Manifest Destiny and the Idealized West in Late 19th-Century American Paintings

 

America in the late 19th century was bustling with activity. During this time, Civil War broke out, which devastated families, communities, and economies. In the wake of the war, America became heavily industrialized and the nation began to recover. People started to see hope for the future of America. Some of this hope came from the prospect of moving out West, to a land seemingly untouched by violence and war. The Louisiana Purchase, which occurred at the beginning of the century, made moving into the West a feasible option. But when miners struck gold in California in 1848, settling out West became a much more appealing option. Soon, the American West became the image of peace and prosperity in the minds of Americans. At the same time, the ideology of manifest destiny began to spread like wildfire. Many Americans held tightly to the belief that God had destined expansion into the West in order to bring modernization to all of North America. Paintings of the landscapes of the land Americans were “destined” to take became increasingly popular as well. The majority of the paintings from this period reflect both an idealized view of the West as a land full of peace and plenty and also as a land destined by God to be taken over and modernized, though there are a small number of paintings that call these notions into question. 

The Rocky Mountains, Lander’s Peak, Albert Bierstadt, 1863, oil on canvas, The MET

Albert Bierstadt created this painting after his first expedition into the American West. Created from sketches taken throughout his journey, Bierstadt pieces together a serene scene of towering snow-capped mountains that wind down to a glimmering waterfall, which pours into the busy and lush valley below. Through his use of scale and dramatic lighting, Bierstadt’s painting of The Rocky Mountains, Lander’s Peak is classified as a heroic landscape, which depicts nature in an idealized fashion. This idealized scene tempts the viewer with the promise of peace and prosperity in the American West. Bierstadt’s inclusion of Native Americans as part of the landscape itself, rather than making them the focus, also invites viewers to see them as passive, rather than an obstacle to expansion into the West. 

Progress (The Advance of Civilization), Asher B. Durand, 1853, oil on canvas, The MET

Like Bierstadt’s The Rocky Mountains, Lander’s Peak, Asher B. Durand’s Progress (The Advance of Civilization) is a prime example of landscape painting that reflects the idealization of the West and its promise of peace and prosperity. However, Durand’s landscape differs from Beirstadt’s in that Durant specifically shows the importance of technological advancement in the expansion into the West. While Bierstadt only includes nature, Native Americans, and primitive technology in his painting, Durand includes white settlers, roads, and a distant industrialized city. Like Bierstadt, Durand tucks his Native Americans into the landscape to communicate their passive role in Westward expansion. 

American Progress, John Gast, 1872, oil on canvas, Autry Museum of the American West

Perhaps one of the most iconic paintings of the American West is American Progress by John Gast. After originally being painted on commission for a Western travel guide, countless reproductions of this painting have been made, which has contributed greatly to its popularity. The floating figure in angelic garb prominently featured in this painting is Lady Colombia, who represents the United States. As Lady Colombia sweeps across the landscape, she lays down a telegraph wire which symbolizes bringing modernization to the savage West. This painting has widely been remarked as a visual representation of manifest destiny.

Evening Market, Thomas Allen, 1878-1879, oil on canvas, The Hunter Art Museum 

Though American Progress is the most iconic depiction of manifest destiny, it is not the only one. In Evening Market, Thomas Allen paints a scene of the Market Plaza in San Antonio, Texas. Rather than using an idealized landscape or an allegorical figure to represent the idea of manifest destiny, Thomas Allan uses light. Upon a close inspection of the painting, the only portion of the painting illuminated by light is the cathedral in the background. The glow of the sunset on the cathedral communicates God’s blessing on the church as it supports and pushes for Westward expansion. 

The Unwelcome Guests, Henry Farny, 1887, oil on canvas, Cincinnati Art Museum

While many of the paintings during the late 19th century were not very favorable in terms of their view of Native Americans, Henry Farny was among those who offered a counternarrative to the claims of manifest destiny. Farny was known in his time for his realistic depictions of Native American everyday life and culture. He also used his art to express his sympathy to the struggles of Native Americans, such as their loss of culture and land with the onset of Westward expansion.