American Anthem - Frist Center for the Visual Arts

Resources
The Frist Center presents
American Anthem
A teacher’s guide to
selected works from the
exhibition.
Exhibition Catalogue
Resources for Teacher and Students
Anderson, Brooke Davis, and Stacy C. Hollander.
Books
American Anthem: Masterworks from the American
Folk Art Museum. New York: Harry N. Abrams, Inc.
Publishers, 2001.
Websites
American Folk Art
Websites
American
Museum,
New
York, New York
American
FolkFolk
ArtArt
Museum,
New
York
www.folkartmuseum.org
www.folkartmuseum.org
Featuring historic and
contemporary artwork,
American Anthem Discovery
Tours and Story Tours
encourage students to
explore symbols of liberty,
ingenuity, and refuge that
are embedded in American
folk art. This guide is
designed to help prepare
students for their visit.
Unidentified artist, Guilford Center
Chenango County, New York
Archangel Gabriel Inn Sign, 1810–35
Paint on wood; 24 x 46 1/2 x 18 in.
Collection American Folk Art Museum
New YorkGift of Alice M. Kaplan, trustee, 1997–
1989, Museum of American Folk Art, 2001.3.1;
Photo by John Parnell
For 150 years, this figure of the
Archangel Gabriel was a wellSociety
of American
FolkFolk
ArtArt
Society
of America
known local landmark, mounted
www.folkart.org
www.folkart.org
above the entry to a building
that served as a post office and
American
History
Timelines
American
Memory
Timeline
general store before it became
Library of Congress Learning Page (interactive)
the Angel
Inn. It was not
American Memory Timeline, Library of Congress Learning Page
(interactive)
http://memory.loc.gov/learn/features/timeline/
uncommon
for a figure of
http://memory.loc.gov/learn/features/timeline/
Gabriel, in Christian tradition the
American History Timeline
herald of the Second Coming,
American Institute
History Timeline,
Smithsonian Institute (interactive)
Smithsonian
(interactive)
to appear as a weathervane on
http://www.si.edu/resource/faq/nmah/timeline.htm
http://www.si.edu/resource/faq/nmah/timeline.htm
the steeples of churches.
Secular settings, such as the
Teacher Workshop
Angel Inn, then located on a
Teacher Workshop
stagecoach
route,
were of all
Learn more about American Folk Art at an interdisciplinary busy
teacher
workshop.
Teachers
also
known.
Learn
more about
Folk Art
at anis limited so please register early. $15 for members
subjects,
K–12,American
are welcome.
Space
interdisciplinary
teacher
workshop.
Teachers
of all
$20 for non-members
COVER: All artworks collection
subjects, K–12, are welcome. Space is limited so
American Folk Art Museum, New York
please
registerFebruary
early. $15
Thursday,
10 for
ORmembers
Saturday,and
February 12, 8.
© 2005 except detail first row, 3rd from
$20 for non-members
left: Art © Robert and Gail Rentzer for
of school
Morris Hirshfield
/ Licensed
To register for a teacher workshop or to obtain informationEstate
about
tours, visit
by
VAGA,
New
York,
NY
Thursday,
February 10 OR
Saturday,
February 12
or call
(615) 744-3247.
www.fristcenter.org
8:30 a.m.–3:30 p.m.
To register for a teacher workshop or to obtain
informationGabriel
about Inn
school
tours,
visit
Archangel
Sign,
1810–35
www.fristcenter.org or call (615) 744-3247.
A handprint marks
topics for
discussion and
activities for
students.
What’s in This
Teacher’s Guide?
American Anthem
Introduction, page 1
“Learning to Look” and
Curriculum Connections,
page 2
Art in the Home, pages 3–4
Quilt Stories, pages 5–6
Patriotism and Politics,
pages 7–8
American Anthem: Masterworks from
the American Folk Art Museum has
been organized by the American Folk
Art Museum, New York. American
Anthem is sponsored by Altria
Group, Inc.
Changing Worlds,
pages 9–10
For 150 years, this figure of the Archangel Gabriel was a well-known local landmark,
mounted above the entry to a building that served as a post office and general store
before it became the Angel Inn. It was not uncommon for
a figure
Gabriel, in Christian
2005
Platinumof
Sponsor:
tradition the herald of the Second Coming, to appear as a weathervane on the steeples of
churches. Secular settings, such as the Angel Inn, then located on a busy stagecoach
route, were also known.
Twentieth-Century Folk Art,
pages 11–14
Reproducible Activity
Sheets, pages 15–18
2005 Gold Sponsor:
919 Broadway, Nashville, TN 37203
Resources, back cover
Frist Center for the Visual Arts
January 21– May 1, 2005
Reproducible Activity Sheet
American Anthem
Compare Two Works of Art
What do you see (shapes, colors, textures, etc.)?
What did you learn about the artist and the work?
What do you think about these two works of art?
American Anthem includes more than
130 examples of folk art created for a
variety of reasons. The exhibition first
focuses on the nation’s early years, when
functional objects were embellished with
decorative elements in an effort to
beautify homes. It then examines ways
in which artists celebrated national events
and documented important cultural
changes. Finally, American Anthem
explores contemporary folk art,
sometimes called visionary art, outsider
art, or art brut, which often contains
spiritual and psychological dimensions.
In the overlapping parts of the circles, write similarities
of the works, and in the part of the circles that do not
overlap, write the unique characteristics and
differences of each work.
Faces of Africa I
Preparing for your visit…
The American Anthem teaching packet was
designed with teachers’ needs in mind, and
we hope you will find it helpful in preparing
students for their visit and in follow up
study.
UPPER RIGHT: Attributed to Sturtevant J. Hamblin (active 1837–
1856), probably Massachusetts
Sea Captain, ca. 1845
Oil on canvas; 27 1/8 x 22 ¼ in.
Collection American Folk Art Museum, New York
Gift of Robert Bishop, 1992.10.2
Photo by John Parnell
LOWER LEFT: Unidentified artist, New England
Sea Serpent Weathervane, ca. 1850
Paint on wood with iron; 16 1/4 x 23 1/4 x 1 in.
American Folk Art Museum purchase, 1981.12.13
Photo by John Parnell
1
The guide opens with a series of questions
(“Learning to Look”) that encourage
students to look closely and discuss historic
and contemporary works of art from the
exhibition. Each of the following sections
include a timeline, which provides historical
context, and a narrative about the artwork,
which can be incorporated into class
discussion or given as a reading assignment
to older students. Designed to be adaptable
to all ages, “Making a Connection” activities
allow students to reflect and relate the art
and ideas to their own lives and
experiences. Each activity is accompanied
by color reproductions and some have
reproducible sheets.
Button Tree
Gregory “Mr. Imagination” Warmack
(b. 1948), Chicago, Illinois
Button Tree, 1990–92
Wood and cement with buttons,
bottle caps, and nails
56 x 34 x 60 in.
Collection American Folk Art
Museum, New York
Gift of the artist, 2000.13.1
Photo by John Parnell
UPPER RIGHT:
Bessie Harvey (1929–1994), Alcoa,
Blount County, Tennessee
Faces of Africa I, 1994
Paint on wood with wood putty, shells,
and marbles; 33 x 28 x 17 in.
American Folk Art Museum, New York
Blanchard-Hill Collection, gift of M.
Anne Hill and Edward V. Blanchard Jr.,
1998.10.24; Photo by Gavin Ashworth
18
Reproducible Activity Sheet
Farm vs. Factory
Learning to Look. Looking to Learn.
Look closely at each work and compare the farm and factory. Identify the
characteristics of the landscapes, the style and purpose of the buildings,
the modes of transportation, etc. Record your findings below.
