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The following article was rekeyed and reprinted on December 10, in Resource Library with permission of Lonnie Pierson Dunbier. The article is an excerpt from Dr. Your Money's Worth in Original Painting. Datedthe original typewriter manuscript is owned by his wife, Lonnie Pierson Dunbier, who edits and submits the chapters to TFAO.
If you have questions or comments regarding the article, please contact Lonnie Pierson Dunbier in Scottsdale, AZ, at ldunbier mac. One of the five most enduring themes both in the Westward expansion and in our own time, is the image of the West as a place where new communities could be established away from the sins and errors of the past.
The idea was deeply rooted in the earliest permanent settlements in what later became the United States. For example, the Pilgrim and Puritan colonies of Massachusetts were strongly shaped by immigrants who wished to create the dream of a new commonwealth.
As we know, these first morally redeemed plantations north of Cape Cod were in rapid order shaken by the exodus of colonists, the likes of Roger Williams who withdrew to the trans-frontier wilderness hoping to establish even more purified and godly communities.
These were in turn recreated; the most famous and enduring being the mid-nineteenth century resettlement of the Mormons in the Great Basin. Contrasting somewhat but generally hand in had with this search fro redemption on the frontier was, and still is, the concept of progress and its inextricable attachment to Westward expansion.
Anyone who has ever spent an hour reading the speeches of nineteenth-century politicians cajoling audiences with their ideas of 'manifest destiny' cannot gainsay this association.
It was divinely ordained! The frontier was the cutting edge of a new order, wherein hardworking innovating men would put down fresh roots.
In doing this, however, the old would have to be torn up, but this too was interpreted as progress. Hill and Edward Harriman could assume the mantel of railroad 'pioneers'.
However, there was a third part to this thesis. The redeeming frontier and the progress ethic held no part for the native population. The myth had it that the pioneers entered an empty wilderness.
Or if not quite empty, it was inhabited by Indians, wolves and buffalo, not necessarily in that order. In this first myth of the West, there was no place for the Native American and certainly not for the Mexican, an obstacle and antagonist. These combined threads were from the time of the Louisiana Purchase woven into one of the basic canvases, a surface upon which many painters tried their hand.
George Caleb Bingham as much as any other nineteenth century transmitted this 'empty wilderness' image. His symbols were in the main those of democracy, faith and progress. When he dealt with frontier life as he did repeatedly, his pictures showed civilization on the march. Sometimes stalwart, often tranquil, occasionally joyous pioneer, his figures give the appearance of having come to stay.
Indians, when they appear at all, are pictured as treacherous and inscrutable.
He had minimal truck with them on canvas as he undoubtedly did in life. His consuming interest was the common man. The politician, the fiddler, the marksman, the tipplerall took their place on his stage along the banks of Missouri at a time when that stream was both the conveyor and jumping off point to the Great West.
This second image needs less articulation than it does circumscription. The West as the locale where one could escape into nature has in recent years moved to the fore, displacing in its primacy the more genteel and nostalgic first vision of God's Country.
A fascination with the 'wild' and the 'wide open' used in both their Western American senses has been with us from the start. It stands in stark contrast with the frontier as redemption; hearth and home. It is the image of man alone rather than man in society or of God pervasive in 'his' land.
It is the portrayal of the Mountain Man who more than any single image characterizes this fascination. Here is the unmistakably genuine liberated man.
The knowledge of his existence, much of it in illustration, contributed to the movement West of another generation of 'loners', the Cowboys. This image did not exclude hard work; it very much included it, but it was man for himself alone struggling in an environment, which would continue to be in the main to be hostile.
And unlike the first image, this loner image of man in the West included the Indian.Nov 22, · Winner takes NFC East division lead Washington OLine ravaged by injuries, Colt McCoy making his first NFL start since beating Dallas in Dallas seems to finally have a decent front 7, Garrett has realized Zeke is a solid football player.
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FIVE THEMES OF WESTERN ART: A Famous Pioneering Artist for Each of Those Themes. By Roger Dunbier, PhD () GOD'S COUNTRY: One of the five most enduring themes both in the Westward expansion and in our own time, is the image of the West as a place where new communities could be established away from the sins and errors of the lausannecongress2018.com idea was deeply rooted in the .
Although, being within the same country, it is clear that the ‘land of cowboys’ couldn’t be more different than the beaches of California and the skyscrapers of New York. However, it is easily one of the places in which property and land can be bought cheapest.
Just Finished Carlisle Vs. Army: Jim Thorpe, Dwight Eisenhower, Pop Warner, and the Forgotten Story of Football’s Greatest Battle by Lars Anderson. Long before he was a general and president, Ike was a hard-hitting linebacker and running back.4/5(47).