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![Economic Ideology . . .
This portrait of leading Philadelphia
businessman and inventor Patrick Lyon is
unusual for its era because of its depiction
of a subject engaged in manual labor. John
Neagle was only twenty-nine when he
received the commission for this work.
Patrick Lyon was a wealthy, successful man
when he commissioned Neagle to paint
him, but he asked the artist to depict him
as a blacksmith, the vocation in which he
had begun his career. In the early
nineteenth century, people who could
afford such large-scale, heroic images of
themselves usually preferred to be
depicted in formal dress and surrounded
by expensive objects, implying their
aristocratic status. In contrast, Lyon
explicitly told Neagle that he did “not wish
to be represented as what I am not—a
gentleman.”[1] because he viewed the
working class as honest and upper class as
a source of injustice.](https://image.slidesharecdn.com/pascoinventorsindustrialrevolution-180212205933/85/Pasco-inventorsindustrialrevolution-29-320.jpg)
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- 1. Industrial Revolution andInventors for Middle School http://tinyurl.com/usfStavrosResources Deborah Kozdras dkozdras@usf.edu
- 2. Primary Source SetLOC http://www.loc.gov/teachers/classroommaterials/primarysourcesets/industrial-revolution/
- 4. Early Landmark Moment:Slater Mill http://www.loc.gov/pictures/item/ri0102/
- 7. First telegraphic message:24, May, 1844
- 8. Occupational Portrait ofa Woman Working at a Sewing Machine. Circa 1853. Daguerreotypes
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- 13. Men of Progress http://americanhistory.si.edu/american-enterprise-exhibition/videos/men-progress •http://americanhistory.si.edu/american- enterprise-exhibition/videos/men-progress
- 14. Trading Card Creator •http://www.readwritethin k.org/classroom- resources/student- interactives/trading-card- creator-30056.html • http://www.readwritethin k.org/classroom- resources/mobile- apps/trading-cards- 30922.html
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- 16. Hello Students, Our organizationInventions and Design Excellence Association (IDEA) has asked us to help students learn about inventors of the past so they can create the inventions of the future. We would like to learn from what others have done in the past and apply that to our planning. This is where we need your help. In order to support future breakthroughs, we want to learn more about great inventors of the past. We have teamed up with the Smithsonian American History Museum who would like to award one inventor with the Greatest Inventor of Early U.S. History. We have narrowed the field to five finalists. We would like for you to help us make the final decision. . .
- 17. Using information fromthe United States Patent and Trademark Office, in addition to additional research you conduct, we would like for you to choose the top four inventors and rank them from first to fourth. While doing your research, decide on the criteria you will use to rank these inventors. For example, how many products or processes did the inventor invent? How did the invention help people? How did the invention change the way people live? Why would you consider this a successful invention? Determine three or four criteria that will help you decide on the greatest inventor in early U.S. history. Once you have determined the greatest inventor in early U.S. history, please write back to me with that information. Include the criteria you selected, and describe in detail the procedure you used to rank each inventor so that we can include this information in the awards presentation. Thank you, Iam Inventive Chief Executive Officer ·IDEA
- 18. I chose __________because:_________________________________________ PACED Decision Making Model P – Purpose: Decision or Problem? A – Alternatives or choices C – Criteria to evaluate the alternatives E – Evaluate the alternatives D –Decision – Evidence-based decisions
- 19. Because is themagic word . . .
- 20. Discussion Modeling forTeachers 1. Use Evidence: “Because . . .” 2. Revoicing: “So let me see if I’ve got your thinking right. You’re saying XXX?” 3. Asking students to restate someone else’s reasoning: “Can you repeat what ___ said in your own words?” 4. Asking students to apply their own reasoning to that of a peer: “Do you agree or disagree with ___ and why?” 5. Prompting for further participation: “Would someone like to add on to what has been said?” 6. Asking students to explain their reasoning: “Why do you think that?” or “How did you arrive at that answer?” or “Can you say more about that?” 7. Challenge students: “Is this always true?” or “Can you think of any examples that would not work?”
- 21. Accountable Talk andSocratic Smackdown https://www.instituteofplay.org/learning-games
- 22. Accountable Talk andSocratic Smackdown
- 23. Building an Argument Hereare my reasons! 1. _________________ _________________ _________________ 2. _________________ _________________ _________________ 3. _________________ _________________ _________________ You could argue that… _____________________ _____________________ _____________________ _____________________ _____________________ . . .but here is the weakness . . . _____________________ _____________________ _____________________ Here is what I think . . . Evidence to back up my reasons Strong Finish! ______________________________________________ ______________________________________________ ______________________________________________
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- 27. Historical Paintings • Genre emergedin 1700s to describe paintings with subject matter from classical history and mythology, and the Bible • During the first half of 19th century history painting was one of the few ways that the British public could experience its overseas Empire. In this context, history painting became a form of documentation. http://www.tate.org.uk/learn/online-resources/glossary/h/history-painting http://www.metmuseum.org/metmedia/interactives/art-trek/george-washington-crossing-the-delaware
- 28. American Colonies: Portraits ofElites • Portraits of the young society’s elites, colonists who descended from important European families. • Wife of the prominent Dutch settler. Her left hand, which bends in an unnatural and distorted manner, holds a delicate flower meant to accentuate the sitter’s feminine grace. • Awkwardness in portraits because they were not academically trained. • What are the economic implications?
