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By Kathleen Pyne
Late within the 19th century, many americans have been by means of the theories of Charles Darwin, which contradicted either conventional Christian teachings and the assumption of human supremacy over nature, and through an inflow of international immigrants, who challenged the supremacy of the outdated Anglo-Saxon elite. In reaction, many of us drew convenience from the theories of thinker Herbert Spencer, who held that human society unavoidably develops in the direction of larger and extra religious forms.
In this illuminating examine, Kathleen Pyne explores how Spencer's theories encouraged a new release of yank artists. She indicates how the painters of the Eighties and Nineties, rather John l. a. Farge, James McNeill Whistler, Thomas Dewing and the Boston university, and the impressionist painters of the 10, constructed an paintings devoted to social refinement and religious beliefs and to protecting the Anglo-Saxon elite of which they have been participants. This linking of visible tradition to the problematical stipulations of yank lifestyles noticeably reinterprets crucial tendencies in overdue nineteenth-century American painting.
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Art and the Higher Life: Painting and Evolutionary Thought in Late Nineteenth-Century America by Kathleen Pyne