Rachel
Starting in 1607, colonial growth was dependent on immigration from countries such as the Dutch Netherlands and England; this mixture of cultures resulted in what can only be described as an eclectic contribution to the emerging styles of art during this period. With considerable influence from religion in each colony, artists had no choice but to cooperate with the ideas of the majority. Changes occurred in the styles of painting, architecture, needlework and even the carving in gravestones, but the progression was distinct to the Americas.
Protestantism was the focus of each community in New England; unfortunately for artists, Protestantism rejected visual arts that represented otherworldly figures: John Calvin explained that “only those things are to be sculpted or painted which the eyes are capable of seeing” (Pohl). Historians believe that painting in the New England area began around the 1660s, approximately when colonies began to flourish. In New England, portraits were very important during this time, as they conveyed the status, lineage and importance of a family. However, portraits were a complex matter: if the family was dressed incorrectly, it may be construed that they are either flamboyant with their wealth or that they are miserly. The portraits of John Freake, Elizabeth Freake and Baby Mary epitomize the sensitivity necessary: the mere length of John Freake’s hair indicated his class and whether he sympathized with Native peoples.
A contrasting style developed in the Dutch part of the Americas, where portraits explored a more natural approach to the face, while the Elizabethan-Jacobean tradition in English portraits was two-dimensional, shallow and detail-oriented. The best example of this new technique can be found in the portrait of Governor Peter Stuyvesant: the face is realistically modeled and the body is placed at an angle that presents the three-dimensionality believably. A mixture of English-Dutch art appeared as well, and the portrait was often busier than normal, with an intricate background and detailed clothes.Also a prominent medium during the colonial era was needlework; women of households held responsibility for the upkeep of clothing, bedding and textiles. However, many saw needlework as an outlet for creativity, resulting in numerous styles and motifs. Another new type of artwork was the carving of gravestones; Protestantism influenced the progression of gravestone art, as human mortality became a major motif. Often gravestones were covered in figures of demons and cherubs and the images of hourglasses and flora.
The apprehension of New England and Dutch colonists to portraits indicates the level of European influence in the Americas during the seventeenth century. In the most basic sense, the artistic styles in the Americas emigrated from Europe, as no new styles emerged in the New England and Dutch colonies. While the period was a repeat of European art, colonial art still affected society and began the notions of change.
Works Cited
Pohl, Frances K. Framing America: A Social History of American Art. New York, NY: Thames & Hudson, 2002.
Images Cited
"John Freake." Wikipedia. N.p., n.d. Web. 12 Sept. 2012. <http://en.wikipedia.org/wiki/File:John_freake_1674.jpg>.
"Mrs Freake and Baby Mary." Exploring U.S. History. N.p., n.d. Web. 12 Sept. 2012. <http://chnm.gmu.edu/exploring/pre_18thcentury/mrsjohnfreake/assignment.php>.
"New Amsterdam." Legends of America. N.p., n.d. Web. 12 Sept. 2012. <http://www.legendsofamerica.com/ny-newamsterdam3.html>.
Starting in 1607, colonial growth was dependent on immigration from countries such as the Dutch Netherlands and England; this mixture of cultures resulted in what can only be described as an eclectic contribution to the emerging styles of art during this period. With considerable influence from religion in each colony, artists had no choice but to cooperate with the ideas of the majority. Changes occurred in the styles of painting, architecture, needlework and even the carving in gravestones, but the progression was distinct to the Americas.
Protestantism was the focus of each community in New England; unfortunately for artists, Protestantism rejected visual arts that represented otherworldly figures: John Calvin explained that “only those things are to be sculpted or painted which the eyes are capable of seeing” (Pohl). Historians believe that painting in the New England area began around the 1660s, approximately when colonies began to flourish. In New England, portraits were very important during this time, as they conveyed the status, lineage and importance of a family. However, portraits were a complex matter: if the family was dressed incorrectly, it may be construed that they are either flamboyant with their wealth or that they are miserly. The portraits of John Freake, Elizabeth Freake and Baby Mary epitomize the sensitivity necessary: the mere length of John Freake’s hair indicated his class and whether he sympathized with Native peoples.
A contrasting style developed in the Dutch part of the Americas, where portraits explored a more natural approach to the face, while the Elizabethan-Jacobean tradition in English portraits was two-dimensional, shallow and detail-oriented. The best example of this new technique can be found in the portrait of Governor Peter Stuyvesant: the face is realistically modeled and the body is placed at an angle that presents the three-dimensionality believably. A mixture of English-Dutch art appeared as well, and the portrait was often busier than normal, with an intricate background and detailed clothes.Also a prominent medium during the colonial era was needlework; women of households held responsibility for the upkeep of clothing, bedding and textiles. However, many saw needlework as an outlet for creativity, resulting in numerous styles and motifs. Another new type of artwork was the carving of gravestones; Protestantism influenced the progression of gravestone art, as human mortality became a major motif. Often gravestones were covered in figures of demons and cherubs and the images of hourglasses and flora.
The apprehension of New England and Dutch colonists to portraits indicates the level of European influence in the Americas during the seventeenth century. In the most basic sense, the artistic styles in the Americas emigrated from Europe, as no new styles emerged in the New England and Dutch colonies. While the period was a repeat of European art, colonial art still affected society and began the notions of change.
Works Cited
Pohl, Frances K. Framing America: A Social History of American Art. New York, NY: Thames & Hudson, 2002.
Images Cited
"John Freake." Wikipedia. N.p., n.d. Web. 12 Sept. 2012. <http://en.wikipedia.org/wiki/File:John_freake_1674.jpg>.
"Mrs Freake and Baby Mary." Exploring U.S. History. N.p., n.d. Web. 12 Sept. 2012. <http://chnm.gmu.edu/exploring/pre_18thcentury/mrsjohnfreake/assignment.php>.
"New Amsterdam." Legends of America. N.p., n.d. Web. 12 Sept. 2012. <http://www.legendsofamerica.com/ny-newamsterdam3.html>.