American Progress is an oil painting made by Prussian-born American painter John Gast in 1872, during the later stages of the Westward Expansion in the United States of America. The painting as a whole represents America and its Westward Expansion during these times, with many of the objects in the painting, as well as many of its artistic elements representing different themes and ideas of the late 19th century American society. The prominent female figure would be representing America itself, the various people and objects such as electrical wires, transportation, and animals also represent themes such as social classes, and technological progress, while elements of art such as color also represent ideas of civilization and more “uncivilized” and unknown places. By analyzing all the aspects of this painting, it can be determined that the whole painting is an allegory of Manifest Destiny, and everything involved with it.
The painting was commisioned by a publisher of western travel guides by the name of George Crofutt in 1872, and it was completed in that same year. The painting was widely reproduced in chromolithographs, which are multi-colored prints made by using lithographic stones with different inks. The painting and reproduced prints were very popular among Americans and those traveling out west, as it created a sense of new hope and opportunity, and that the “civilizing” the west was something that was meant to be
Throughout the painting there are various human figures, but there is an emphasis on the central female figure. She is some sort of flying angel with white robes, which creates a sense of divinity, something that seems God-sent, like it was meant to be, (Manifest Destiny). There is also the element of movement, with her robe flowing in the wind and her forward pose, which helps create a sense of confidence in the way she seems to be moving forward (Progress). The main representation of this female figure is that she is America, moving towards the west carrying with her the telegraph cable (technology) and “civilization”.
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The other elements of the painting that can be interpreted are the forms of transportation and the other human figures. Towards front of the painting there are people traveling on horseback and walking, wearing simple farmer’s clothes, and towards the middle and back of the paintings we see stagecoaches and trains, all of these may represent the different social classes that were moving out west.
As the people in the front are traveling by horse and foot, it can be inferred that they are traveling towards more unsettled parts of the West, where they may be more prone to living off the land without spending much physical currency, suggesting that they may be of a lower class. The people towards the back are travelling by train and stagecoach, suggesting that they are heading towards more settled and established places, maybe towards somewhere they can invest or find jobs, suggesting that they are of a higher class. Another interpretation is one that can be referred to as “new taking over old”. There is a clear presence of technology that is moving out west with the individuals and the central figure such as the train and the telegraph wires, while we see the Native Americans trying to run away from it on foot and horseback, this ”…conveys a vivid sense of the passage of time as well as of the inevitability of technological progress.” (Sandweiss).
The painting is basically trying to portray the death of the old traditions of Native Americans, which was done in many ways such as missionaries trying to convert Native Americans to Christianity or the United States government trying to make the Native Americans adopt a more settled lifestyle (Constantakis et al. 297) and the arrival of a more advanced western civilization, all of which were common events during the late 19th and early 20th centuries. Technology and the end of many Native American ways of life are a pretty big part of this painting when taking a closer look and analyzing it properly, coupled with knowledge of what was going on at that time in the United States.
The final element which is worth analyzing is the variation of color and brightness within the painting. To the right there is a clearer and brighter landscape, with just a few clouds and pleasant hills, but when the focus is shifted to the left, the landscape starts to become gloomier, with more clouds being present, rough mountains, and just more darkness overall. The lighter side represents the Eastern United States, or the more “civilized” part of the nation, there are many 5ships which are often a sign of trade during the 19th century, which means money and wealth.
Historical knowledge can also tell us that indeed, during the later part of the 19th century, the Eastern United States was more developed and industrialized than the Western United States. On the other hand, the left side of the painting, which is gloomier, represents a more unknown, undeveloped, “uncivilized” area, that can be confirmed with historical knowledge, knowing that the west was less populated. What’s interesting is that the female figure primarily, and all the other people moving west are bringing the “light” or “civilization” with them. This last idea, again, ties in with the concept of “Manifest Destiny” that many white Americans identified with.
American Progress indeed is quite an interesting painting, containing many different ideas, themes, and interpretations not only within the objects and people in it, but also within its artistic elements. From the embodiment of America in an almost divine figure, to the complex subjects of “old vs. new”, social classes, and different interpretations of civilization. Closely analyzing the subjects and artistic elements within the painting, coupled with an understanding of the historical context, the viewer is able to get a deeper understanding of the many aspects of American culture during the late 19th century in regards to Westward Expansion, and also the feelings it evoked on many Americans. Although most reproductions of this painting are small, they carry a big and complex message with them.
Works Cited
- Constantakis, Sara, et al. American Eras: Primary Sources. Vol. 3, Gale, a Cengage Company, 2014.
- Sandweiss, Martha A. “John Gast, American Progress, 1872.” Picturing US History, picturinghistory.gc.cuny.edu/john-gast-american-progress-1872/.