Encourage students to look closely at each work of art
and consider the following questions:
•
Curriculum
Connections
American Anthem Discovery
Tours and Story Tours support
the Tennessee Curriculum
Frameworks by introducing
themes that are relevant to
visual arts, language arts, and
social studies curricula.
Land
Land
Buildings
Buildings
Specific standards are
addressed at age-appropriate
levels. An example is shown
below. You may view
connections for all grade levels
(K–12) at www.fristcenter.org.
•
•
•
•
•
The Artist: Who created the work? When did the
artist begin making art? Do you think he/she had
some sort of formal art training? Why or why not?
How and where might the artist have gained
his/her skills?
Purpose: Why did the artist create the work?
Does the work of art serve a specific purpose or
function? If so, how was it used or where might it
have been displayed? If the object is functional,
why might its creator have decided to decorate it?
Ideas: What is the subject matter of the work?
Does the work of art reflect the artist’s ideas or
beliefs? If so, how?
Stories: Does the work tell a story about the
artist’s personal life or important national events?
What objects, props, or symbols does the artist
include to help tell the story?
Materials: What materials did the artist use to
create the work of art? Where do you think he/she
found these materials? Why do you think the artist
chose to use them?
Techniques: What techniques did the artist use to
create the object? Did he/she need any special
training, skills, or materials to make the object?
Example: Sixth Grade
Transportation
Other Findings
The Residence of Lemuel Cooper, 1879
Paul A. Seifert (1840–1921), Plain, Sauk County, Wisconsin
Watercolor, oil, tempera, ink, and pencil on paper; 21 7/8 x 28 in.
American Folk Art Museum purchase, 1981.12.26
Photo by John Parnell
17
Transportation
Other Findings
Unidentified artist, signed “AJH/77”
Oswego Starch Factory, possibly 1877
Oswego, Oswego County, New York
Watercolor and ink on paper; 36 1/8 x 53 ¼ in.
American Folk Art Museum purchase, 1981.12.16.
Visual Arts
Language Arts
Social Studies
4.0 Historical/Cultural Relationship.
The student will speculate on how
factors of time and place give
meaning or function to a work of
art from a variety of cultures,
times, and places.
1.0 Reading. (6.1.tpi.8.) The student
will make creative responses to texts.
1.0 Culture (6.1.tpi.6.) The
student will compare various forms
of jewelry, art, music, and
literature among historical periods.
5.0 Reflection and Assessment.
The student will understand and
apply visual arts vocabulary when
observing, describing, analyzing,
and interpreting works of art
1.0 Reading. (6.1.tpi.27.) The
student will use content specific
vocabulary.
5.0 Reflection and Assessment.
The student will describe and
interpret different ways that
human experience is reflected in
contemporary and historic works
of art.
1.0 Reading. (6.1.tpi.10.) The student
will express personal reactions to
texts.
2.0 Writing. (6.2.tpi.14.) The student
will compare and respond to questions
from all content areas.
2.0 Writing. (6.2.tpi.16.) The student
will write personal reflections on
experiences and events.
1.0 Culture (6.1.tpi. 13.) The
student will create a piece of
artwork based on a historical
example.
6.0 Individuals, Groups, and
Interactions (6.6.tpi.7.) The
student will analyze differing
communities' perception of
beauty.
2
Reproducible Activity Sheet
Art in the Home
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
My Family Album Quilt
After the Revolutionary War, the
democracies of ancient Greece and
Rome provided the model for the
new American republic, and also
inspired an aesthetic revolution in
architecture, furnishings, clothing,
and hairstyles. By the early
nineteenth century, schoolgirl
needlework, stenciled chairs, and
handmade memorials reflecting
neoclassical symbols of liberty and
virtue frequently held places of
honor in people’s homes.
Portraits were also an important means of parlor
decoration in the early nineteenth century. Many
portrait artists were former sign- or housepainters
with no formal art training. Traveling portrait painters
such as John S. Blunt were hired to create likenesses
of wealthy landowners and merchants, using a plain
and simple painting style reflecting republican values.
Attributed to John S. Blunt
(1798–1835), probably Maine,
Massachusetts, or New
Hampshire. Miss Frances A.
Motley, 1830–33
Oil on canvas; 35 3/8 x 29 ¼ in.
American Folk Art Museum, New
York; Promised gift of Barbara
and David Krashes, P7.1999.1
Photo by Cheryl Richards
Miss Francis A. Motley, 1830–33
In this portrait attributed to Blunt, Francis Motley
represents the virtues associated with the nineteenthcentury notion of true womanhood. The coral
necklace, tasseled blue drawstring purse, and flowers
symbolize feminine characteristics. The sewing
basket on her lap is a reminder that skill with a needle
was a necessary accomplishment for young women.
A small card with the name “Francis A. Motley” sits
on the table, announcing the sitter’s identity.
Coral necklace:
In the past, coral
necklaces were
thought to protect
their wearers from
evil and sickness.
Think of important
events in your
family’s history —
maybe the birth of a
sibling or a major
move to another
state far away from
loved ones. How will
you tell your story (or
stories) in a quilt?
What symbols and
colors will you use to
represent each event
and family member?
Design your own
family album quilt,
and write a narrative
to accompany it.
My quilt tells a story about…
Liberty Needlework, 1808
In the 1800s young girls often attended
schools where they learned domestic arts,
including needlework. In this needlework
project by Lucina Hudson, Liberty is
represented as a young girl with tightly
curled hair holding a liberty pole. On the
pole, a colorful flag flies beneath a pileus.
Smithsonian Institute
American History Timeline
Pileus: a closefitting cap that
was worn in
ancient Rome. It
symbolized liberty
in neoclassical art.
Lucina Hudson (1787–?), South Hadley, Massachusetts. Liberty Needlework, 1808
Watercolor and silk thread on silk, with metallic thread and spangles, 18 x 16 in.
American Folk Art Museum purchase with funds from the Jean Lipman Fellows,1996,
1996.9.1
16
Reproducible Activity Sheet
Honor a Loved One
Memorial to Washington,
early nineteenth century
Think of a person who is special
to you—maybe a family member
or close friend. What qualities
does that person exemplify?
What are his/her hobbies and
interests? Assemble a collection
of photographs and small found
objects that symbolize important
aspects of that person. Arrange
and attach the items to a solid
form or small container.
Write a label for your work
describing the person for whom it
was created and the materials
that were used.
My Object Honors…
Plinth: a square block
beneath a column,
pedestal, or statue.
Star from REcollection: Community Art
Project, led by artist Sherri Warner Hunter.
Community members contributed to the
project by using found objects, mementos,
and photographs to create stars that honor
loved ones.
George Washington’s death in
1799, the first nationwide
emotional loss suffered by the
young country, shocked
Americans. People mourned by
holding memorial services or by
fashioning commemorative objects
to place in their homes. This small
handmade memorial is in the form
of an urn placed on a plinth, a
neoclassical motif widely used in
the decorative arts of the time.
Ironically, much of the production
of objects memorializing America’s
early heroes originated in England
and were later copied by
professional and amateur artists in
America. Memorials to
Washington like this one were still
being created by schoolgirls
through the late 1820s.
Unidentified artist, eastern United States.
Memorial to Washington, early nineteenth century.
Ink, mica flakes, and mezzotint engravings on paper
with applied gold paper, mounted on wood form
4 ¾ x 1 ¾ x 1 ¾ in. Collection American Folk Art
Museum, New York. Gift of Nancy Green Karlins and
Mark Thoman in honor of Robert Evans Green,
1999.9. Photo by Gavin Ashworth
Making a Connection
Honor a Loved One
Star from REcollection Community Art
Project, led by artist Sherri Warner Hunter.
Community members contributed to the
project by using found objects, mementos,
and photographs to create stars that honor
loved ones.
