Uncle John's Band: Americana - 19th Century & a few Contemporary

Click for the link to the art post page and an introduction to what this is about.

The Band's Earliest Art Posts. These are mostly 19th-century Americana. Not so much the great landscape painters of the Hudson River School and others of the later part of the century, but the glimpses into a more logos-based, reality facing way of life. Each picture comes with the title and comments of the original posting.

They aren't completely chronological. It made sense to group these ones together with a few contemporary artists who also paint unpozzed themes. The Band also likes to showcase more recent artists when we come across them. Grass roots revival.

Richard Caton Woodville, Old ‘76 and Young ‘48, 1849

Nice allegory contrasting the America of the Revolution with the Mexican War.

Resistance to imperialism becomes imperialism. There are no pure ideals in a fallen world.

Cornelia Fassett, Mrs. Lamb in Her Study, 19th century

So much cultural expression has been buried under globalist lies. Strip them and basic truths resurface.

Like worshiping stuff…

John Lewis Krimmel, The Country Wedding, 19th century

… vs. organic cultures.

There’s an entire visual history out there - who we are and where we came from.

James Hope, Rainbow Falls, Watkins Glen, New York, 1870s

Interesting landscape from a largely forgotten painter.

History of art beyond about 1850 is inverted beyond hopelessness. It needs to be scrapped and rewritten ground up.

Frederic Remington, Coming to the Call, 1906

Amazing composition. Chromatic harmony simplifies the drama while the contrast heightens it. The tension makes it hard to look away.

You can make out the hunter in the left foreground.

William Sidney Mount, Coming to the Point, 1854

Note the lack of friction, bureaucracy, or amenable authorities. There is no social replacement for common cultural perspective.

William Tylee Ranney, Prairie Burial, 1848

Fake media and stuff are designed to distract. Old paintings can cut through the noise to the essential things that don’t change.

Francis William Edmonds, Facing the Enemy, 1845

Official “Art” is Pedowood-level degenerate because it’s completely inverted. The general formula seems to be perv quotient ∝ distance from truth.

Art glimpses truth through cultural filters.

Edward Lamson Henry, The Pillory and Whipping Post, New Castle, DE, 1896

Moral entropy is real. A society either continually pushes back with order or sinks slowly into degeneracy.

This means someone might feel bad.

Lee Lufkin Kaula, Mother Reading with Two Girls, 19th century

A nice bit of traditional Americana.

What do the globalists offer in exchange again?

Alfred Howland, Fourth of July Parade, ~1886

Mass society outsources too much life to government. Centrally planed spectacles compensate for emptiness and atomization.

When people believe something, big budget, top-down productions aren’t needed.

John Gadsby Chapman, Baptism of Pocahontas, 1839

Now here’s an inconvenient truth…

This was a popular picture. Click for a link. Orwell didn’t mention that you can re-open the memory hole…

Alfred Edward Lambourne, Moonlight, Silver Lake, Cottonwood Canyon, 1880

Nice 19th century landscape.

Just posting glimpses of an officially suppressed culture. Once SG goes live, we’ll get more systematic.

Thomas Waterman Wood, When We Were Boys Together, 1881

No specific insight to share with this one. We just really like this picture and the sort of thoughts it raises.

Currier and Ives, Home To Thanksgiving, 1867

Prints made art accessible to the less affluent. Interestingly, there was no market for modernism.

Jean Leon Gerome Ferris, The First Sermon Ashore in 1621, 1921

Happy Thanksgiving!

On 12th December, 1621, Robert Cushman preached the first recorded sermon on American soil, titled “The Sin and Danger of Self-Love”.

Seriously.

George Henry Durrie, Going to Church, 1853

Nice wintry scene for the Christmas season. Lighting and composition show the church is the centerpiece.

Note the subtle darker clouds behind the bright church - the contrast accentuates it more.

George Bellows, Dempsey and Firpo, 1924

End of Round 1 in their epic title fight, Luis Ángel Firpo knocked Jack Dempsey clean out of the ring - feet up, in the photo this painting was based on.

