Uncovering America

390 Pins

·2y

National Gallery of Art

Thomas Moran, "Green River Cliffs, Wyoming," 1881, oil on canvas #art #history #socialstudies

Elbert S. Mowery, "Pioneer Salt Gourd," 1935/1942, watercolor, pen and ink, and graphite on paper #art #history #socialstudies

after Frances Flora Bond Palmer, James Merritt Ives, Currier and Ives, "Across the Continent: "Westward the Course of Empire Takes its Way"," 1868, hand-colored lithograph, with touches of gum arabic, on wove paper #art #history #socialstudies

Uncovering America: The West

24 Pins

Palette of Narmer, 3000 B.C. Narmer was an ancient Egyptian king whose life was pictured in relief, (shallow carved sculpture) on slate tablets such as these. Aaron Douglas (1899-1979), artist of the Harlem Renaissance, drew inspiration from the flattened simplified figures and hieratic scale, in which important figures are the largest. #art #history #socialstudies #ELA

Romare Bearden, "Black Manhattan," 1969. This work's title refers to James Weldon Johnson's 1930 chronicle of the burgeoning cultural life of Harlem. Bearden's view of Harlem in 1969 offers another, less optimistic view of the place during the civic unrest of the late 1960s. #art #history #socialstudies #ELA

Philadelphia Museum of Art - Collections Object : Exhibition Arrangements at 291, Negro Art Exhibition, November, 1914 #art #history #socialstudies #ELA

Uncovering America: Harlem Renaissance

38 Pins

Gordon Parks, "Beggar Woman and Child, Estoril, Portugal," 1950, gelatin silver print #art #socialstudies #ELA #history

Gordon Parks, "Bessie and Little Richard the Morning After She Scalded Her Husband, Harlem," 1967, gelatin silver print, printed later #art #history #socialstudies #ELA

Gordon Parks, "Black Muslim Schoolchildren in Chicago," 1963, gelatin silver print, printed later #art #history #socialstudies #ELA

Uncovering America: Gordon Parks Photography

57 Pins

Index of American Design, via Library of Congress #Art #socialstudies #history #ELA

Richard Taylor, "Coffee Grinder," c. 1940, watercolor, graphite, and pen and ink on paperboard #art #history #ELA #socialstudies

Via the Library of Congress, a poster advertising an exhibition of drawings from the Index of American Design presented in Ohio. #art #history #socialstudies #ELA

Uncovering America: Great Depression - Index of American Design

8 Pins

Stuart Davis, "Swing Landscape," 1938, oil on canvas, Indiana University Art Museum; allocated by the U.S. Government, commissioned through the New Deal Art Projects. #art #history #socialstudies #ELA

Artist George Biddle works on a panel of his mural, Society Freed Through Justice, during the 1930s. The mural is located in the fifth floor lobby of the Justice Department building. Story via NPR, photo courtesy of the Smithsonian #art #socialstudies #history #ELA

Stephen Mopope, "Ceremonial Dance (Indian Theme)," oil on plaster, 1939. "Ceremonial Dance" is a celebration of the hunt. The central figure is seated with a buffalo painted on his back while others dance around him creating a composition resembling a frieze. Stephen Mopope, also known as Qued Koi (Painted Robe), was born near Medicine Park, Oklahoma in 1900. Via Department of Interior. #art #history #socialstudies #ELA

Uncovering America: Great Depression - Public Art Murals During the Depression

8 Pins

This painting hung in the Roosevelt White House to demonstrate Roosevelt's support of the PWAP and sympathy for ordinary Americans. Millard Sheets, "Tenement Flats," 1933-34, oil on canvas, Smithsonian American Art Museum #art #history #socialstudies #ELA

While Walker Evans traveled through the American South to document the landscape of the Depression, the array of signs that he saw captured his interest. How do they compare to today's signs? Find contemporary versions, e.g. a fruit and vegetable seller, a barber shop, or historical marker, to compare. Walker Evans, "Barber Shop, New Orleans," 1936, gelatin silver print #art #history #socialstudies #ELA

A typical urban pushcart for selling food. See Leon Bibel's rendering of the same subject. Office of War Information, Vendor at the docks, recto., 1944, Museum of the City of New York. #art #history #socialstudies #ELA