15
Think of a person who is special to you—maybe
a family member or close friend. What qualities
does that person exemplify? What are his/her
hobbies and interests? Assemble a collection of
photographs and small found objects that
symbolize important aspects of that person.
Arrange and attach the items to a solid form or
small container.
Write a label for your work describing the person
for whom it was created and the materials that
were used.
Refer to the activity sheet on page 15.
4
Quilt Stories
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
Smithsonian Institute
American History Timeline
By 1840, with the growth of the textile industry and
widespread availability of fabric, quiltmaking became a
creative and often social outlet for American women. A
wide range of quilt patterns was dispersed across the
country as families moved. Although quilts provided
warmth and beauty for the home, many were also made
to commemorate special occasions. Brides-to-be sewed
quilts for their hope chests, grieving mothers made
mourning quilts to memorialize loved ones, and
neighbors gave friendship quilts as mementos to
families moving westward. Many such quilts became
treasured heirlooms, reflecting the personalities of their
makers and preserving the stories they told of friends
and family.
Reiter Family Album Quilt,
ca. 1891–92, reassembled 1976
In 1885 Liebe Gross Friedman, a Jewish
woman from Slovakia, sent her young
daughter Katie to America to escape a
difficult life. Katie married in 1890 and
moved to Pennsylvania, where she was
joined a year later by her mother, sister, and
brother. Later that year, Katie’s baby son
died, and shortly after, her brother drowned
in the Youghiogheny River. Liebe and Katie
made the quilt as an expression of their grief.
This quilt is comprised of sixteen embellished
quilt blocks and bordered by blocks that
complete the overall design. The symbolic
American eagle is placed prominently in one
square. Two black horse figures are thought
to symbolize the two dead children, and are a
play on the family name, Reiter, which
means “rider” in German.
DETAILS and RIGHT: Katie Friedman Reiter (1873–1942) and Liebe
Gross Friedman (dates unknown), McKeesport, Allegheny County,
Pennsylvania. Reiter Family Album Quilt, ca. 1891–92, reassembled
1976. Cotton and wool; 101 x 101 in. Collection American Folk Art
Museum, New York. Gift of Katherine Amelia Wine in honor of her
grandmother Theresa Reiter Gross and the makers of the quilt, her
great-grandmother Katie Friedman Reiter and her great-greatgrandmother Liebe Gross Friedman, and on behalf of a generation of
cousins: Sydney Howard Reiter, Penelope Breyer Tarplin, Jonnie
Breyer Stahl, Susan Reiter Blinn, Benjamin Joseph Gross, and Leba
Gross Wine, 2000.2.1. Photo by John Parnell
Visionary art is a term often used
to describe work inspired by
religious faith, and includes lively
expressions of spirituality in
traditional and contemporary forms.
America’s history of diverse
religious traditions may be seen in
Southern evangelical paintings,
scenes from the Jewish Bible, and
African-inspired protective yard art.
These works reflect the need to
capture the spiritual in visual form,
and celebrate the quest for religious
freedom that inspired the
settlement of America.
Faces of Africa I, 1994
After her mother’s death in 1974, Bessie Harvey found
comfort in creating sculptures from roots and pieces of
wood. Her works may represent personal stories, Bible
stories, or figures from African American history and
folklore. In Faces of Africa I, Bessie Harvey placed a
human face into the roots of a tree, using black
spraypaint, wood putty, white shells, and marbles.
This is one of many sculptures Harvey created to free
the spirits and souls she believed were held captive in
trees. She once said, “I see African people in the trees
and in the roots. I frees them.”
Bessie Harvey (1929–1994)
Alcoa, Blount County, Tennessee
Faces of Africa I, 1994
Paint on wood with wood putty,
shells, and marbles
33 x 28 x 17 in.
American Folk Art Museum,
New York
Blanchard-Hill Collection, gift of M.
Anne Hill and Edward V. Blanchard
Jr., 1998.10.24
Photo by Gavin Ashworth
Making a Connection
Compare Two Works of Art
Look closely and compare Button Tree and Faces of
Africa I. Consider what you see, what you’ve learned,
and what you think about the works. Record the
similarities and differences of the works on the diagram.
Refer to the activity sheet on page 18.
14
Twentieth-Century Folk Art
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
After World War II, the terms art brut (French for “raw
art”), visionary art, and outsider art denoted drawings,
paintings, and sculptures produced by people at the
margins of society, including the homeless, prisoners,
and psychiatric patients. Although these labels have
been a source of misunderstanding in the ensuing
years, certain characteristics of contemporary selftaught artists unite them. Many begin producing art
late in life and work only with materials that are readily
available. Some offer deeply personal, sometimes
visionary imagery of the world around them, while
others express inner emotions and fantasies.
Button Tree, 1990–92
After Gregory Warmack was shot in
an attempted robbery in 1978, he
decided to become an artist. Calling
himself “Mr. Imagination,” Warmack,
who had always made art, enjoyed a
new surge of creativity. Like folk
artist Bessie Harvey, Warmack
rescues dead limbs and transforms
them into works of art. Button Tree
is set in a base covered with bottle
caps and covered with buttons nailed
to the limb in a style similar to some
Central African wooden sculptures,
called minkisi. (note: nkisi is
singular; minkisi is plural)
Gregory “Mr. Imagination” Warmack
(b. 1948), Chicago, Illinois
Button Tree, 1990–92
Wood and cement with buttons,
bottle caps, and nails; 56 x 34 x 60 in.
Collection American Folk Art Museum, New York
Gift of the artist, 2000.13.1
Photo by John Parnell
Smithsonian Institute
American History Timeline
Making a Connection
My Family Album Quilt
Think of important events in your family’s history —
maybe the birth of a sibling or a major move to another
state far away from loved ones. How will you tell your
story in a quilt? What symbols and colors will you use
to represent each event and family member?
Design your own family album quilt, and write a
narrative to accompany it.
Refer to the activity sheet on page 16.
6
Patriotism and Politics
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
American folk art often conveys patriotic themes,
whether by celebrating national events, such as the
installation of the Statue of Liberty, or observing a
nation at war. The outbreak of the Civil War in 1861
was met with patriotic zeal by both Northerners and
Southerners. Some artisans expressed their national
pride in their art while others created handicrafts that
remind us even today of this painful chapter in our
nation’s history.
Statue of Liberty Cabinet, ca. 1886–90
The Statue of Liberty, dedicated on October 28, 1886,
is perhaps the best known symbol of America. This
cabinet by Titus Albrecht celebrates the Statue of
Liberty by perching her silhouette triumphantly atop an
ornately carved cascade of filigree woodwork.
Completing the patriotic theme, the desktop features an
eagle with spread wings standing on an American flag,
holding three arrows and an olive branch in its talons.
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
Titus Albrecht (or Tidus
Albrech) (dates unknown),
vicinity of St. Louis, Missouri.
Statue of Liberty Cabinet,
ca. 1886–90. Wood with
cutouts and paint decoration;
77 3/4 x 30 3/8 x 21 1/8 in.
Collection American Folk Art
Museum, New York.
Gift of the Hirschhorn
Foundation, 1997.6.2.
Photo by David Stansbury
Nellie Mae Rowe (1900–1982),
Vinings, Cobb County, Georgia
Cow Jump over the Mone, 1978
Colored pencil, crayon, and pencil
on paper; 19 1/2 x 25 ¼ in.
Collection American Folk Art
Museum, New York
Gift of Judith Alexander,
1997.10.1
Photo by Gavin Ashworth
Cow Jump Over the Mone, 1978
Nellie Mae Rowe was an African American woman born
in the segregated South at the turn of the century. In
1948 she turned her full attention to making art,
decorating her home in Vinings, Georgia. She worked
with readily available materials, such as colored pencils,
felt-tip pens, and paper for her drawings, and
Styrofoam food trays, wallpaper sample books, wood,
and chewing gum for her sculptures.
