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Kurs: Specjalne zagadnienia z historii sztuki > Rozdział 1
Lekcja 2: Tożsamość narodowa- My, Naród: tysiąclecia amerykańskich tożsamości
- Ameryka przed Kolumbem: wyobrażenie kosmosu według kultur Missisipi
- Ameryka przed Kolumbem, wyobrażenie kosmosu według kultur Missisipi: zasoby edukacyjne
- Obrazy kastowe: kreowanie tożsamości w hiszpańskiej Ameryce kolonialnej
- Obrazy kastowe, kreowanie tożsamości w hiszpańskiej Ameryce kolonialnej: zasoby edukacyjne
- Kształtowanie dyplomacji: Anishinaabe, Wielka Brytania i Ameryka XVIII wieku
- Kształtowanie dyplomacji, Anishinaabe, Wielka Brytania i Ameryka XVIII wieku: zasoby edukacyjne
- Pustkowie, osadnictwo i amerykańska tożsamość
- Pustkowie, osadnictwo i amerykańska tożsamość: zasoby edukacyjne
- Przed wojną secesyjną, wojna amerykańsko-meksykańska była jej zapowiedzią.
- Przed wojną secesyjną, wojna amerykańsko-meksykańska była jej zapowiedzią: zasoby edukacyjne
- Męczennik czy morderca? The Last Moments of John Brown (Ostatnie chwile Johna Browna) autorstwa Hovendena
- Ukazywanie wolności podczas wojny secesyjnej
- Ukazywanie wolności podczas wojny secesyjnej: zasoby edukacyjne
- The power of the bear and the story an American massacre
- The power of the bear and the story of an American massacre: learning resources
- The closing of the frontier and The Fall of the Cowboy
- The closing of the frontier and the Fall of the Cowboy: learning resources
- Pottery and tourism: Pueblo culture and the lure of the Southwest
- Pottery and tourism, Pueblo culture and the lure of the Southwest
- Cities and pueblos: the search for an authentic America
- Cities and pueblos, the search for an authentic America: learning resources
- Revisiting the myth of George Washington and the cherry tree
- Revisiting the myth of George Washington and the cherry tree: learning resources
- When department stores were new: women in the American city
- When department stores were new: women in the American city: learning resources
- Strange Worlds, immigration in the early 20th century
- Strange Worlds, immigration in the early 20th century: learning resources
- Harlem 1948, Ralph Ellison, Gordon Parks and the photo essay
- Harlem 1948, Ralph Ellison, Gordon Parks and the photo essay: learning resources
- From wire to weightlessness: Ruth Asawa, Untitled
- From wire to weightlessness, Ruth Asawa, Untitled: learning resources
- Identity and civil rights in 1960s America
- Identity and civil rights in 1960s America: learning resources
- Reflecting on "We the People"
- Reflecting on "We the People": learning resources
- Wendy Red Star, 1880 Crow Peace Delegation
- Wendy Red Star, 1880 Crow Peace Delegation: learning resources
- Speaking to past and present, Clarissa Rizal’s Resilience Robe
- Speaking to past and present, Clarissa Rizal's Resilience Robe: learning resources
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Cities and pueblos, the search for an authentic America: learning resources
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Najważniejsze kwestie
- The Taos Pueblo Indians have maintained residence for centuries in what is now New Mexico. Their history was deeply affected by the Spanish colonial presence.
- The people in the painting wear 20th-century clothing as well as items that refer to their cultural identity as Pueblo people. This imagery disrupts the stereotype of the American Indian as belonging only to the past.
- In the early 20th century, the American Southwest became a popular destination for tourists. Railroads made travel easier and developed marketing materials promoting the region as a site for recreation.
- The landscape and the mix of Taos Pueblo Indians and Hispanic cultures drew artists from cities like New York and Chicago. They were looking for fresh and distinctly American subjects that differed from the industrialized places the artists had come from.
Many readers today carry an image of New Mexico seen through the lens of Georgia O’Keeffe’s now famous paintings…But O’Keeffe is only the best-known of an extensive colony of artists drawn to New Mexico by its particular blend of austere beauty, premodern village life, and Pueblo and Hispanic spirituality. Beginning in the 1890s, artists from the East flocked to Taos and Santa Fe in northern New Mexico. Culturally remote from the Euro-dominated eastern half of the nation, New Mexico was, as Charles Lummis put it, “the United States which is not the United States.” Spanning the spectrum from academic to modernist, these artists struggled to anchor the lessons of their European training in native themes. The peasant cultures of Brittany had furnished subject matter for American artists working in France. Returning to the United States, they responded eagerly to the possibilities presented by the Pueblo Indians and Hispanic villagers of the Rio Grande Valley, whose lives seemed to embody a timeless round of earthbound ritual and communal piety.
From the Renaissance to the “new age” movements of the late twentieth century, Europeans have romanticized Native cultures as embodying virtues their own societies were lacking.
-From Angela L. Miller, Janet Catherine Berlo, Bryan J. Wolf, and Jennifer L. Roberts, American Encounters: Art, History, and Cultural Identity (Washington University Libraries, 2018), p. 494. CC BY-NC-SA 4.0
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Compare Hennings’s representation of Native Americans in Rabbit Hunt to photographs by Edward Curtis. How might images of Native Americans have contributed to perceptions about American Indians today?
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