Uncovering America: Great Depression - Life During the Depression

12 Pins

Diego M. Rivera, "Detroit Industry, North Wall," 1932-1933, fresco, Detroit Institute of Arts. #art #history #socialstudies #ELA

This view is of a mural in a stairwell. Siqueiros' radical politics as a communist and labor union advocate are reflected in his fiery visions of class warfare. David Alfaro Siqueiros, "Portrait of the Bourgeoisie," 1939-1940, Mexican Electrical Workers' Union, Mexico City. #art #ELA #history #socialstudies

Rivera painted this mural after the original version created for Rockefeller Center in New York City. David Rockefeller did not like the work's political content and ordered it removed and destroyed. Diego Rivera, "Man at the Crossroads/Man, Controller of the Universe," 1933-1934, fresco, Palacio de Bellas Artes, Mexico City. #art #socialstudies #history #ELA

Uncovering America: Great Depression - Mexican Artists and the WPA

8 Pins

The detail of a woodcut image is a little less fine than that of a wood engraving. The artist satirizes subway system, which in the picture, intakes people and shoots them out on the other side. A jumble of signs contributes to the chaotic jumble. Fred Becker, Federal Art Project (New York City), "Rapid Transit," c. 1937, woodcut in black on wove paper #art #history #socialstudies #ELA

James E. Allen, "Arch of Steel," 1937, lithograph in black #art #history #socialstudies #ELA

New York’s Majestic Passage in the Sky | The New Yorker #art #history #socialstudies #ELA

Uncovering America: Great Depression - Buildings and Infrastructure

9 Pins

Grant Wood, George C. Miller, Associated American Artists, "Tree Planting," 1937, lithograph in black #art #socialstudies #history #ELA

This print was created toward the end of the FAP (1943). How is this image different from the others in the set? Jolán Gross-Bettelheim, "Home Front," 1942, lithograph in black on wove paper #art #history #ELA #socialstudies

Joseph Vogel, Federal Art Project (New York City), "Another Day," c. 1937, lithograph in black on wove paper #art #socialstudies #ELA #history

Uncovering America: Great Depression - Recovery and Modernization

10 Pins

Helen West Heller, "Reforestation (center panel)," 1935, wood engraving in black on wove paper #art #history #socialstudies #ELA

Wright Morris, "Nebraska Farm House," 1940, gelatin silver print #art #history #socialstudies #ELA

Louis Lozowick, "Granite Quarries," 1936, lithograph in black on wove paper #art #socialstudies #ELA #history

Uncovering America: Great Depression - The Land

9 Pins

Albert Abramovitz, "Job Wanted, N.Y. 1932," 1932, linocut #art #history #socialstudies #ELA

Bernarda Bryson, "Arkansas Sharecroppers," 1935-1936, lithograph #art #history #socialstudies #ELA

Children at a migrant agricultural workers camp in El Rio, California in 1941. Many of the residents were Mexican fruit pickers. Photo by Robert Hemming, Charles L. Todd and Robert Sonkin Migrant Workers Collection (AFC 1985/001), American Folklife Center, Library of Congress. #art #history #socialstudies #ELA

Uncovering America: Great Depression - People

15 Pins

Byron Kim, "Synecdoche," 1991-present, oil and wax on lauan plywood, birch plywood, and plywood #art #socialstudies #history #ELA

Chuck Close, "Obama 2," 2013, woodburytype. A woodburytype is 19th century photomechanical printing process that was used to add illustrations to books before the 20th century. #art #history #socialstudies #ELA #Obama

Chuck Close, "Kara," 2007, daguerreotype #art #socialstudies #history #ELA

Uncovering America: Faces of America - Contemporary Portraits: 1970's to Today

4 Pins

Auguste Rodin, "Katherine Seney Simpson (Mrs. John W. Simpson)," 1902-1903, marble. Few people could afford the expense of a portrait in marble, which cost far more than a painting. One who could was Katherine Seney Simpson, a wealthy American patron and supporter of the work of French sculptor Auguste Rodin. Rodin made few portraits, but hers is among them due to her generous patronage. #art #history #socialstudies #ELA

Blythe Bohnen, "Self-Portrait: Pivotal motion from chin, large," 1974, gelatin silver print. “Hold still” is a familiar refrain of photographers trying to capture their subjects accurately. In this series of photographs, Bohnen has chosen to do the opposite of that by deliberately enacting a specific motion. In this way, she prevents us from seeing what she looks like, the images she offers appear like “bad shots” or ghostly apparitions. #art #socialstudies #history #ELA