Segregation: the practice
of separating people by
race, ethnicity, or religion.
In this work, Nellie Mae Rowe depicts herself as a cow
jumping over the moon, which may be read as a
metaphor for overcoming (or “jumping over”) difficult
circumstances.
Metaphor: The use of a
word, phrase, or image to
represent somebody or
something.
Making a Connection
A Metaphor for Me
Think of an animal* that could stand as a metaphor for
you. When choosing, consider the characteristics of
various animals. For example, saying that someone is a
snake may imply that the person is sly or sneaky.
Create a drawing based on the metaphor you have
chosen. Have your classmates guess what you were
trying to express about yourself in the work.
Smithsonian Institute
American History Timeline
* For middle and high
school students:
Think about an event or
occurrence that has
deeply affected you. How
might you represent that
experience metaphorically
in a work of art?
12
Twentieth-Century Folk Art
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
Smithsonian Institute
American History Timeline
By the twentieth century, as mechanical processes
rendered most handmade products obsolete, folk art
became less a reflection of communal interests and
more the expression of individual artists, primarily
painters and sculptors. As self-taught artists gained the
attention of the art world, new terminology expanded
the definition of folk art. In the first half of the century,
naïve and primitive described painters like Grandma
Moses, who were essentially interested in recording
recognizable objects in the world around them, and did
so with untutored simplicity, originality, and nostalgia
that offered wide appeal in the rapidly changing culture.
Unidentified artist, probably New York State
Uncle Sam Riding a Bicycle Whirligig,
ca. 1880–1920
Paint on wood with metal, 37 x 55 ½ x 11 in.
American Folk Art Museum, New York
Promised bequest of Dorothea and Leo Rabkin,
P2.1981.6; Photo by John Parnell
Mother Cat with Kittens, 1941
After coming to the United States from eastern Europe
at the turn of the century, Morris Hirshfield settled in
Brooklyn, New York, where he worked in the garment
business. He retired in 1937 and began to paint. In his
lifetime, Hirschfield completed seventy-six canvases of
mostly women and animals, painted in a flat style with
bold patterns, bright colors, and fabric-like textures.
Uncle Sam Riding a Bicycle Whirligig, ca. 1880–1920
Morris Hirshfield
(1872–1946),
Brooklyn, New York
Mother Cat with
Kittens, 1941
Oil on canvas
24 x 36 in.
Gift of Patricia L. and
Maurice CA.
Thompson Jr. and
purchase with funds
from the Jean Lipman
Fellows, 1998,
1998.5.1
Art © Estate of Morris
Hirshfield / Licensed
by VAGA,
New York, NY
Photo by Charles
Bechtold
In the late nineteenth century, an unidentified artist in
upstate New York carved the Uncle Sam Riding a
Bicycle Whirligig, a wooden wind toy that is now an
icon of American folk art. The patriotic figure of Uncle
Sam is based on an actual man, Samuel Wilson, whose
business supplied meat to the troops during the War of
1812. His top hat and striped pants are based on the
Revolutionary War figure of Yankee Doodle. When the
wind turns the front propeller of this whirligig, Uncle
Sam pedals a high-wheeler. The whirligig was found in
upstate New York, near Canada, which may explain the
presence of the British flag, the Union Jack, opposite
the Stars and Stripes.
Whirligig: a wooden
wind toy that spins
and turns on a pivot
when the wind
blows.
High-wheeler: an
English bicycle with
a large front wheel
and small back
wheel, made
popular at the
Philadelphia
Centennial of 1876.
Making a Connection
A Whimsical Whirligig
Visit ArtQuest’s new Exploring Exhibitions station or
arrange a class visit to the art studios, where students
will be able to construct their own whirligigs inspired by
American Anthem. Reservations required. To schedule,
call the Tour Coordinator at (615) 744-3247.
8
Changing Worlds
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
After the Civil War, industrialization brought widespread
changes in American culture to which folk artists
responded through their work. Topographical views of
a Wisconsin farm and a New York factory town, both
produced in the late 1870s, underscore the emerging
shift from an agrarian to an industrial economy. Artists
contemplated the rapid advances in transportation with
images of high-wheelers, automobiles, and flying
machines. They also carved carousel horses and
curious trade figures to meet the growing appetite for
amusement and leisure activities, and explored the
intersections of art and science, as seen in Asa Ames’s
Phrenological Head.
Oswego Starch
Factory, possibly
1877
High-wheeler: an
English bicycle with
a large front wheel
and small back
wheel, made
popular at the
Philadelphia
Centennial of 1876.
The Residence of Lemuel Cooper, 1879
Westward expansion made land west of the
Appalachians the leading food-producing area of the
country. In 1879 Lemuel Cooper’s bountiful farm in
Plain, Wisconsin, was painted by Paul Seifert. Seifert
was a German immigrant who supported himself by
selling flowers, vegetables, and fruit from his own
gardens. He took great pleasure in depicting the
regularity of Wisconsin farmscapes, and never accepted
more than $2.50 for his works. The drawings were
typically made using watercolor, oil, and tempera on
colored paper, and sometimes included metallic paints
to highlight elements such as weathervanes.
Weathervane: a
device commonly
made of metal or
wood that is placed
on poles atop
buildings, barns,
and houses. When
the wind blows, it
turns on a pivot
revealing the wind’s
direction.
2000 to Present
World Trade Center
Terrorist Attack
2001
With the
mechanization of
the Civil War,
America entered
the Industrial
Revolution, with
machinemanufactured and
mass-produced
goods replacing
handmade items.
Scenes of progress were captured in prints and other
publications. Artists depicted factories, cities, and
towns, sometimes using aerial perspective that provided
bird’s-eye views and emphasized details of streets and
individual buildings. This large-scale, hand-painted
version of Thomas Kingsford’s starch factory complex
in Oswego, New York, shows the starch factory, a box
factory, a machine shop, a carpentry shop, storehouses
and other outbuildings, and the factory’s own fire
company.
Making a Connection
Farm vs. Factory
Look closely and compare The Residence of Lemuel
Cooper and the Oswego Starch Factory. Identify the
characteristics of the landscapes, the style and purpose
of the buildings, the modes of transportation, etc.
Record your findings in the Observation Diary.
Unidentified artist, signed
“AJH/77”
Oswego Starch Factory,
possibly 1877
Oswego, Oswego
County, New York
Watercolor and ink on
paper; 36 1/8 x 53 ¼ in.
American Folk Art
Museum purchase,
1981.12.16
Photo by John Parnell
Attributed to Asa Ames
(1824–1851), Evans, Erie
County, New York
Phrenological Head
ca. 1850
Paint on wood
16 3/8 x 13 x 7 in.
Collection American Folk
Art Museum, New York
Bequest of Jeanette
Virgin, 1981.24.1
Photo by John Parnell
Refer to the activity sheet on page 17.
The Residence of Lemuel
Cooper, 1879
Paul A. Seifert (1840–
1921), Plain, Sauk
County, Wisconsin
Watercolor, oil, tempera,
ink, and pencil on paper;
21 7/8 x 28 in.
American Folk Art
Museum purchase,
1981.12.26
Photo by John Parnell
Smithsonian Institute
American History Timeline
Read personal accounts of residents describing city life
and rural life in the late nineteenth century on the
Library of Congress Learning Page, “Rise of Industrial
America.””http://memory.loc.gov/learn/features/timeline
/riseind/riseof.html.
