Visual art of the United States

Visual art of the United States or American art is visual art made in the United States or by U.S. artists. Before colonization there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White (1540-c. 1593) the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, but in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.John Singleton Copley, Paul Revere, c. 1768–1770, Museum of Fine Arts, BostonBenjamin West, The Treaty of Penn with the Indians, 1771–72, Pennsylvania Academy of the Fine ArtsGilbert Stuart, The Skater, 1782, National Gallery of Art, Washington, D.C.Charles Willson Peale, Self-portrait, c. 1782-1785, Museum of Fine Arts HoustonJohn Trumbull, The Death of General Montgomery in the Attack on Quebec, December 31, 1775, 1786, Yale University Art GalleryEdward Savage, The Washington Family 1789-1796, National Gallery of Art, Washington, D.C.Ralph Earl, Portrait of Oliver Ellsworth and Abigail Wolcott Ellsworth, 1792, Wadsworth AtheneumJames Peale, The Artist and His Family, 1795. Pennsylvania Academy of Fine ArtsJohn Brewster, Jr., Mother with Son (Lucy Knapp Mygatt and Son, George, of Danbury, Connecticut), 1799Rembrandt Peale, Rubens Peale With a Geranium, 1801, National Gallery of Art, Washington, D.C.Mather Brown, Self-portrait, c. 1812Thomas Sully, Passage of the Delaware, 1819, Museum of Fine Arts, BostonEdward Hicks, Peaceable Kingdom, c. 1834, National Gallery of ArtJohn J. Audubon, Washington Sea Eagle, c. 1836-1839, Smithsonian American Art MuseumGeorge Caleb Bingham, Fur Traders Descending the Missouri, c. 1845, Metropolitan Museum of ArtGeorge Catlin, An Indian Ball-Play c. 1846-1850, Smithsonian American Art MuseumGeorge Caleb Bingham, Daniel Boone Escorting Settlers through the Cumberland Gap, 1851–52Eastman Johnson, A Ride for Liberty – The Fugitive Slaves, oil on paperboard, ca. 1862, Brooklyn MuseumFrederic Edwin Church, Aurora Borealis, 1865, Smithsonian American Art Museum, Washington, D.C.George Inness, Lake Albano, 1869. Phillips CollectionJohn Kensett, The Old Pine, Darien, Connecticut, c. 1872, Metropolitan Museum of Art, New York CityThomas Eakins, The Gross Clinic, 1875, Philadelphia Museum of Art and the Pennsylvania Academy of Fine ArtsJohn Singer Sargent, The Daughters of Edward Darley Boit, 1882, Boston Museum of Fine ArtsRalph Blakelock, Moonlight, 1885, Brooklyn MuseumAlbert Pinkham Ryder, Seacoast in Moonlight, 1890, the Phillips Collection, Washington, D.C.Childe Hassam, Celia Thaxter's Garden, 1890, The Metropolitan Museum of Art, New York CityFrederic Remington, Aiding a Comrade, 1890, Museum of Fine Arts, HoustonCharles M. Russell, The Buffalo Hunt, 1899, Amon Carter Museum of American ArtWinslow Homer, The Gulf Stream, 1899, oil on canvas, Metropolitan Museum of Art, New York City Visual art of the United States or American art is visual art made in the United States or by U.S. artists. Before colonization there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White (1540-c. 1593) the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, but in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported. But in the later 18th century two U.S. artists, Benjamin West and John Singleton Copley, became the most successful painters in London of history painting, then regarded as the highest form of art, giving the first sign of an emerging force in Western art. American artists who remained at home became increasingly skilled, although there was little awareness of them in Europe. In the early 19th century the infrastructure to train artists began to be established, and from 1820 the Hudson River School began to produce Romantic landscape painting that was original and matched the huge scale of U.S. landscapes. The American Revolution produced a demand for patriotic art, especially history painting, while other artists recorded the frontier country. A parallel development taking shape in rural U.S. was the American craft movement, which began as a reaction to the industrial revolution. After 1850 Academic art in the European style flourished, and as richer Americans became very wealthy, the flow of European art, new and old, to the US began; this has continued ever since. Museums began to be opened to display much of this. Developments in modern art in Europe came to the U.S. from exhibitions in New York City such as the Armory Show in 1913. After World War II, New York replaced Paris as the center of the art world. Since