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Introduction | |
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The Invention and Mapping of America 1492-1760 | |
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The First Americans | |
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Native American Mapping | |
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Diversity of Housing Types: The Wigwam and Algonquin Village Life | |
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Southwestern Pueblo Architecture | |
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Earthworks and Burial Mounds | |
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America and the European Imagination | |
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Colonial Portraits of Native Americans and Anglo-French Rivalry | |
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White Colonists as Native Americans | |
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Religious Rituals and the Visual Arts in Colonial America 1620-1760 | |
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Colonial Alternatives to Christianity | |
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African-American Religion and the Visual Arts | |
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Colonial Magic and the Christian Response | |
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Catholic Art in Spanish America | |
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The Mission Church of San Estevan | |
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Native American Resistance and the Christian Reconquest | |
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El Santo Entierro and Hispanic-Catholic Ritual | |
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Moravian Missions and the Depiction of the Crucified Christ | |
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Protestant Iconoclasm and the Private Display of Biblical Art | |
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The Colonial Landscape Made Sacred: Anglo-American Churches and Meetinghouses | |
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God's Word in New England Portraits | |
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Colonial Gravestones: Emblems of Morality | |
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Jewish-Christian Collaboration: Touro Synagogue | |
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Art and the Consumer Revolution in Colonial America 1700-75 | |
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Aristocratic Aspirations of Wealthy Colonists | |
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Social Clubs as Vehicles for Self-Cultivation | |
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Freemasonry and the Visual Education of the American Public | |
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Domestic Architecture as a Moral Force | |
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Political Portraiture: Colonial Governors as Pillars of State | |
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John Simbert and the Portraitist as Man of Learning | |
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Portraiture and Middle-Class Social Aspirations | |
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John Singleton Copley and the Sanctification of the Consumer Revolution | |
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Revolutionary Icons and the Representation of Republican Virtue 1765-1825 | |
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Propaganda in the Pre-Revolutionary War Era | |
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Republican Motherhood: Women as Symbols in the Revolutionary Era | |
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Patience Wright and the Personification of Liberty | |
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Classical Austerity and Republican Virtue: the Founding Fathers | |
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The All-Seeing Eye: Freemasonry and Symbolism in the Early Republic | |
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History Painting in the Pre-Revolutionary and Revolutionary Eras | |
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Benjamin West and the Revolution in History Painting | |
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John Singleton Copley: Images of Revolution and Independence | |
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Fraternal Friendship in the Work of John Trumbull | |
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George Washington and Republican Citizenship | |
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Educating the Public and Selling Art: Problems in Public and Private Exhibitions | |
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Rembrandt Peale: Images of Female Sexuality and Moral Reform | |
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John Vanderlyn and the Moral Ambiguity of Early Nineteenth-Century History Painting | |
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Washington Allston and Biblical Painting | |
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Charles Robert Leslie and Samuel Morse: The Symbolism of Color and Light | |
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National Identity and Private Interests in Antebellum America 1825-65 | |
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Historical Styles and Functional Architecture | |
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Economic Modernization and the Arts | |
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Rochester, New York, as a Boom Town | |
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Greek-Revival Architecture and the Southern Plantation Economy | |
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Architecture and Suburban Space | |
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Phrenology and the Octagon | |
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The Rural Cemetery Movement and the Arts | |
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The National Academy of Design and the Art Market | |
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Catholic Icons and Hispanic Resistance to U.S. Culture | |
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Artists and Domestic Virtue | |
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Landscape Painting and National Identity | |
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Thomas Cole | |
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Artists and Imperial Expansion | |
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George Caleb Bingham | |
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Visions of Millennial Progress and Religious Conflict | |
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Transcendentalism, Spiritualism, and American Art | |
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Frederic Church | |
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Abolitionist and Feminist Art | |
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Photography and the Democratization of Art | |
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Art and Commerce in the Gilded Age 1865-1905 | |
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Commercialization and the Uninterrupted Progress of Art | |
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Economic Modernization and the Appropriation of European Architecture | |
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Images of Renewal and the Family in the Aftermath of War | |
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Science, Capitalism, and Masculine Identity | |
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Thomas Eakins's Circle and the Human Figure | |
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War Memorials and the Heroic White Male | |
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Henry Ossawa Tanner and the Expression of African-American Creativity | |
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Cosmopolitanism and the Lure of French Art | |
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The Society of American Artists: Art as Religion | |
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Whistler and the Triumph of Aestheticism | |
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Modernist Art and Politics 1905-41 | |
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Modernization and Architecture as Imperial Symbols | |
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New York Realists and Modern Urban Life | |
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The Modernist Turn from Realism | |
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Alfred Stieglitz, Photography, and the 291 Gallery | |
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The Influence of Futurism | |
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Modernism and Political Radicalism | |
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Modernist Art and World War I | |
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Synchromism | |
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Modernism for the Masses | |
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Marcel Duchamp and New York Dada | |
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Romancing the Machine in Art and Architecture | |
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Fordism | |
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The Aesthetics of the Hole | |
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The Societe Anonyme | |
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Regionalism versus Social Realism | |
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Modernism and the Defense of Democracy | |
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Modernism, Postmodernism, and the Survival of a Critical Vision 1941-2000 | |
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Art and Propaganda During World War II | |
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Modernism and Post-war Architecture | |
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American Realism's Darker Visions | |
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Cultural Crisis and the Emergence of Abstract Expressionism | |
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Abstract Expressionism and the Surrealist Unconscious | |
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Abstract Expressionism and Cold War Politics | |
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The Masculine Bias of Abstract Expressionism | |
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Abstract Expressionism and Right-wing Attacks on Modernist Art | |
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Formalist Criticism and the Objectivity of Abstract Art | |
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The Return of Dadaist Dissent: Happenings, Performances, and Readymade Assemblages | |
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Readymade Signs, Minimalist Objects, and Real Space | |
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Pop Art and the Culture of Mass Consumerism | |
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Pop Art and Postmodernist Architecture | |
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Conceptual and Earth Art as Cultural Criticism | |
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Art and the Vietnam War: from Protest to Commemoration | |
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Feminist Art and Politics | |
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Neo-Expressionism and the Revival of Painting | |
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Postmodernist Meditations on Death | |
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Sexual Politics, Family Values, and Contemporary Art | |
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Contemporary Art and Architecture and the Disney Vision | |
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Timeline: Chronology of American Art | |
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Bibliography | |
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Picture credits | |
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Index | |