10
Changing Worlds
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
After the Civil War, industrialization brought widespread
changes in American culture to which folk artists
responded through their work. Topographical views of
a Wisconsin farm and a New York factory town, both
produced in the late 1870s, underscore the emerging
shift from an agrarian to an industrial economy. Artists
contemplated the rapid advances in transportation with
images of high-wheelers, automobiles, and flying
machines. They also carved carousel horses and
curious trade figures to meet the growing appetite for
amusement and leisure activities, and explored the
intersections of art and science, as seen in Asa Ames’s
Phrenological Head.
Oswego Starch
Factory, possibly
1877
High-wheeler: an
English bicycle with
a large front wheel
and small back
wheel, made
popular at the
Philadelphia
Centennial of 1876.
The Residence of Lemuel Cooper, 1879
Westward expansion made land west of the
Appalachians the leading food-producing area of the
country. In 1879 Lemuel Cooper’s bountiful farm in
Plain, Wisconsin, was painted by Paul Seifert. Seifert
was a German immigrant who supported himself by
selling flowers, vegetables, and fruit from his own
gardens. He took great pleasure in depicting the
regularity of Wisconsin farmscapes, and never accepted
more than $2.50 for his works. The drawings were
typically made using watercolor, oil, and tempera on
colored paper, and sometimes included metallic paints
to highlight elements such as weathervanes.
Weathervane: a
device commonly
made of metal or
wood that is placed
on poles atop
buildings, barns,
and houses. When
the wind blows, it
turns on a pivot
revealing the wind’s
direction.
2000 to Present
World Trade Center
Terrorist Attack
2001
With the
mechanization of
the Civil War,
America entered
the Industrial
Revolution, with
machinemanufactured and
mass-produced
goods replacing
handmade items.
Scenes of progress were captured in prints and other
publications. Artists depicted factories, cities, and
towns, sometimes using aerial perspective that provided
bird’s-eye views and emphasized details of streets and
individual buildings. This large-scale, hand-painted
version of Thomas Kingsford’s starch factory complex
in Oswego, New York, shows the starch factory, a box
factory, a machine shop, a carpentry shop, storehouses
and other outbuildings, and the factory’s own fire
company.
Making a Connection
Farm vs. Factory
Look closely and compare The Residence of Lemuel
Cooper and the Oswego Starch Factory. Identify the
characteristics of the landscapes, the style and purpose
of the buildings, the modes of transportation, etc.
Record your findings in the Observation Diary.
Unidentified artist, signed
“AJH/77”
Oswego Starch Factory,
possibly 1877
Oswego, Oswego
County, New York
Watercolor and ink on
paper; 36 1/8 x 53 ¼ in.
American Folk Art
Museum purchase,
1981.12.16
Photo by John Parnell
Attributed to Asa Ames
(1824–1851), Evans, Erie
County, New York
Phrenological Head
ca. 1850
Paint on wood
16 3/8 x 13 x 7 in.
Collection American Folk
Art Museum, New York
Bequest of Jeanette
Virgin, 1981.24.1
Photo by John Parnell
Refer to the activity sheet on page 17.
The Residence of Lemuel
Cooper, 1879
Paul A. Seifert (1840–
1921), Plain, Sauk
County, Wisconsin
Watercolor, oil, tempera,
ink, and pencil on paper;
21 7/8 x 28 in.
American Folk Art
Museum purchase,
1981.12.26
Photo by John Parnell
Smithsonian Institute
American History Timeline
Read personal accounts of residents describing city life
and rural life in the late nineteenth century on the
Library of Congress Learning Page, “Rise of Industrial
America.””http://memory.loc.gov/learn/features/timeline
/riseind/riseof.html.
10
Twentieth-Century Folk Art
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
Smithsonian Institute
American History Timeline
By the twentieth century, as mechanical processes
rendered most handmade products obsolete, folk art
became less a reflection of communal interests and
more the expression of individual artists, primarily
painters and sculptors. As self-taught artists gained the
attention of the art world, new terminology expanded
the definition of folk art. In the first half of the century,
naïve and primitive described painters like Grandma
Moses, who were essentially interested in recording
recognizable objects in the world around them, and did
so with untutored simplicity, originality, and nostalgia
that offered wide appeal in the rapidly changing culture.
Unidentified artist, probably New York State
Uncle Sam Riding a Bicycle Whirligig,
ca. 1880–1920
Paint on wood with metal, 37 x 55 ½ x 11 in.
American Folk Art Museum, New York
Promised bequest of Dorothea and Leo Rabkin,
P2.1981.6; Photo by John Parnell
Mother Cat with Kittens, 1941
After coming to the United States from eastern Europe
at the turn of the century, Morris Hirshfield settled in
Brooklyn, New York, where he worked in the garment
business. He retired in 1937 and began to paint. In his
lifetime, Hirschfield completed seventy-six canvases of
mostly women and animals, painted in a flat style with
bold patterns, bright colors, and fabric-like textures.
Uncle Sam Riding a Bicycle Whirligig, ca. 1880–1920
Morris Hirshfield
(1872–1946),
Brooklyn, New York
Mother Cat with
Kittens, 1941
Oil on canvas
24 x 36 in.
Gift of Patricia L. and
Maurice CA.
Thompson Jr. and
purchase with funds
from the Jean Lipman
Fellows, 1998,
1998.5.1
Art © Estate of Morris
Hirshfield / Licensed
by VAGA,
New York, NY
Photo by Charles
Bechtold
In the late nineteenth century, an unidentified artist in
upstate New York carved the Uncle Sam Riding a
Bicycle Whirligig, a wooden wind toy that is now an
icon of American folk art. The patriotic figure of Uncle
Sam is based on an actual man, Samuel Wilson, whose
business supplied meat to the troops during the War of
1812. His top hat and striped pants are based on the
Revolutionary War figure of Yankee Doodle. When the
wind turns the front propeller of this whirligig, Uncle
Sam pedals a high-wheeler. The whirligig was found in
upstate New York, near Canada, which may explain the
presence of the British flag, the Union Jack, opposite
the Stars and Stripes.
Whirligig: a wooden
wind toy that spins
and turns on a pivot
when the wind
blows.
High-wheeler: an
English bicycle with
a large front wheel
and small back
wheel, made
popular at the
Philadelphia
Centennial of 1876.
Making a Connection
A Whimsical Whirligig
Visit ArtQuest’s new Exploring Exhibitions station or
arrange a class visit to the art studios, where students
will be able to construct their own whirligigs inspired by
American Anthem. Reservations required. To schedule,
call the Tour Coordinator at (615) 744-3247.
8
Patriotism and Politics
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
American folk art often conveys patriotic themes,
whether by celebrating national events, such as the
installation of the Statue of Liberty, or observing a
nation at war. The outbreak of the Civil War in 1861
was met with patriotic zeal by both Northerners and
Southerners. Some artisans expressed their national
pride in their art while others created handicrafts that
remind us even today of this painful chapter in our
nation’s history.
Statue of Liberty Cabinet, ca. 1886–90
The Statue of Liberty, dedicated on October 28, 1886,
is perhaps the best known symbol of America. This
cabinet by Titus Albrecht celebrates the Statue of
Liberty by perching her silhouette triumphantly atop an
ornately carved cascade of filigree woodwork.
Completing the patriotic theme, the desktop features an
eagle with spread wings standing on an American flag,
holding three arrows and an olive branch in its talons.
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
Titus Albrecht (or Tidus
Albrech) (dates unknown),
vicinity of St. Louis, Missouri.
Statue of Liberty Cabinet,
ca. 1886–90. Wood with
cutouts and paint decoration;
77 3/4 x 30 3/8 x 21 1/8 in.
Collection American Folk Art
Museum, New York.
Gift of the Hirschhorn
Foundation, 1997.6.2.
Photo by David Stansbury
Nellie Mae Rowe (1900–1982),
Vinings, Cobb County, Georgia
Cow Jump over the Mone, 1978
Colored pencil, crayon, and pencil
on paper; 19 1/2 x 25 ¼ in.