then many U.S. movements have shaped Modern and Postmodern art. Art in the United States today covers a huge range of styles. One of the first painters to visit British America was John White (c. 1540 – c. 1606), who made important watercolor records of Native American life on the Eastern seaboard (now British Museum). White first visited America as the artist and map-maker for an expedition of exploration, and in the early years of the Colonial period most other artists trained in Western styles were officers in the army and navy, whose training included sketching landscapes. Eventually the English settlements grew large enough to support professional artists, mostly portrait-painters, often largely self-taught. Among the earliest was John Smybert (1688–1751), a trained artist from London who emigrated in 1728 intending to be a professor of fine art, but instead became a portrait painter and printseller in Boston. His friend Peter Pelham was a painter and printmaker. Both needed other sources of income and had shops. Meanwhile, the Spanish territories later to be American could see mostly religious art in the late Baroque style, mostly by native artists, and Native American cultures continued to produce art in their various traditions. After the Declaration of Independence in 1776, which marked the official beginning of the American national identity, the new nation needed a history, and part of that history would be expressed visually. Most of early American art (from the late 18th century through the early 19th century) consists of history painting and especially portraits. As in Colonial America, many of the painters who specialized in portraits were essentially self-taught; notable among them are Joseph Badger, John Brewster, Jr., and William Jennys. The young nation's artists generally emulated the style of British art, which they knew through prints and the paintings of English-trained immigrants such as John Smibert (1688–1751) and John Wollaston (active 1742–75). Robert Feke (1707–52), an untrained painter of the colonial period, achieved a sophisticated style based on Smibert's example. Charles Willson Peale, who gained much of his earliest art training by studying Smibert's copies of European paintings, painted portraits of many of the important figures of the American Revolution. Peale's younger brother James Peale and four of Peale's sons—Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were also artists. Painters such as Gilbert Stuart made portraits of the newly elected government officials, which became iconic after being reproduced on various U.S. Postage stamps of the 19th century and early 20th century. John Singleton Copley painted emblematic portraits for the increasingly prosperous merchant class, including a portrait of Paul Revere (ca. 1768–70). The original version of his most famous painting, Watson and the Shark (1778), is in the collection of The National Gallery of Art while there is another version in the Boston Museum of Fine Arts and a third version in the Detroit Institute of Arts. Benjamin West painted portraits as well as history paintings of the French and Indian War. West also worked in London where many American artists studied under him, including Washington Allston, Ralph Earl, James Earl, Samuel Morse, Charles Willson Peale, Rembrandt Peale, Gilbert Stuart, John Trumbull, Mather Brown, Edward Savage and Thomas Sully. John Trumbull painted large battle scenes of the Revolutionary War.When landscape was painted it was most often done to show how much property a subject owned, or as a picturesque background for a portrait. The first well-known U.S. school of painting—the Hudson River School—appeared in 1820. Thomas Cole pioneered the movement which included Albert Bierstadt, Frederic Edwin Church, Thomas Doughty and several others. As with music and literature, this development was delayed until artists perceived that the New World offered subjects unique to itself; in this case the westward expansion of settlement brought the transcendent beauty of frontier landscapes to painters' attention. The Hudson River painters' directness and simplicity of vision influenced and inspired such later artists as John Kensett and the Luminists; as well as George Inness and the tonalists (which included Albert Pinkham Ryder and Ralph Blakelock among others), and Winslow Homer (1836–1910), who depicted the rural U.S.—the sea, the mountains, and the people who lived near them.