Robert Scott Duncanson was born in New York in 1821, Duncanson’s father was from canadian and his mother was African American, therefore making him biracial. Giving the fact he was biracial he was a freeman. Duncanson is an artist who started as a fancey painter but taught himself how to paint. He is relatively unknown today for his Beautiful artworks of landscapes and serene, Duncanson’s work sheds light on American art that has been forgotten for over decades. As a young boy, Duncanson lived with his father in Canada, while his mother lived in Ohio. The village was fifteen miles north of Cincinnati. In the summer of 1841 Duncanson left Canada for Mount Pleasant. As he return to his mother’s home, Duncanson was excited to inform …show more content…
Among his admirers was the Queen of England, who purchased his works. Land of the Lotus Eaters eventually came to be owned by the king of Sweden. Duncanson became enchanted with the Scottish highlands, and throughout the 1860s, he created a stirring series of landscapes while traveling between the United States and Europe. An 1871 painting, Ellen’s Isle, Loch Katrine, is hailed as the artist’s final masterwork. Although he remained in good health physically, Duncanson began to suffer from dementia in the late 1860s, and his condition steadily worsened until he was placed in a sanitarium in Detroit, Michigan, following a violent seizure. He died there on December 21, 1872.
Duncanson was an enterprising, self-taught landscape artist who was able to begin his career with the support of wealthy business men who knew would be successful in his art. He used the fame he acquired to support the abolitionist cause and became the first African American landscape artist to earn and make a living internationally. Duncanson’s works are now displayed throughout the United States, England, and Scotland. The Taft Museum of Art annually recognizes contemporary creations of African Americans through the Duncanson Artist-in-Residence
Born in Bolton, Lancashire, England in 1837, Thomas was taken to the United States at the age of 7. (Ency. Bio. Vol. 11). He was educated in Philadelphia public schools for his elementary years and then indentured to a wood engraving firm in 1853-1856. (Am.Nat.Bio.Vol 15). He had three brothers who were artist, but he learned to paint from his brother Edward Moran. He did do some watercolors during his apprentictionship and in 1856, he painted his first oil painting titled, Among the Ruins There He Lingered. (Vol.11). Moran still working closely with his brother became an informer student of Philadelphia marine artist James Hamilton. Hamilton may have introduced him to the work of J.M.W, turner and a belief in close study of nature in his foundation of panting. (Vol.15) Moran exhibited landscapes at the Pennsylvania Academy of the fine arts for the first time in 1856 and then later elected academician in 1861. He continued to exhibit there through 1905. (Vol.15). 1862 Thomas married Mary Nimmo who had always thought to be her husbands student. (Vol.15). The beginning of his life had just started and didn't know that he would accomplish so many feats with his artwork of nature.
Ernie Barnes was and still is one of the most popular and well-respected black artists today. Born and raised in Durham, North Carolina, in 1938, during the time the south as segregated, Ernie Barnes was not expected to become a famous artist. However, as a young boy, Barnes would, “often [accompany] his mother to the home of the prominent attorney, Frank Fuller, Jr., where she worked as a [housekeeper]” (Artist Vitae, The Company of Art, 1999). Fuller was able to spark Barnes’ interest in art when he was only seven years old. Fuller told him about the various schools of art, his favorite painters, and the museums he visited (Barnes, 1995, p. 7). Fuller further introduced Barnes to the works of such artists as, Raphael, Michelangelo, and Correggio, which later influenced Barnes’ mannerist style of painting.
...ce was recognized for his talent. Despite the primitive look of Lawrence’s painting the gesture are read and reveals a set of principles inspired by African-Americans. Thus, the modernist aesthetic of his art shows the critical faith of a people oppressed and striving to get ahead. Therefore, elements of his work and themes like man’s struggle produce one of the United States most famous African-American Artist of all times Jacob Lawrence.
born in Topeka, Kansas, and was sometimes referred as the "the father of black American art."