Collection American Folk Art
Museum, New York
Gift of Judith Alexander,
1997.10.1
Photo by Gavin Ashworth
Cow Jump Over the Mone, 1978
Nellie Mae Rowe was an African American woman born
in the segregated South at the turn of the century. In
1948 she turned her full attention to making art,
decorating her home in Vinings, Georgia. She worked
with readily available materials, such as colored pencils,
felt-tip pens, and paper for her drawings, and
Styrofoam food trays, wallpaper sample books, wood,
and chewing gum for her sculptures.
Segregation: the practice
of separating people by
race, ethnicity, or religion.
In this work, Nellie Mae Rowe depicts herself as a cow
jumping over the moon, which may be read as a
metaphor for overcoming (or “jumping over”) difficult
circumstances.
Metaphor: The use of a
word, phrase, or image to
represent somebody or
something.
Making a Connection
A Metaphor for Me
Think of an animal* that could stand as a metaphor for
you. When choosing, consider the characteristics of
various animals. For example, saying that someone is a
snake may imply that the person is sly or sneaky.
Create a drawing based on the metaphor you have
chosen. Have your classmates guess what you were
trying to express about yourself in the work.
Smithsonian Institute
American History Timeline
* For middle and high
school students:
Think about an event or
occurrence that has
deeply affected you. How
might you represent that
experience metaphorically
in a work of art?
12
Twentieth-Century Folk Art
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
After World War II, the terms art brut (French for “raw
art”), visionary art, and outsider art denoted drawings,
paintings, and sculptures produced by people at the
margins of society, including the homeless, prisoners,
and psychiatric patients. Although these labels have
been a source of misunderstanding in the ensuing
years, certain characteristics of contemporary selftaught artists unite them. Many begin producing art
late in life and work only with materials that are readily
available. Some offer deeply personal, sometimes
visionary imagery of the world around them, while
others express inner emotions and fantasies.
Button Tree, 1990–92
After Gregory Warmack was shot in
an attempted robbery in 1978, he
decided to become an artist. Calling
himself “Mr. Imagination,” Warmack,
who had always made art, enjoyed a
new surge of creativity. Like folk
artist Bessie Harvey, Warmack
rescues dead limbs and transforms
them into works of art. Button Tree
is set in a base covered with bottle
caps and covered with buttons nailed
to the limb in a style similar to some
Central African wooden sculptures,
called minkisi. (note: nkisi is
singular; minkisi is plural)
Gregory “Mr. Imagination” Warmack
(b. 1948), Chicago, Illinois
Button Tree, 1990–92
Wood and cement with buttons,
bottle caps, and nails; 56 x 34 x 60 in.
Collection American Folk Art Museum, New York
Gift of the artist, 2000.13.1
Photo by John Parnell
Smithsonian Institute
American History Timeline
Making a Connection
My Family Album Quilt
Think of important events in your family’s history —
maybe the birth of a sibling or a major move to another
state far away from loved ones. How will you tell your
story in a quilt? What symbols and colors will you use
to represent each event and family member?
Design your own family album quilt, and write a
narrative to accompany it.
Refer to the activity sheet on page 16.
6
Quilt Stories
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
Smithsonian Institute
American History Timeline
By 1840, with the growth of the textile industry and
widespread availability of fabric, quiltmaking became a
creative and often social outlet for American women. A
wide range of quilt patterns was dispersed across the
country as families moved. Although quilts provided
warmth and beauty for the home, many were also made
to commemorate special occasions. Brides-to-be sewed
quilts for their hope chests, grieving mothers made
mourning quilts to memorialize loved ones, and
neighbors gave friendship quilts as mementos to
families moving westward. Many such quilts became
treasured heirlooms, reflecting the personalities of their
makers and preserving the stories they told of friends
and family.
Reiter Family Album Quilt,
ca. 1891–92, reassembled 1976
In 1885 Liebe Gross Friedman, a Jewish
woman from Slovakia, sent her young
daughter Katie to America to escape a
difficult life. Katie married in 1890 and
moved to Pennsylvania, where she was
joined a year later by her mother, sister, and
brother. Later that year, Katie’s baby son
died, and shortly after, her brother drowned
in the Youghiogheny River. Liebe and Katie
made the quilt as an expression of their grief.
This quilt is comprised of sixteen embellished
quilt blocks and bordered by blocks that
complete the overall design. The symbolic
American eagle is placed prominently in one
square. Two black horse figures are thought
to symbolize the two dead children, and are a
play on the family name, Reiter, which
means “rider” in German.
DETAILS and RIGHT: Katie Friedman Reiter (1873–1942) and Liebe
Gross Friedman (dates unknown), McKeesport, Allegheny County,
Pennsylvania. Reiter Family Album Quilt, ca. 1891–92, reassembled
1976. Cotton and wool; 101 x 101 in. Collection American Folk Art
Museum, New York. Gift of Katherine Amelia Wine in honor of her
grandmother Theresa Reiter Gross and the makers of the quilt, her
great-grandmother Katie Friedman Reiter and her great-greatgrandmother Liebe Gross Friedman, and on behalf of a generation of
cousins: Sydney Howard Reiter, Penelope Breyer Tarplin, Jonnie
Breyer Stahl, Susan Reiter Blinn, Benjamin Joseph Gross, and Leba
Gross Wine, 2000.2.1. Photo by John Parnell
Visionary art is a term often used
to describe work inspired by
religious faith, and includes lively
expressions of spirituality in
traditional and contemporary forms.
America’s history of diverse
religious traditions may be seen in
Southern evangelical paintings,
scenes from the Jewish Bible, and
African-inspired protective yard art.
These works reflect the need to
capture the spiritual in visual form,
and celebrate the quest for religious
freedom that inspired the
settlement of America.
Faces of Africa I, 1994
After her mother’s death in 1974, Bessie Harvey found
comfort in creating sculptures from roots and pieces of
wood. Her works may represent personal stories, Bible
stories, or figures from African American history and
folklore. In Faces of Africa I, Bessie Harvey placed a
human face into the roots of a tree, using black
spraypaint, wood putty, white shells, and marbles.
This is one of many sculptures Harvey created to free
the spirits and souls she believed were held captive in
trees. She once said, “I see African people in the trees
and in the roots. I frees them.”
Bessie Harvey (1929–1994)
Alcoa, Blount County, Tennessee
Faces of Africa I, 1994
Paint on wood with wood putty,
shells, and marbles
33 x 28 x 17 in.
American Folk Art Museum,
New York
Blanchard-Hill Collection, gift of M.
Anne Hill and Edward V. Blanchard
Jr., 1998.10.24
Photo by Gavin Ashworth
Making a Connection
Compare Two Works of Art
Look closely and compare Button Tree and Faces of
Africa I. Consider what you see, what you’ve learned,
and what you think about the works. Record the
similarities and differences of the works on the diagram.
Refer to the activity sheet on page 18.
14
Reproducible Activity Sheet
Honor a Loved One
Memorial to Washington,
early nineteenth century
Think of a person who is special
to you—maybe a family member
or close friend. What qualities
does that person exemplify?
What are his/her hobbies and
interests? Assemble a collection
of photographs and small found
objects that symbolize important
aspects of that person. Arrange
and attach the items to a solid
form or small container.
Write a label for your work
describing the person for whom it
was created and the materials
that were used.
My Object Honors…
Plinth: a square block
beneath a column,
pedestal, or statue.
Star from REcollection: Community Art
Project, led by artist Sherri Warner Hunter.
Community members contributed to the
project by using found objects, mementos,
and photographs to create stars that honor
loved ones.
