Art in America: A Critical and Historial Sketch

In Short

This historical survey traces the development of painting and sculpture in the United States from the colonial period through the late nineteenth century. It serves as both a chronicle of the challenges faced by early American artists and a critical assessment of their evolving talents. By examining the lives of pivotal figures like Copley, West, and Church, the narrative explains why American art struggled for recognition in a society dominated by industry and survival, ultimately celebrating the emergence of a distinct, sophisticated, and increasingly nationalistic aesthetic identity.

The Story

The narrative begins with the earliest, often faltering, steps of American art. In the colonial era, painters like John Singleton Copley and Benjamin West faced a stark environment that offered little support for the fine arts. Copley, working with meager resources, is portrayed as a quintessentially indigenous talent whose reputation eventually paved his way to London, while West is remembered as a pioneering, if conventional, figure who helped modernize historical painting. The text argues that these early practitioners were forced to work in a vacuum, lacking the deep-seated cultural reverence for beauty that characterized European traditions.

As the nineteenth century progresses, the focus shifts to the hardships endured by those who sought to make art their life’s work. The account follows figures like John Vanderlyn, a farmer’s boy whose potential was spotted by Aaron Burr, but whose life remained marred by financial instability and disappointment. These artists often lived in a state of intellectual exile, forced to seek training in Italy or France to refine their craft. The development of American landscape painting, led by Thomas Cole, A. B. Durand, and J. F. Kensett, marks a significant maturation. Cole is depicted as a man of great character whose work served as a bridge between mere topography and true poetic expression.

The narrative arc moves toward the mid-to-late nineteenth century, where the focus broadens to include the "objective art" of Frederic Edwin Church, whose monumental canvases like Niagara captured the American spirit on a grand, dramatic scale. Yet, the story does not shy away from the inherent difficulties of the era. The text notes a widespread "intellectual discontent" and a lack of public appreciation for the ideal, which often forced artists to wait for the national sentiment to catch up to their vision.

The final movement of the book chronicles the "third period" of American art: the rise of a new, iconoclastic generation. Younger artists, having studied in Munich or Paris, return home to challenge the established traditions. This transition is marked by the emergence of new schools, more sophisticated techniques in figure drawing, and an increased interest in decorative arts and illustration. The account concludes with a sense of optimism, framing the movement not as a rejection of the past, but as a necessary step in the continuous, cumulative progress of a culture finally ready to embrace its own artistic possibilities.

How It Unfolds

The colonial foundation The narrative establishes the initial, fragile state of art in America, where portraiture served as the primary, albeit limited, medium for expression. It highlights the struggles of self-taught artists who worked without the benefit of formal schools or public encouragement.

The era of the pioneers The text examines the lives of figures like Copley and West, who had to cross the Atlantic to secure their reputations. It contrasts their technical limitations with their daring efforts to push the boundaries of historical composition.

The rise of landscape The story follows the professionalization of landscape painting through the work of Cole, Doughty, and Durand. It frames this development as a crucial attempt to connect the American identity with the natural splendor of the continent.

The challenge of sculpture The narrative explores the specific difficulties inherent in the plastic arts, particularly the struggle to create monuments that satisfy both anatomical accuracy and artistic grace. It discusses the "Jupiter Tonans" figure of Washington, which served as a constant litmus test for aspiring sculptors.

The modern transition The final section shifts to the late-century influence of European training and the rise of a more technically proficient, youthful generation. It details the arrival of a new, more aggressive spirit in the art scene that seeks to redefine the national aesthetic.

The People

John Singleton Copley stands as the most "indigenous" of the early painters, achieving success through sheer persistence despite possessing only the most meager advantages. Benjamin West, his contemporary, acts as a bridge between the American colonies and the European establishment, though his work is characterized as conventional and "moulded" by his era. John Vanderlyn represents the tragic side of the artist’s life, a man of undoubted talent whose potential was constantly frustrated by poverty and "constant adversity." Thomas Cole emerges as the moral center of the landscape school; he is described as a man whose personal character—lofty and pure—was consistently greater than his actual paintings. Frederic Edwin Church represents the culmination of a certain kind of American ambition, his "Niagara" serving as a testament to the power of the artist’s imagination to capture the sublime. Finally, the narrative introduces the "new men" like Duveneck, Shirlaw, and Chase, who, through their time in Munich and their collective enthusiasm, represent the energetic, iconoclastic future of a professionalizing art world.

In Its Own Voice

"It is one of the most remarkable and indisputable laws in literature and art that those who are identified with nature and human nature, as it appears in their native country, are at the same time most cosmopolitan."

This observation serves as the author's primary defense for why American artists should prioritize the familiar, local experience over the imitation of foreign styles.

"With us it has been quite otherwise; for the artists have been in advance of public sentiment, and have had the misfortune to be forced to wait until the people could come up to them."

The author captures the central struggle of the nineteenth-century American artist, who found their audience indifferent to the pursuit of the ideal.

What It's Really About

At its core, this work is an argument for the necessity of a national art that is deeply rooted in the spirit of its own land. The author posits that great art is a "child of repose," and therefore inherently at odds with the "feverish activity" and the "restless, surging" nature of a young, developing nation. The book explores the tension between the necessity of looking toward Europe for technique and the desire to create something distinctly American. It suggests that the progress of art is a historical inevitability, a gradual process of moving from "assimilation" to "originality." Ultimately, the text seeks to answer whether a practical, inventive people can ever truly foster a culture that values the aesthetic for its own sake.

Why Read It Today

Readers interested in the history of ideas will find this book an invaluable look at how a nation conceptualizes its own cultural worth. It provides a rare, grounded perspective on the nineteenth-century art scene, stripped of later myth-making and focused on the gritty reality of the artist’s struggle. There is a genuine warmth in the author's portrayal of the "art students at the table" in Munich, which captures the romantic, communal spirit of the era.

However, the reader should be prepared for the author's period-specific attitudes, including a tendency to judge artists by their moral character rather than just their visual output, and an occasional, sweeping generalization about the nature of the American public. The prose is analytical and earnest, reflecting the nineteenth-century habit of viewing art as a moral and educational force. While the book lacks the color plates of a modern art history text, the precision of its descriptions allows the reader to vividly imagine the paintings being discussed. It remains a compelling, if somewhat formal, map of a time when the American identity was still being painted into existence, and it offers a reminder of the patience and perseverance required to establish any tradition of excellence.