The lesson?

Dempsey won the fight. By KO.

Joseph Rusling Meeker, The Land of Evangeline, 1874

Meeker was known for his depictions of the Louisiana landscape. A good landscape painter can capture a sense of the place.

Henry Bacon, Pay Attention, late 19th century

The notion that children were to behave and be appropriately socialized didn’t used to be radical.

What didn’t the post-WW2 atavists invert?

Hugh Bolton Jones, Road to the Farm, 19th century

Old American art wasn’t as ruled by academic discourse as Europe, so it seems fresher and more real, if less polished.

Arbitrary top-down rules, no matter how well-meaning, are always a path to convergence.

George Inness, Afterglow on the Prairie, 1856

Nice golden sunset. Modern urban hive living is literally degenerative and devolutionary on a human level.

Winslow Homer, The Life-Line, 1884

Important painters in authorized “History!” always point to modernism.

Homer is a fine painter. The pioneers usually were. But his subjects are flattened and decontextualized. Form over content is modernist dogma.

Joseph Rusling Meeker, Bayou Plaquemines, 1881

Another expressive Louisiana landscape as an short break from the coming winter.

Jennie Brownscombe, Love’s Young Dream, 1887

Old paintings give us a worldview that’s relatable, but different. Simple truths - hidden in our inverted “system” - become visible relationally.

Like the central role of family in organic moral culture.

Eastman Johnson, Thy Word is a Lamp unto My Feet and a Light unto My Path, 1881

Consider fatherhood in modern “culture”. Mass media piped degeneracy into the home. It was the globalist beachhead.

Then consider that you have to invite the vampire in.

Andrew Melrose, Westward the Star of Empire Takes its Way, 1867

Progress is technical and tools are not metaphysical. Pretending technology is inherently moral - good or bad - is a critical modern error.

In hindsight we see the two-edged sword.

Eastman Johnson, The Nantucket School of Philosophy, 1887

The idea that men need to speak with other men is not a new idea. It’s the basis of the West.

The modern problem isn’t too few “voices”. It’s too many.

Bruce Crane, Approach of Darkness, 1890

Nice tonal landscape. The texture of the paint on the surface - the brushstrokes - add to the overall atmosphere.

William Coulter, San Francisco Fire, 1906

Historical piece that seems appropriately metaphorical.

Hugh Bolton Jones, Untitled Landscape, late 19th century

Interesting old landscape. Landscapes usually have solid masses at the sides to frame the scene & push the eye in.

Here the sides are and open & the mass centered to pull the eye up the middle.

William Tylee Ranney, Boone’s First View of Kentucky, mid-19th century

Mass-mediated virtual culture is inherently dishonest. Illusions that trigger emotional reactions as if real, but aren’t.
Truth-based culture needs to balance mirage and experience.

Charles Christian Nahl, The Dead Miner, 1867

Got away from the Americana for a bit. Not as technically polished, but there’s a purity of feeling.
And a reminder - the hard lives that build resilient people do have consequences.

And a few unpozzed contemporary artists actually making logos-facing art with real techne. In other words, art. The deserve some attention.

Joann Vitali, White Church In Autumn, Waits River, VT, 2016

The filters in this photo give it a timeless feeling even though it’s from 2016.

Getting out of the cities being a good idea is something else that’s proving timeless.

Leon Devenice, A New Beginning

Find a lot of paintings writing posts. It’s important to show the reality-facing contemporary artists too.
This guy’s palette-knife technique is pretty simple, but he’s crazy good at composition and color.

Vickie Wade, Night Ride, 21st century

It’s worthwhile to provide exposure to contemporary artists who apply actual skills to the service of Truth. Or even truths. Reality rather than globalist poz.

This is a simple composition, but timeless in ways.

Steve Hanks, A World for our Children, 21st century

Nice watercolor by a contemporary artist. Good artists combine technical skill and truth in an appealing and creative way.

This one reminds us that ours is a prize worth fighting for.