Planation Scene

John Rose (Attributed)

1780-1790

How African traditions served in America. Yoruba origin of ‘jumping the broom’, demonstration of West African martial arts. Separaton of African American and the Whites.

Thomas Coram

View of Mulberry House and Street

1805

Wattle-and-daub - walls made of clay

Architecture built from a combination of materials supplied by master and nature. 

Resembled those in West and Centeral Africa

Sense of hierarchical authority - all roads lead in effect to the manor house

Oak Alley Plantation

Vacherie, Louisiana

1830s

Axial vistas, lines by trees.

Like Italian villas suggesting control orderliness and good government. 

Occupant's claim of power and possession. 

The Shotgun House

mid-19th Century

Yoruba word to-gun signifying 'place of assembly'

Originated in Haiti and Cuba

Rectangular floor plan, hipped roof, entrance on narrow end facing the street. 

Plan of Mount Vernon

1787-99

Based on Roman Republic or Versailles

GW expressed interest in visual experience of approaching and leaving. 

Picture of Pastoralism - combination of 'fenceless' (ha-ha retaining wall) open meadows and irregular clumps of trees.

Seperated spatially from sites of labor and production

The Five Ordrs of Architecture

Toscan - simple capital and plain shaft

Doric - unornamented

Ionic - scrolls at top

Corinthian - elaborate carvings at crown

Composite - mixes Ionic and Corinthian

Mount Airy, Virginia

1754-64

Georgian Domestic Architecture - Proportional and balanced forms, regularity of design and repeated shapes. Symmetrically placed elements

Ease to copy from books. ie. Palladio's Four Books (1570) allowed non master builders and apprentices to build.

pseudo-engineering, plastered over exposed beams and joints.

Mt Airy, raised above ground level. various other structure around building added to hierarchy. 

Mount Pleasant, Philadelpha

1761

Georgian Domestic Architecture.

Family prominence relied on it's 'seat' or family estate and its alliances within the social structure. Idealized Golden Age of civic virtue and social clarity. Should remind us of 18th century gentry who 'shot' their way to the top. 

Whitehall

Newport, RI

1729

Less lavish Georgian, less expensive materials and probably architect without access to design books. Some combined styles to form irregularities in construction and new vernaculars. 

Reminds us of fluid time, meaning are constantly being remade

Quaker (Friends) Meeting House

Newport, RI

1699-1807

Architecture different for religions in this region.

Unadorned meeting house, ad hov fashion (added onto both sides)

Straightforwardness express belief in inner light of individual souls. 

Touro Synagogue

Peter Harrison

Newport, RI

1759-63

Georgian with tradition Jewish elements.

Derives from large collection of design books.

12 Ionic columns = 12 tribes of Israel

St. Michaels' Church

Charleston, SC

1752-61

The 'Colonial' Church. Derived from Christopher Wren's designs new Italian Renaissance with old Gothic idea of steeple. 

Popularized by James Gibbs

San Jose y San Miguel de Aguayo Mission Church

San Antonio, TX

1768-82

TX resembled medieval monasteries, housing all function required to sustain religious community. Armed because of vast Indian attacks and unstable settlement in the area. 

Spanish Baroque style, Pedro Huizar facade of limestone (tufa) and colorfully painted recalling Moorish tiles (earth tones and blue). 

Twenty-one mission dot the coastline from San Diego to north of San Fran. Final phase of Spanish colonial expansion similiar to self-sustaining complexes like Texas. 

Countered Russian expansion. Converted Indians lives became brutally harsh under Spanish 'rule' where they made up the majority of the labor force.

Mission Santa Barbara, CA

1786-1820

Facade very different than other CA missions due to late completion date. Mexican builders in 1795 eager to incorporate neoclassical influences appearing in European architecture. Derived language of classical orders

Nicholas Boylston

John Singleton Copley

1767

Appear in informal, indoor garb, appropriate for domestic pictures but included references to broader world. Copely favored half-length canvas. Focus still on textiles, but realism is in play. Ships in background identify him as a merchant, also with exotic clothes show prosperity. 

Mrs. Thomas Gage

John Singleton Copely

1771

Married to a British general, but sympathetic to Revolutionary cause. Posture suggesting thoughtful inner life, reference to classical senuous figure. Turkish exotic fabrics.

Complex relationship between identity and costume

Portrait of Paul Revere

John Singleton Copley

1768

Silver smith, often showed occupation in portrait. You can raise yourself up - portrayed as thoughtful individual.

Teapot represents lexus of internation trade in single item (tea, sugar, silver, etc)

Despite clothes and work appearance, Revere behaves as artist-gentleman of upper class. This reveals Copley's own aspirations to high social status. 

The Copley Family

John Singleton Copley

1776

Married into wealth, granddaught of Winslow. Self educated in art, starting with etchings. Way to show mutual alliance and wealthy families. 

Mrs. Daniel Sargent (Mary Turner)

John Singleton Copley

1763

Holding oyster shell- motif for love. Portraits for before/right after marriage. Entering a sexual stage in life reference to classical paintings. Dress picked out by husband, alliance of Salem husbands (all their wives would be painted in it)

Agrippina Landing at Brundisium with the Ashes of Germanicus

Benjamin West

1768

Istoria - narrarative paintings from religious history. Carrying of ashes of husband home even though they were banished.

Civic virtue- crowd mourning

Grand Manner - Grand treatment and noble depiction and usually large. Coined by Joshua Reynolds of the Royal Academy in his Discourses

The Artist's Family

Benjamin West

1772

Quaker's so plain, strong divide, strict quakers and beautifully clothed family.

The Death of General Wolfe

Benjamin West

1770

Descent from the cross biblical reference. Contempary history painting - never been done before.

Deciding battle in British conquering N. America, history painter should be true to history.

Resulted in being appointed history painter to the king. Ideal of self-sacrafice for one's country. The Native and native clothing suggests West's sympathy for colonial causes at a time of great tension. Suggests the British needed the colonists and natives to win - Native quoting melancolony, a reflective figure of people's fate

William Penn's Treaty with the Indians in 1683

Benjamin West 

1771-2

Fairest dealer with Natives, comission for King in London during taxation of colonies. Becomes a metaphor for fairness and mutual exchange between old world and new. Hoped to remind King to be fair to the colonies too.

Watson and the Shark

John Singleton Copley

1776

Expands on conventions of history painting with focus on personal incident of Copley's patron. Beginning of evoke of sublime.

Political critique of Revolution? Hypocrisy of colonial claims to independence when such claims rest upon continuance of slavery. Shows in painting modes of interdependence that neither can avoid. 

Importance in humanistic values and conservative politics.

Although both went in different directions, both took disparate paths from obscurity to center of British art production in London. Mastered and Revolutionized.

Copley - started as printmaker with some painting, copied anatomy books and italian prints and used Smibert's well-stocked studio. 

West emigrated to Europe from Pennsyvania and studyied there and established himself there. 

Both were in contact with each other and helped each other in chaffing of non-art in the colonies.