By Smarthistory

Found marking the grave of an important individual, this gorget was worn as a neck ornament during life. Mississippian culture was one of the most cosmopolitan Native American cultures prior to the arrival of Europeans. The city of Cahokia was an important hub for trade networks.
APUSH: KC 1.1.I.C

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By Smarthistory

The Levy-Franks were a prosperous Jewish family in early 18th century New York. Their portraits help to reveal a closely-connected British Empire spanning the Atlantic. The Levy-Franks supplied the British during the Seven Years' War, carried goods on Caribbean trade routes, and possibly brought enslaved people to the Americas.
APUSH: KC-2.2.I.A, KC-2.2.I.B

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By Smarthistory

This sugar bowl recalls the transatlantic trade network that developed around sugar in the early American colonial era, bolstered by the growing popularity of tea, coffee, chocolate, and punch in Europe. Its expanded production depended on the labor of enslaved people, many of whom were abducted from Africa, to harvest and process sugar cane in the Caribbean.
APUSH: KC-2.1.III.A, KC-2.2.II.A

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By Smarthistory

Between the Seven Years' War and the Revolutionary War, conflict between Indigenous people, American colonists, and British imperial officials intensified as American colonists encroached on Indigenous land. Benjamin West's painting of a popular myth helps to illustrate the changes in this period.
APUSH: KC-2.1.I.C

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By Smarthistory

In New Spain, Indigenous people, Africans, Spaniards, and their descendants mixed together. Casta paintings show one way Spaniards attempted to place these mixed-race families and their children into a hierarchy, although the realities of race and status in Spanish colonial society were much more complex.
APUSH: KC-2.1.I.A

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By Smarthistory

Perry's painting of the Battle of Lake Erie celebrates the U.S. victory in the War of 1812, but it doesn't depict the aftermath's devastating effects on Native Americans.
APUSH: KC-4.3.I.A.ii

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By Smarthistory

In his Peaceable Kingdom series, Hicks depicts a visionary scene of peace on earth that extends back to include William Penn and the founding of Pennsylvania. Hicks captures the greater religious diversity and tolerance of the Middle Colonies, but the determination of English settlers to take Native American land would undermine the racial harmony he imagined.
APUSH: KC-2.1.II.C

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By Smarthistory

Thomas Cole's painting reflects both the hopes and the anxieties brought on by the Market Revolution and Manifest Destiny. As the United States expanded westward, displacing Indigenous communities, was its drive to industrialize destined to destroy the landscape's sublime beauty?
APUSH: KC-4.1.II.C, KC-4.2.III.A, KC-5.1.I.A

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By Smarthistory

Eastman Johnson depicts a family emancipating themselves from slavery at great risk during the Civil War. Compared to abolitionist images of kneeling slaves and historical narratives crediting Abraham Lincoln or the U.S. government with ending slavery, this is a radical image that centers Black agency in emancipation.
APUSH: KC-5.3.I.B

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By Smarthistory

Thomas Moran's painting of Yellowstone exemplifies the complex factors that characterized U.S. westward expansion and economic development after the Civil War. Railroads, government policies, and violence against Native American communities were all intertwined with the creation of the first national park.
APUSH: KC-6.2.II.A, KC-6.2.II.D

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By Smarthistory

John Brown was a radical abolitionist who believed in using violence to destroy the violent institution of slavery. Thomas Hovenden's painting of a popular story about Brown's last moments, created 25 years after Brown's execution, promoted the righteousness of his cause at a time when state governments were stripping away the political gains made by African Americans during Reconstruction.
APUSH: KC-5.2.I.B, KC-5.3.II.C
TEKS: 113.41.(3)(C)

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By Sarah Alvarez

In the Progressive Era of the early 20th century, Progressives responded to political corruption, economic instability, and social concerns by calling for greater government action and other political and social measures.
APUSH: KC - 7.1.II

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By Smarthistory

Aaron Douglas's paintings at the 1936 Texas Centennial Exposition focused on how the rich African past inspired a bright future for African Americans, even in the midst of Jim Crow and the Great Depression.
APUSH: KC-7.2.I.B
TEKS: 113.41.(24)(B)

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By Smarthistory

Pippin fought bravely in World War I, but he and other African American soldiers did not receive a hero's welcome when they returned to the United States. Incorporating this history into his 1943 painting, Pippin places racism and segregation among the forces aligned against Allied victory in World War II.
APUSH: KC-7.2.II.C, KC-7.3.III.C.i
TEKS: 113.41.(7)(F)

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By Smarthistory

Rockwell's painting of Rosie the Riveter captured the power felt by the unprecedented number of women in the workforce during World War II. But how accurately did it depict the experiences of the diverse women who contributed to the war effort?
APUSH: KC-7.3.III.C.i
TEKS: 113.41.(17)(A)

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By Sarah Alvarez

During and after World War II, civil rights activists and leaders, most notably Martin Luther King Jr., combated racial discrimination utilizing a vareity of strategies, including legal challenges, direct action, and nonviolent protest tactics.
APUSH KC - 8.2.1.A

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By Smarthistory

In the midst of the Civil Rights Movement, Benny Andrews protested the exclusion of Black artists from museums. Flag Day captures a complex sense of being both imprisoned by and liberated by the American flag as efforts to combat racial discrimination were slowed by continuing resistance from white institutions.
APUSH: KC-8.2.1.C
TEKS: 113.41.(9)(B)

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By Smarthistory

Jaune Quick-to-See Smith's map of North American state names drawn from Indigenous languages focuses on stolen lands, making clear the influence of Native peoples on the continent.
APUSH: KC-8.2.II.B, KC-9.2.II.C
TEKS: 113.41.(13)(A)

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By Smarthistory

An unsettling landscape painting of California's Central Valley examines the long-term effects of human consumption on the environment.
APUSH: KC-8.2.II.D, KC-9.3.II.C
TEKS: 113.41.(14)(B)

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By Smarthistory

Kaphar’s painting uses defacement as a way of critiquing Andrew Jackson and his role in the Trail of Tears. It makes us consider the role of presidential power, both past and present.
APUSH: KC-4.3.I.B, KC-9.2.II.C
TEKS:113.41.(24)(A)

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