Główna zawartość
Kurs: Specjalne zagadnienia z historii sztuki > Rozdział 1
Lekcja 3: Polityka i władza- Majority to minority and back again
- Ostentatious Plainness: Copley's portrait of the Mifflins
- Ostentatious plainness, Copley’s portrait of the Mifflins: learning resources
- Face to face with the voters: Bingham's Country Politician
- Face to face with the voters, Bingham's Country Politician: learning resources
- Snakes and petticoats? Making sense of politics at the end of the Civil War
- Snakes and petticoats? Making sense of politics at the end of the Civil War: learning resources
- Custer's Last Stand — from the Lakota perspective
- Custer's Last Stand — from the Lakota perspective: learning resources
- An artifact of racism: a Connecticut Klan robe
- An artifact of racism, a Connecticut Klan robe: learning resources
- Horace Pippin's Mr. Prejudice
- Horace Pippin's Mr. Prejudice: learning resources
- A brutal history told for a modern city, Diego Rivera's Sugar Cane
- A brutal history told for a modern city, Diego Rivera's Sugar Cane: learning resources
- Making an icon: JFK and the power of media
- Making an icon, JFK and the power of media: learning resources
- Homage to JFK: Rauschenberg's Retroactive I
- Homage to JFK, Rauschenberg's Retroactive I: learning resources
- An unflinching memorial to civil rights martyrs, Thornton Dial's Blood and Meat
- An unflinching memorial to Civil Rights martyrs, Thornton Dial’s Blood and Meat: learning resources
- Titus Kaphar, The Cost of Removal
- Titus Kaphar, The Cost of Removal: learning resources
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Face to face with the voters, Bingham's Country Politician: learning resources
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- In the aftermath of the Mexican-American War (1846-48), the legality of slavery in new territories was a contentious matter, foreshadowing the American Civil War. The Wilmot Proviso, which would have prevented slavery in these new territories, was passed twice by the House of Representatives, but was never approved by the Senate. In its place, the Compromise of 1850 attempted to defuse these tensions by allowing states to vote on slavery while strengthening the Fugitive Slave Act.
- Politics in the nineteenth century was conducted on a more personal level, as politicians had to travel to meet voters and speak with them directly about their stance on issues. As a politician himself, the artist would have been familiar with this process, particularly in frontier areas like the one depicted in this painting.
- George Caleb Bingham was a representative in the Missouri House of Representatives as a member of the Whig party and an advocate for returning to the ideals of the American Revolution. He believed that the people should be given the power to make decisions. When the Missouri legislation passed the “Jackson Resolutions” of 1849, which claimed it was unconstitutional for Congress to bar slavery in newly acquired territories, Bingham countered with the “Bingham Resolutions,” recommending that states be allowed to vote on the matter.
- This painting was purchased by the American Art Union, where it was reproduced widely as an affordable print. As a print, it contributed to the national conversation on states’ rights and contemporary politics, but it also created an entertaining depiction of politics in the western U.S.
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How do you think Bingham’s depiction of politics in the 19th century compares to contemporary images about politicians, political debate, and civic engagement of the public? If you were going to create a genre scene about politicians talking to their constituents today, how might you alter Bingham’s original image to reflect your own ideas and experience?
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