James M. McClurken writes the first section, which deals with the Ottawa people. McClurken tells about the Ottawa peoples’ relationship with the environment they lived in and how they adapted to change when contacted by Europeans. One thing I found interesting about the Ottawa is their beliefs. The Ottawa believed in respect for the individual. Their leaders represented the people much like our elected officials represent us when a decision is needed for the whole of the country. They are in tune with nature and consider the earth and animals part of their family, addressing them with “father,” “mother,” “brother,” “sister.” The Ottawa’s also amazed me at their ability to believe in the supernatural, the spirits that told what sickness a person has and the healing power of the firewalkers is a leap of faith. I am always amazed that people survived without Advil and Tums, and they didn’t just survived they thrived! The Ottawa were great traders, in fact they traded all over northern Michigan. A surprising fact I read in the section was of the fleecing of the Indian...
Jacob Lawrence is celebrated for his insightful depictions of American and, in particular, African American life. Best known for his epic series of paintings on such subjects as the lives of Harriet Tubman and Toussaint L'Ouverture, he has also created numerous prints, murals, and drawings. Among the latter are a delightful set of twenty-three illustrations...
...is skills as a navigator or his explorations of North America, his relations with native peoples, or his perseverance in colonial enterprise, Champlain can only be seen as an incredible historical figure to Canada and its development. Today, the culture and history of French Canadians remind us of the reputable travels of a man four centuries earlier, thus proving Champlain has become one of the most legendary figures of North American modern society. Through example of the conquest of New France, expulsion of the Arcadians, and Jacque Cartier’s initial arrival, we witness in comparison Champlain’s renowned leadership skills he is so famously known for. His story is influential, and time cannot minimize its charm. A man of the French Renaissance, Champlain tried to exemplify its principles, and his life’s efforts rest as a continuing legacy to Canadian civilization.
Back in the 1830’s when it was unimaginable to journey for months to a foreign country so uncultivated; two naïve sisters did just that. The Backwoods of Canada is a straightforward, realistic account complied of letters written back home of Catharine Parr Traill’s first years in Canada. Roughing It in the Bush is a witty, autobiographical tale written by her younger sister, Susanna Moodie. Both sisters came to Canada with the similar expectations to improve their opportunity in the social ladder in society. My goal in this paper is to show how [t]heir attitude to becoming pioneers was shaped by their temperaments. Catharine’s attitude is one quiet acceptance and is reflected in her no-nonsense writing, whereas Susanna’s attitude first appears to have an edgier, less optimistic outlook on her new homeland, but she covers it up with a dry sense of humour in style and dialogue when reflecting on her Canadian experience.
Zaslow, Morris. The Defended Border, Upper Canada and the War of 1812. Toronto: MacMillian of Canada, 1983
York, Lamar. "Pat Conroy's Portrait of the Artist as a Young Southerner." The Southern Literary Journal 19 (1987): 34-46.
The Harlem Renaissance, a time of global appreciation for the black culture, was a door opening for African American women. Until then, African Americans, let alone African American women, were neither respected nor recognized in the artistic world. During this time of this New Negro Movement, women sculptors were able to connect their heritages with the present issues in America. There is an abundance of culture and history to be learned from these sculptures because the artists creatively intertwine both. Meta Warrick Fuller and Edmonia Lewis, two of the most popular sculptors of this time, were able to reflect their native heritages and the dynamics of society through their artwork.
The Harlem Renaissance had a lot of influence on modern day art because many artist white and black drew inspiration from traditional African sculptures. In the 1900s, “the aesthetics of traditional African sculpture became a powerful influence among European artists who formed an avant-garde in the development of modern art.”(“African
Thompson, John Herd, and Mark Paul Richard. "Canadian History in North American Context." In Canadian studies in the new millennium. Toronto: University of Toronto Press, 2008. 37-64.
Thomas Cole was born on February 1, 1801 in Bolton, Lancashire, England. Due to financial problems his family endured, Cole, at the ripe old age of just fourteen, had to find work to assist with the family needs. He entered the work force as a textile printer and wood engraver in Philadelphia. In 1819, Cole returned to Ohio where his parents resided. Here, a portrait painter by the name of Stein, would become Cole’s primary teaching vehicle and inspiration for his oil techniques we’ve come to be familiar with. During this time, Cole was extremely impressed by what he saw in the landscapes of the New World and how different they were from the small town of England from whence he hailed. Self taught, art came naturally to Cole.
"North America Review." Rev. of Uncle Tom's Cabin. North American Review [Boston] Oct. 1853: 467-93. Stephen Railton, 1998. Web. 24 Sept. 2013.