ロサンゼルスカウンティ美術館さんのインスタグラム写真 - (ロサンゼルスカウンティ美術館Instagram)「The American West seen in most nineteenth-century paintings was largely one of the imagination. Until 1893, when historian Frederick Jackson Turner declared the western frontier closed, the nation had perceived itself as an ever-expanding geographical entity. Artists and writers promoted nature as a national treasure. However, the wealth of the land was measured in commercial as well as aesthetic terms. Railroads and axes appear in paintings as symbols of civilization, while serving as instruments of destruction. In many works, the wilderness is characterized as "primitive" while farmlands are shown as agrarian oases blessed by rainbows and golden mist. The nineteenth-century term “Manifest Destiny” refers to a perceived duty to annex western territories and exploit their resources. The same railroad tycoons and land developers who promoted such a policy also commissioned artists to paint epic scenes of the American landscape. Manifest Destiny ignored the rights and sovereignty of Indigenous Americans who inhabited these lands long before the arrival of European settlers. Consequently, Indigenous Americans are absent from, or stereotyped in, most of the painted views of the American landscape. Harold G. Peelor, "Santa Clara Valley," circa 1900.」8月12日 8時18分