After the end of World War I, Americans began to feel a distinct lack of national identity. They felt disconnected from their past and were unsure where the future was taking them. Compared to their European counterparts with their long and rich history full of art and literature, Americans felt that their country was inferior and provincial. A call to restore the American pride rose from the ranks of writers and artists, demanding the creation of a new history of the United States, one that would provide a worthy foundation of people, places, and events for American artists to draw inspiration from. They responded enthusiastically, excited to shake off the chains of worldly influence and forge ahead to create a new identity for America filled
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Regionalist painter Thomas Hart Benton, the son of a Missouri congressman, believed that art could be used as a tool for social change. He felt that by combining “aspects of the modern world with the values of hard work, individualism, and community associated with the rural experience” they would provide an understanding of the strength of the American people and provide faith and a sense of patriotism in itself (Haskell 221). He, along with fellow Regionalist artists such as Grant Wood, created art that mirrored the people and communities of rural America. Roosevelt’s WPA had similar designs in mind. In response to the devastating effects of the depression, the goal of the WPA was to involve local artists and communities to develop and create public art projects all while being paid for a useful service. Often working together with Regionalist artists on projects such as Benton’s mural A Social History of the State of Missouri, they did not always agree on what native subjects and themes should be portrayed, though the general intent of their work was the same (Fig. …show more content…
Following the accidental discovery of Taos by Ernest Blumenschein and Bert Phillips, interest was piqued in its unique landscapes and native peoples. Artists who came to the area found not only a beautiful landscape but a people and their home steeped in history and tradition. Eastern artists loved the purity of native art, unaffected by any European art influences. This was the America they were searching for. Artists such as Marsden Hartley raced to the newly developed art communities to creatively explore the local landscapes and people (Fig. 4). With the influx of new people and a growing of interest in local cultures it became apparent that the native traditions needed to be preserved. The School of American Research, led by Edgar L. Hewett, was dedicated to the preservation of local Indian life (Eldredge et al. 71). It was through his work that the Museum of New Mexico was established, along with the Palace of the Governors in Santa Fe, to serve multiple needs as both art gallery and museum of history. At the Santa Fe Indian School, Dorothy Munn established a program called “The Studio School,” to teach Native American students the traditional style of painting of their people so that their cultural practices would not be lost. Another studio within the School of American Research, promoted an exchange of techniques between local and visiting artists.
Regionalist painter Thomas Hart Benton, the son of a Missouri congressman, believed that art could be used as a tool for social change. He felt that by combining “aspects of the modern world with the values of hard work, individualism, and community associated with the rural experience” they would provide an understanding of the strength of the American people and provide faith and a sense of patriotism in itself (Haskell 221). He, along with fellow Regionalist artists such as Grant Wood, created art that mirrored the people and communities of rural America. Roosevelt’s WPA had similar designs in mind. In response to the devastating effects of the depression, the goal of the WPA was to involve local artists and communities to develop and create public art projects all while being paid for a useful service. Often working together with Regionalist artists on projects such as Benton’s mural A Social History of the State of Missouri, they did not always agree on what native subjects and themes should be portrayed, though the general intent of their work was the same (Fig. …show more content…
Following the accidental discovery of Taos by Ernest Blumenschein and Bert Phillips, interest was piqued in its unique landscapes and native peoples. Artists who came to the area found not only a beautiful landscape but a people and their home steeped in history and tradition. Eastern artists loved the purity of native art, unaffected by any European art influences. This was the America they were searching for. Artists such as Marsden Hartley raced to the newly developed art communities to creatively explore the local landscapes and people (Fig. 4). With the influx of new people and a growing of interest in local cultures it became apparent that the native traditions needed to be preserved. The School of American Research, led by Edgar L. Hewett, was dedicated to the preservation of local Indian life (Eldredge et al. 71). It was through his work that the Museum of New Mexico was established, along with the Palace of the Governors in Santa Fe, to serve multiple needs as both art gallery and museum of history. At the Santa Fe Indian School, Dorothy Munn established a program called “The Studio School,” to teach Native American students the traditional style of painting of their people so that their cultural practices would not be lost. Another studio within the School of American Research, promoted an exchange of techniques between local and visiting artists.