted a more dramatic scene: the attack on the fort, the death of Colonel Shaw, or the saving of the regiment flag from capture. Instead, Saint-Gaudens chose this moving image of human resolve in the face of death. Detail of Robert Gould Shaw and the Fifty-fourth Regiment Memorial. Masterpieces like this help us experience the humanity Photograph courtesy of Carol Highsmith. of history and enhance the teaching and understanding of America’s past. Not only are they aesthetic achieve- ments and a pleasure to look at and think about, but they are part of our historical record, as important as any other historical documents. x PICTURING AMERICA In order to help young people follow the course of reproductions that are best seen side by side are placed on separate posters. For example, John S. Copley’s Portrait of Paul our national story, the Picturing America program, Revere (2-A) can be paired with Grant Wood’s Midnight Ride created by the National Endowment for the of Paul Revere (3-A); and Gilbert Stuart’s portrait of George Humanities in partnership with the American Library Washington (3-B), which depicts the president in his role as statesman, might be compared to Emanuel Leutze’s Washington Association, is offering reproductions of some of our Crossing the Delaware (4-A), which represents his heroism as nation’s most remarkable art to school classrooms a military leader.
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