George Washington’s death in
1799, the first nationwide
emotional loss suffered by the
young country, shocked
Americans. People mourned by
holding memorial services or by
fashioning commemorative objects
to place in their homes. This small
handmade memorial is in the form
of an urn placed on a plinth, a
neoclassical motif widely used in
the decorative arts of the time.
Ironically, much of the production
of objects memorializing America’s
early heroes originated in England
and were later copied by
professional and amateur artists in
America. Memorials to
Washington like this one were still
being created by schoolgirls
through the late 1820s.
Unidentified artist, eastern United States.
Memorial to Washington, early nineteenth century.
Ink, mica flakes, and mezzotint engravings on paper
with applied gold paper, mounted on wood form
4 ¾ x 1 ¾ x 1 ¾ in. Collection American Folk Art
Museum, New York. Gift of Nancy Green Karlins and
Mark Thoman in honor of Robert Evans Green,
1999.9. Photo by Gavin Ashworth
Making a Connection
Honor a Loved One
Star from REcollection Community Art
Project, led by artist Sherri Warner Hunter.
Community members contributed to the
project by using found objects, mementos,
and photographs to create stars that honor
loved ones.
15
Think of a person who is special to you—maybe
a family member or close friend. What qualities
does that person exemplify? What are his/her
hobbies and interests? Assemble a collection of
photographs and small found objects that
symbolize important aspects of that person.
Arrange and attach the items to a solid form or
small container.
Write a label for your work describing the person
for whom it was created and the materials that
were used.
Refer to the activity sheet on page 15.
4
Reproducible Activity Sheet
Art in the Home
A Place in History
Find what was happening in
America around the time
these works were created.
Late 1700s to1800s
Revolutionary War
1775–1783
Industrial Revolution
1790–1860
Civil War
1861–1865
Late 1800s to1900s
The Progressive Era
1890–1913
World War I
1914–1918
The Great Depression
1929–1939
World War II
1941–1945
Vietnam War
1965–1973
2000 to Present
World Trade Center
Terrorist Attack
2001
My Family Album Quilt
After the Revolutionary War, the
democracies of ancient Greece and
Rome provided the model for the
new American republic, and also
inspired an aesthetic revolution in
architecture, furnishings, clothing,
and hairstyles. By the early
nineteenth century, schoolgirl
needlework, stenciled chairs, and
handmade memorials reflecting
neoclassical symbols of liberty and
virtue frequently held places of
honor in people’s homes.
Portraits were also an important means of parlor
decoration in the early nineteenth century. Many
portrait artists were former sign- or housepainters
with no formal art training. Traveling portrait painters
such as John S. Blunt were hired to create likenesses
of wealthy landowners and merchants, using a plain
and simple painting style reflecting republican values.
Attributed to John S. Blunt
(1798–1835), probably Maine,
Massachusetts, or New
Hampshire. Miss Frances A.
Motley, 1830–33
Oil on canvas; 35 3/8 x 29 ¼ in.
American Folk Art Museum, New
York; Promised gift of Barbara
and David Krashes, P7.1999.1
Photo by Cheryl Richards
Miss Francis A. Motley, 1830–33
In this portrait attributed to Blunt, Francis Motley
represents the virtues associated with the nineteenthcentury notion of true womanhood. The coral
necklace, tasseled blue drawstring purse, and flowers
symbolize feminine characteristics. The sewing
basket on her lap is a reminder that skill with a needle
was a necessary accomplishment for young women.
A small card with the name “Francis A. Motley” sits
on the table, announcing the sitter’s identity.
Coral necklace:
In the past, coral
necklaces were
thought to protect
their wearers from
evil and sickness.
Think of important
events in your
family’s history —
maybe the birth of a
sibling or a major
move to another
state far away from
loved ones. How will
you tell your story (or
stories) in a quilt?
What symbols and
colors will you use to
represent each event
and family member?
Design your own
family album quilt,
and write a narrative
to accompany it.
My quilt tells a story about…
Liberty Needlework, 1808
In the 1800s young girls often attended
schools where they learned domestic arts,
including needlework. In this needlework
project by Lucina Hudson, Liberty is
represented as a young girl with tightly
curled hair holding a liberty pole. On the
pole, a colorful flag flies beneath a pileus.
Smithsonian Institute
American History Timeline
Pileus: a closefitting cap that
was worn in
ancient Rome. It
symbolized liberty
in neoclassical art.
Lucina Hudson (1787–?), South Hadley, Massachusetts. Liberty Needlework, 1808
Watercolor and silk thread on silk, with metallic thread and spangles, 18 x 16 in.
American Folk Art Museum purchase with funds from the Jean Lipman Fellows,1996,
1996.9.1
16
Reproducible Activity Sheet
Farm vs. Factory
Learning to Look. Looking to Learn.
Look closely at each work and compare the farm and factory. Identify the
characteristics of the landscapes, the style and purpose of the buildings,
the modes of transportation, etc. Record your findings below.
Encourage students to look closely at each work of art
and consider the following questions:
•
Curriculum
Connections
American Anthem Discovery
Tours and Story Tours support
the Tennessee Curriculum
Frameworks by introducing
themes that are relevant to
visual arts, language arts, and
social studies curricula.
Land
Land
Buildings
Buildings
Specific standards are
addressed at age-appropriate
levels. An example is shown
below. You may view
connections for all grade levels
(K–12) at www.fristcenter.org.
•
•
•
•
•
The Artist: Who created the work? When did the
artist begin making art? Do you think he/she had
some sort of formal art training? Why or why not?
How and where might the artist have gained
his/her skills?
Purpose: Why did the artist create the work?
Does the work of art serve a specific purpose or
function? If so, how was it used or where might it
have been displayed? If the object is functional,
why might its creator have decided to decorate it?
Ideas: What is the subject matter of the work?
Does the work of art reflect the artist’s ideas or
beliefs? If so, how?
Stories: Does the work tell a story about the
artist’s personal life or important national events?
What objects, props, or symbols does the artist
include to help tell the story?
Materials: What materials did the artist use to
create the work of art? Where do you think he/she
found these materials? Why do you think the artist
chose to use them?
Techniques: What techniques did the artist use to
create the object? Did he/she need any special
training, skills, or materials to make the object?
Example: Sixth Grade
Transportation
Other Findings
The Residence of Lemuel Cooper, 1879
Paul A. Seifert (1840–1921), Plain, Sauk County, Wisconsin
Watercolor, oil, tempera, ink, and pencil on paper; 21 7/8 x 28 in.
American Folk Art Museum purchase, 1981.12.26
Photo by John Parnell
17
Transportation
Other Findings
Unidentified artist, signed “AJH/77”
Oswego Starch Factory, possibly 1877
Oswego, Oswego County, New York
Watercolor and ink on paper; 36 1/8 x 53 ¼ in.
American Folk Art Museum purchase, 1981.12.16.
Visual Arts
Language Arts
Social Studies
4.0 Historical/Cultural Relationship.
The student will speculate on how
factors of time and place give
meaning or function to a work of
art from a variety of cultures,
times, and places.
1.0 Reading. (6.1.tpi.8.) The student
will make creative responses to texts.
1.0 Culture (6.1.tpi.6.) The
student will compare various forms
of jewelry, art, music, and
literature among historical periods.
5.0 Reflection and Assessment.
The student will understand and
apply visual arts vocabulary when
observing, describing, analyzing,
and interpreting works of art
1.0 Reading. (6.1.tpi.27.) The
student will use content specific
vocabulary.
5.0 Reflection and Assessment.
The student will describe and
interpret different ways that
human experience is reflected in
contemporary and historic works
of art.
1.0 Reading. (6.1.tpi.10.) The student
will express personal reactions to
texts.
2.0 Writing. (6.2.tpi.14.) The student
will compare and respond to questions
from all content areas.