Lida Moser, "Alice Neel in her studio," 1975 (printed 1990), gelatin silver print #art #socialstudies #history #ELA

Uncovering America: Faces of America - Modern Era: 1900-1970

16 Pins

George K. Warren, "Theodore Ferris [recto]," c. 1869, albumen print #art #history #socialstudies #ELA

Eastman Johnson, "The Brown Family," 1869, oil on paper on canvas #art #history #socialstudies #ELA

C.W. Nichols, "Portrait of a Woman," 1880s-1890s, albumen print mounted on cabinet card. A cabinet card was a display-sized inexpensive print. #art #socialstudies #history #ELA

Uncovering America: Faces of America - The 19th Century: 1825-1899

5 Pins

Winthrop Chandler, "Captain Samuel Chandler," c. 1780, oil on canvas. This portrait is a pendant to one of the Captain's wife, also in the NGA collection. The artist was Captain Chandler's brother, a well-off tavern-keeper and member of the Connecticut militia. The domestic setting, presumably the Chandler’s home, is tempered by the scene of an encounter between Redcoats and Patriots through the window, suggesting mens' traditional domain outside the home. #art #history #socialstudies #ELA

John Singleton Copley, "Adam Babcock," c. 1774, oil on canvas #art #history #socialstudies #ELA

Winthrop Chandler, "Mrs. Samuel Chandler," c. 1780, oil on canvas. Mrs. Chandler’s tightly enclosed space contrasts with the openness of Captain Chandler’s. She looks stern, and her elaborate dress--and situation in a library--suggests her refinement. The swags of drapery framing her would likely not be part of the actual scene; their abundance and quality is meant to signify the family’s wealth. #art #history #socialstudies #ELA

Uncovering America: Faces of America - Early Republic: 1776-1825

8 Pins

Gilbert Stuart, "George Washington," c. 1803, oil on canvas #art #history #socialstudies #ELA

Gilbert Stuart, "George Washington," c. 1803/1805, oil on canvas #art #history #socialstudies #ELA

Gilbert Stuart, "George Washington," c. 1800, oil on canvas #art #history #socialstudies #ELA

Uncovering America: Faces of America - George Washington(s) by Gilbert Stuart

6 Pins

Joseph Blackburn, "Portrait of a Gentleman," c. 1760, oil on canvas #art #history #socialstudies #ELA

John Singleton Copley, "Adam Babcock," c. 1774, oil on canvas #art #socialstudies #history #ELA

"Portrait Of James Forten," c. 1820, oil on panel, Flint Institute of Arts. In this work, a red swag or curtain is drawn back at the right to reveal a ship in the distance. The ship symbolizes the sitter's profession as a sail maker. James Forten had served in the Continental army fighting for independence, and later became an active abolitionist, purchasing the freedom of a number of enslaved people and participating in the Underground Railroad. #art #socialstudies #history #ELA

Uncovering America: Faces of America - Colonial America

8 Pins

Awa Tsireh, "Two Kossa," c. 1925, brush and black ink with watercolor over graphite on wove paper #art #identity #ELA #history

James Castle, "Untitled (Figures Lined Against a Wall)," n.d., color wash and soot on found paper #art #identity #ELA #history

Barkley Leonnard Hendricks, "Sir Charles, Alias Willie Harris," 1972, oil on canvas #art #identity #ELA #history

Uncovering America: Expressing the Individual

23 Pins

Henry Peter Bosse, "Construction of Rock and Brush Dam, L.W. 1891," 1891, cyanotype #art #environment #history #science #ELA

Frederic Edwin Church, "Niagara," 1857, oil on canvas #environment #ELA #history #science #art

Robert Smithson, Gianfranco Gorgoni, "Untitled," 1970, gelatin silver print #history #ELA #art #environment #science

Uncovering America: People & Environment

27 Pins

Romare Bearden, "Tomorrow I May Be Far Away," 1967, collage of various papers with charcoal, graphite and paint on paper mounted to canvas #art #immigration #history #socialstudies #ELA

Dorothea Lange, "Children of the Weill public school, San Francisco, California," April 1942, gelatin silver print, printed ca. 1965 #art #immigration #history #socialstudies #ELA

