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This is an accepted version of this page This is the latest accepted revision, reviewed on 8 March 2025. Cultural belief of 19th-century American expansionists For other uses, see Manifest Destiny (disambiguation). American Progress (1872) by John Gast is an allegorical representation of the modernization of the new west. Columbia, a personification of the United States, is shown leading ...
American Progress, a painting of profound historical significance, has become a seminal example of American Western Art.Serving as an allegory for manifest destiny and American westward expansion, this 11.50 by 15.75 inches (29.2 cm × 40.0 cm) masterpiece was commissioned in 1872 by George Crofutt, a publisher of American Western travel guides and has since been frequently reproduced.
Within the left half of the picture is a depiction of the entrance to the San Francisco Bay, the Golden Gate, which is being pointed to by the pilgrim seated atop the rock in the foreground. Within the right hemisphere of the painting is a depiction of a valley, representing the Valley of Darkness and symbolic of the troubles faced by explorers.
Monroe declared the importance of “Manifest Destiny” in an 1823 speech before Congress, after a major victory had been negotiated by Secretary of State John Quincy Adams with Spain.
The 11th president transformed America in a single term. Trump lacks the discipline to do the same.
Manifest destiny was the belief that American settlers were destined to expand across the continent. [103] Manifest destiny was rejected by modernizers, especially the Whigs like Henry Clay and Abraham Lincoln who wanted to build cities and factories – not more farms. [b] Democrats strongly favored expansion, and won the key election of 1844.
John Louis O'Sullivan (November 15, 1813 – March 24, 1895) was an American columnist, editor, and diplomat who coined the term "manifest destiny" in 1845 to promote the annexation of Texas and the Oregon Country to the United States. [1]
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