2.0 Writing. (6.2.tpi.16.) The student
will write personal reflections on
experiences and events.
1.0 Culture (6.1.tpi. 13.) The
student will create a piece of
artwork based on a historical
example.
6.0 Individuals, Groups, and
Interactions (6.6.tpi.7.) The
student will analyze differing
communities' perception of
beauty.
2
Reproducible Activity Sheet
American Anthem
Compare Two Works of Art
What do you see (shapes, colors, textures, etc.)?
What did you learn about the artist and the work?
What do you think about these two works of art?
American Anthem includes more than
130 examples of folk art created for a
variety of reasons. The exhibition first
focuses on the nation’s early years, when
functional objects were embellished with
decorative elements in an effort to
beautify homes. It then examines ways
in which artists celebrated national events
and documented important cultural
changes. Finally, American Anthem
explores contemporary folk art,
sometimes called visionary art, outsider
art, or art brut, which often contains
spiritual and psychological dimensions.
In the overlapping parts of the circles, write similarities
of the works, and in the part of the circles that do not
overlap, write the unique characteristics and
differences of each work.
Faces of Africa I
Preparing for your visit…
The American Anthem teaching packet was
designed with teachers’ needs in mind, and
we hope you will find it helpful in preparing
students for their visit and in follow up
study.
UPPER RIGHT: Attributed to Sturtevant J. Hamblin (active 1837–
1856), probably Massachusetts
Sea Captain, ca. 1845
Oil on canvas; 27 1/8 x 22 ¼ in.
Collection American Folk Art Museum, New York
Gift of Robert Bishop, 1992.10.2
Photo by John Parnell
LOWER LEFT: Unidentified artist, New England
Sea Serpent Weathervane, ca. 1850
Paint on wood with iron; 16 1/4 x 23 1/4 x 1 in.
American Folk Art Museum purchase, 1981.12.13
Photo by John Parnell
1
The guide opens with a series of questions
(“Learning to Look”) that encourage
students to look closely and discuss historic
and contemporary works of art from the
exhibition. Each of the following sections
include a timeline, which provides historical
context, and a narrative about the artwork,
which can be incorporated into class
discussion or given as a reading assignment
to older students. Designed to be adaptable
to all ages, “Making a Connection” activities
allow students to reflect and relate the art
and ideas to their own lives and
experiences. Each activity is accompanied
by color reproductions and some have
reproducible sheets.
Button Tree
Gregory “Mr. Imagination” Warmack
(b. 1948), Chicago, Illinois
Button Tree, 1990–92
Wood and cement with buttons,
bottle caps, and nails
56 x 34 x 60 in.
Collection American Folk Art
Museum, New York
Gift of the artist, 2000.13.1
Photo by John Parnell
UPPER RIGHT:
Bessie Harvey (1929–1994), Alcoa,
Blount County, Tennessee
Faces of Africa I, 1994
Paint on wood with wood putty, shells,
and marbles; 33 x 28 x 17 in.
American Folk Art Museum, New York
Blanchard-Hill Collection, gift of M.
Anne Hill and Edward V. Blanchard Jr.,
1998.10.24; Photo by Gavin Ashworth
18
Resources
The Frist Center presents
American Anthem
A teacher’s guide to
selected works from the
exhibition.
Exhibition Catalogue
Resources for Teacher and Students
Anderson, Brooke Davis, and Stacy C. Hollander.
Books
American Anthem: Masterworks from the American
Folk Art Museum. New York: Harry N. Abrams, Inc.
Publishers, 2001.
Websites
American Folk Art
Websites
American
Museum,
New
York, New York
American
FolkFolk
ArtArt
Museum,
New
York
www.folkartmuseum.org
www.folkartmuseum.org
Featuring historic and
contemporary artwork,
American Anthem Discovery
Tours and Story Tours
encourage students to
explore symbols of liberty,
ingenuity, and refuge that
are embedded in American
folk art. This guide is
designed to help prepare
students for their visit.
Unidentified artist, Guilford Center
Chenango County, New York
Archangel Gabriel Inn Sign, 1810–35
Paint on wood; 24 x 46 1/2 x 18 in.
Collection American Folk Art Museum
New YorkGift of Alice M. Kaplan, trustee, 1997–
1989, Museum of American Folk Art, 2001.3.1;
Photo by John Parnell
For 150 years, this figure of the
Archangel Gabriel was a wellSociety
of American
FolkFolk
ArtArt
Society
of America
known local landmark, mounted
www.folkart.org
www.folkart.org
above the entry to a building
that served as a post office and
American
History
Timelines
American
Memory
Timeline
general store before it became
Library of Congress Learning Page (interactive)
the Angel
Inn. It was not
American Memory Timeline, Library of Congress Learning Page
(interactive)
http://memory.loc.gov/learn/features/timeline/
uncommon
for a figure of
http://memory.loc.gov/learn/features/timeline/
Gabriel, in Christian tradition the
American History Timeline
herald of the Second Coming,
American Institute
History Timeline,
Smithsonian Institute (interactive)
Smithsonian
(interactive)
to appear as a weathervane on
http://www.si.edu/resource/faq/nmah/timeline.htm
http://www.si.edu/resource/faq/nmah/timeline.htm
the steeples of churches.
Secular settings, such as the
Teacher Workshop
Angel Inn, then located on a
Teacher Workshop
stagecoach
route,
were of all
Learn more about American Folk Art at an interdisciplinary busy
teacher
workshop.
Teachers
also
known.
Learn
more about
Folk Art
at anis limited so please register early. $15 for members
subjects,
K–12,American
are welcome.
Space
interdisciplinary
teacher
workshop.
Teachers
of all
$20 for non-members
COVER: All artworks collection
subjects, K–12, are welcome. Space is limited so
American Folk Art Museum, New York
please
registerFebruary
early. $15
Thursday,
10 for
ORmembers
Saturday,and
February 12, 8.
© 2005 except detail first row, 3rd from
$20 for non-members
left: Art © Robert and Gail Rentzer for
of school
Morris Hirshfield
/ Licensed
To register for a teacher workshop or to obtain informationEstate
about
tours, visit
by
VAGA,
New
York,
NY
Thursday,
February 10 OR
Saturday,
February 12
or call
(615) 744-3247.
www.fristcenter.org
8:30 a.m.–3:30 p.m.
To register for a teacher workshop or to obtain
informationGabriel
about Inn
school
tours,
visit
Archangel
Sign,
1810–35
www.fristcenter.org or call (615) 744-3247.
A handprint marks
topics for
discussion and
activities for
students.
What’s in This
Teacher’s Guide?
American Anthem
Introduction, page 1
“Learning to Look” and
Curriculum Connections,
page 2
Art in the Home, pages 3–4
Quilt Stories, pages 5–6
Patriotism and Politics,
pages 7–8
American Anthem: Masterworks from
the American Folk Art Museum has
been organized by the American Folk
Art Museum, New York. American
Anthem is sponsored by Altria
Group, Inc.
Changing Worlds,
pages 9–10
For 150 years, this figure of the Archangel Gabriel was a well-known local landmark,
mounted above the entry to a building that served as a post office and general store
before it became the Angel Inn. It was not uncommon for
a figure
Gabriel, in Christian
2005
Platinumof
Sponsor:
tradition the herald of the Second Coming, to appear as a weathervane on the steeples of
churches. Secular settings, such as the Angel Inn, then located on a busy stagecoach
route, were also known.
Twentieth-Century Folk Art,
pages 11–14
Reproducible Activity
Sheets, pages 15–18
2005 Gold Sponsor:
919 Broadway, Nashville, TN 37203
Resources, back cover
Frist Center for the Visual Arts
January 21– May 1, 2005