Yasuo Kuniyoshi, "Cows in Pasture," 1923, oil on canvas #art #immigration #ELA #history #socialstudies

Uncovering America: Immigration and Displacement

17 Pins

A.A. Lamb, "Emancipation Proclamation," 1864 or after, oil on canvas #art #ELA #socialstudies #history #civilwar

Elizabeth Catlett, Taller de Grafica Popular, "Untitled (Harriet Tubman)," 1953, linocut #art #socialstudies #history #civilwar #ELA

Winslow Homer, "Home, Sweet Home," c. 1863, oil on canvas #art #history #socialstudies #civilwar #ELA

Uncovering America: Civil War

21 Pins

Harry Callahan, "Hong Kong," 1985, dye imbibition print #art #ELA #transportation #history #socialstudies

Berenice Abbott, "New York 7, Holland Transportation Company," c. 1930s, gelatin silver print #art #socialstudies #history #transportation #ELA

Robert Seldon Duncanson, "Still Life with Fruit and Nuts," 1848, oil on board #art #ELA #transportation #history #socialstudies

Uncovering America: Transportation

36 Pins

Rockwell Kent, American Artists Group, "And Woman Must Weep," 1937, lithograph #art #socialstudies #history #activism #protest

Fritz Scholder, Tamarind Institute Lorillard Company, "Bicentennial Indian," 1975, color lithograph on wove paper #art #socialstudies #history #activism #protest

Deborah Luster, "Eddie M. "Fat" CoCo, Transylvania, Louisiana," March 8, 2002, gelatin silver print on aluminum #art #socialstudies #history #activism #protest

Uncovering America: Activism and Protest

And Woman Must Weep

Rockwell Kent, American Artists Group, "And Woman Must Weep," 1937, lithograph #art #socialstudies #history #activism #protest

Native American Artists

Indian Artist

American Indian Art

Native Indian

Bicentennial Indian

Fritz Scholder, Tamarind Institute Lorillard Company, "Bicentennial Indian," 1975, color lithograph on wove paper #art #socialstudies #history #activism #protest

a man wrapped in an american flag is looking at the camera while standing against a black background

Eddie M. Fat Coco Jr., Transylvania, Louisiana

Deborah Luster, "Eddie M. "Fat" CoCo, Transylvania, Louisiana," March 8, 2002, gelatin silver print on aluminum #art #socialstudies #history #activism #protest

Black And White Photograph

Silver Print

Gelatin Silver Print

Black And White Photographs

Addie Card, 12 years old. Spinner in cotton mill, North Pownal, Vermont

Lewis Hine, "Addie Card, 12 years old. Spinner in cotton mill, North Pownal, Vermont," 1910, gelatin silver print #art #socialstudies #history #activism #protest

an image of handprints on white paper with black lines in the middle and bottom

National Gallery Of Art

National Gallery

Art Object

Peace Gesture

Left Palm and Knife Edge 000417

Jenny Holzer, "Left Palm and Knife Edge 000417," 2007, oil on linen #art #socialstudies #history #activism #protest

an image of a woman's head in a mirror with the words ring surrounded by black and white images

African American Artist

History Of Photography

Black Artists

Untitled (2 Necklines)

Lorna Simpson, "Untitled (Two Necklines)," 1989, 2 gelatin silver prints and 11 plastic plaques #art #socialstudies #history #activism #protest

an orange and black poster with the words down with the white - nesss

Social Studies

Logos

Activism Graphic Design

Down with the Whiteness

Rupert García, "Down with the Whiteness," 1969, color screenprint on wove paper #art #socialstudies #history #activism #protest

an old bus with graffiti on it parked in front of a gas station and building

Ken Kesey—Merry Pranksters’ day-glo painted “Further” cross-country bus Neal Cassady’d driven S.F. to Manhattan, L.S.D. cool-aid pitcher in icebox for local hitchhikers and Police, here stopped for gas lunch upstate on trip to Timothy Leary’s Millbrook n.y. psychedelic research commune just before election time, “A Vote For Barry Is A Vote for Fun” logo painted large across bustop side, Goldwater the libertarian Republican would-be Presidential candidate Hawk during Vietnam War, summer 1964.

Allen Ginsberg, "Ken Kesey—Merry Pranksters," 1964 gelatin silver print, printed 1995 #art #socialstudies #history #activism #protest