Just as Picassos Cubist works were often inspired by African art, these new artists, now based in Santa Fe, informed their modernist works with a Native American "primitivism." Unlike the Taos Society of painters, the Chicagoans of the Santa Fe school, including and , sought out the essence of Native American culture rather than its everyday details.
Her paintings share stylistic and technical characteristics with traditional Mexican retablos or devotional paintings. Many of her works are small paintings, some on tin. They were executed with great attention to detail and sometimes include text.
A Treatise on Carriages William Felton. First published in 1794-1796 for the purchase, maintenance and repair of carriages including painting, trimming and harness making. Two volumes in one.720 pages. Hardcover 6 X 9",
Painted Carts of Sicily, History on the Road Marcella Croce and Moira F. Harris A wonderful book full of colorful photos and drawings of these decorative carts that were pulled by horses, mules and donkeys. The carts (carretti) were elaborately carved wood and metal parts painted with symbolic designs and figures. Chapters include the history, makers, drivers in Sicily and Americas. Soft cover 108 pages. 9 ½ x 8 ½"
In addition to works by OKeeffe, the Art Institute received paintings of the southwestern landscape by her fellow modernists, including the animated New Mexico watercolors of John Marin and the vibrant natural forms portrayed by Marsden Hartley.
Harding displayed his collection in his South Side home, "The Castle," where it grew to contain more than 60 suits of armor and 250 paintings, including 32 by Remington, and numerous bronze sculptures.
Turner concluded, "And now, four centuries from the discovery of America, at the end of a hundred years of life under the Constitution, the frontier has gone, and with its going has closed the first period of American history." That changed everything; and the disengagement too promises to change everything that has gone before, during the first period of Israeli history. Such seismic changes induce fierce resistance, even national trauma, points that need to be understood even by those who feel Israeli withdrawals from the territories which fell into its hands as a result of the 1967 war are long overdue.
In the initial stages of its development, Israeli settlement was characterized by the kibbutz and moshav movements of the left. Most Israelis lived urban (and today suburban) lives, but the nation was guided, certainly in the matter of its borders, by the "pioneers in front of the camp." Following the 1967 war, the role of the kibbutz and moshav movements receded, though they have not entirely vanished, while the religious Zionist settlers captured the settlement flag. Though not socialist-oriented, these settlers shared with their left-wing predecessors a contempt for the urban life of the emerging Israeli middle class and portrayed their own lives along the frontier, to borrow from the American historian Frederick Jackson Turner, as "the meeting point between savagery and civilization."
Nevertheless, and mutatis mutandis, the severe shock to Israeli society set in motion by Prime Minister Sharon's disengagement is not only, or even mainly, based on a fault line between hawks and doves, religious and secular, or messianists and pessimists. The disengagement marks the first time that the Israeli state has turned against the frontier and the frontiersmen who have, until now, disproportionately influenced the direction and substance of national policy, certainly with regard to settlement (and therefore policy toward the Palestinian Arabs).
This painting is composed symmetrically. The space is broken into foreground, middle ground, and background. A horizon line is used. All images revolve around Kahlo. Her prominence is emphasized by her pink dress. She divides the painting in half. In the foreground, all objects are placed neatly in a row and establish a border that guards the middle ground. The objects in both the Mexican and U.S. sides balance each other. In the U.S. side, rhythm is enhanced by the repetition of shapes throughout. All of the objects seem to push forward in order to assume the front positions. The total (U.S.) image is dominated by a confused proliferation of inorganic, geometric, industrial shapes (e.g., pipes, tubing, factories, and so on) that compete for the foreground. In sharp contrast, the Mexican half of the painting is dominated by organic shapes (such as those depicting vegetation, landscape, fertility images, etc.) with the exception, however, of the semi-ruined pyramid that is made from geometric forms. As opposed to the U.S. side, the Mexican side, because it is uncluttered and makes use of space, readily gives the viewer visual passage from the foreground to the background.
Arguing for a "frontier thesis" in the context of the Israeli-Palestinian Arab dispute does not render a moral judgment. Native Americans no doubt have their own, vastly different versions of the story of America's westward expansion. Palestinian Arabs see Israel's war of independence (Milhemet ha'Shichrur) as Al-Nakba, The Catastrophe. For Leutze's "Westward," there is the counterpoint of Robert Lindneux's "Trail of Tears."
Bequest of hortense Henry Prosser During the 1893 Worlds Columbian Exposition in Chicago, University of Wisconsin professor of history Frederick Jackson Turner presented a paper in what is today The Art Institute of Chicago on the significance of the western frontier.