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This is an accepted version of this page This is the latest accepted revision, reviewed on 9 January 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.
There is a widespread scholarly view that the Gospel of John can be broken into four parts: a prologue, (John 1:–1:18), the Book of Signs (1:19 to 12:50), the Book of Glory (or Exaltation) (13:1 to 20:31) and an epilogue (chapter 21).
In the 19th century, Manifest Destiny was driven by ideological, economic and demographic forces: a growing population, belief in cultural superiority and economic opportunity. These conditions ...
"City upon a hill" is a phrase derived from the teaching of salt and light in Jesus's Sermon on the Mount. [n 1] Originally applied to the city of Boston by early 17th century Puritans, it came to adopt broader use in political rhetoric in United States politics, that of a declaration of American exceptionalism, and referring to America acting as a "beacon of hope" for the world.
Deborah Madsen argued that the effects of American exceptionalism have changed over time, from the annexation of Native American lands then to the ideas of Manifest destiny (which encompassed the Mexican–American War and the purchases of land in the 19th century).
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