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Printable version; Page information; Get shortened URL; Download QR code; ... Page:Manifest Destiny in the West.pdf/10; Page:Manifest Destiny in the West.pdf/11; Page ...
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 ...
Manifest destiny was the belief that American settlers were destined to expand across the continent. [100] 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.
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.
The Frontier Thesis, also known as Turner's Thesis or American frontierism, is the argument by historian Frederick Jackson Turner in 1893 that the settlement and colonization of the rugged American frontier was decisive in forming the culture of American democracy and distinguishing it from European nations.
It was a controversial aspect of Manifest Destiny that was unable to garner enough political support to encourage adoption. The Mexican-American War (1846–1848) brought the United States and Mexico into conflict over various geopolitical issues, including a desire to invade and annex much of Mexico, that resulted in victory for the United States.
A Currier and Ives print from 1868 uses the same title and theme for a very different print, showing a railroad crossing a new settlement as the train goes west. A photographic print and a stereograph by Alexander Gardner, [2] both of an 1867 end-of-track frontier construction train, were titled Westward The Course of Empire Takes Its Way.
The plan was for the maritime company and the overland immigrants to ultimately unite. When the main body of Latter-day Saints reached their new gathering place a year later, a food supply and important resources could be provided by the pre-positioned Brooklyn pioneers. To minimize anticipated outside interference, Brigham Young did not ...
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