- 29. Economic Ideology .. . This portrait of leading Philadelphia businessman and inventor Patrick Lyon is unusual for its era because of its depiction of a subject engaged in manual labor. John Neagle was only twenty-nine when he received the commission for this work. Patrick Lyon was a wealthy, successful man when he commissioned Neagle to paint him, but he asked the artist to depict him as a blacksmith, the vocation in which he had begun his career. In the early nineteenth century, people who could afford such large-scale, heroic images of themselves usually preferred to be depicted in formal dress and surrounded by expensive objects, implying their aristocratic status. In contrast, Lyon explicitly told Neagle that he did “not wish to be represented as what I am not—a gentleman.”[1] because he viewed the working class as honest and upper class as a source of injustice.
- 30. Paintings: Primary or SecondarySources? The phrase “created at the time under study” provided a focus for their discussion and decision. The page about the item identifies this as a chromolithograph published in 1893, and Columbus is thought to have visited San Salvador in October of 1492. With those dates in mind, would this be a primary source for studying Columbus’ first encounter with land in the New World? It was created 400 years after the event, definitely not “at the time under study.” https://blogs.loc.gov/teachers/2011/10/what-makes-a-primary-source-a-primary-source/
- 31. Paintings: Primary or SecondarySources? How would the answer change if the picture were being used to study late nineteenth-century attitudes about the event? Most of the institute participants agreed that this picture would be a primary source in that context. They added that it would also be a primary source for the study of nineteenth century painting. At one point, I overheard a teacher remark “This is exactly the type of conversation you want in your classroom!” https://blogs.loc.gov/teachers/2011/10/what-makes-a-primary-source-a-primary-source/
- 32. Timeline of CivilWar Paintings http://americanart.si.edu/exhibitions/online/civilwar_timeline/
- 33. What is wrongwith this picture? http://www.civilwarinart.org/items/show/43
- 37.
Editor's Notes
- #5 An early landmark moment came near the end of the 18th century when Samuel Slater brough new manufacturing technologies from Britain to the US and founded the first US cottom mill in Beverly Mass. Did not last long because of economic difficulties and pro
- #8 Title: The laying of the cable---John and Jonathan joining hands / W & P. Creator(s): Baker & Godwin., Date Created/Published: [New York] : Published and for sale by Baker & Godwin, Printers, Printing House Square, corner Nassau and Spruce streets, New York, c1858. Medium: 1 print on wove paper: woodcut with letterpress ; image 42.5 x 56.5 cm. Summary: A crude but engaging picture, celebrating the goodwill between Great Britain and the United States generated by the successful completion of the Atlantic telegraph cable between Newfoundland and Valentia Bay (Ireland). Laid by the American steamer "Niagara" and British steamer "Agamemnon" (which appear in the background of the print), the cable transmitted its first message on August 17, 1858. The artist shows Brother Jonathan (left) shaking hands with John Bull. The two figures stand on opposite shores, set against a stormy, lightning-streaked sky over a choppy sea. "Brother Jonathan: "Glad to grasp your hand, uncle John! I almost feel like calling you Father, and will if you improve upon acquaintance! May the feeling of Friendship . . . be like the electric current which now unites our lands, and links our destiny with yours! May our hearts always beat together; and with one pulse--one Purpose, of Peace and Good-Will, we yet shall see ALL NATIONS speaking our Language, blessed with our Liberty, and led by that spirit of Love and Justice which leads to the only true happiness and Glory of Nations!" John Bull: "Happy to see and greet you, Jonathan! You feel like 'bone of my bone and flesh of my flesh!' You have grown to be a tall and sturdy man--quite as big as your Father! Great times these, my boy! We won't think of quarreling any more. I have grown too wise for that; and I hope we will both agree to let by-gones be by-gones! Henceforth we treat each other as equals, and only strive which shall do most in making 'all the world and the rest of Mankind' (as one of your good old Presidents once said) realize 'How good and pleasant a thing it is for brethren to dwell together in unity.'"
- #9 On July 9, 1819, Elias Howe, inventor of the first practical sewing machine, was born in Spencer, Massachusetts. At the age of sixteen, he began an apprenticeship in a factory in Lowell, Massachusetts, but lost that job in the Panic of 1837. Howe then moved to Boston, where he found work in a machinist’s shop. It was here that he began tinkering with the idea of inventing a mechanical sewing machine. To make a daguerreotype, the daguerreotypist would polish a sheet of silver-plated copper to a mirror finish, treat it with fumes that made its surface light sensitive, expose it in a camera for as long as was judged to be necessary, which could be as little as a few seconds for brightly sunlit subjects or much longer with less intense lighting; make the resulting latent image on it visible by fuming it with mercury vapor; remove its sensitivity to light by liquid chemical treatment, rinse and dry it, then seal the easily marred result behind glass in a protective enclosure. Viewing a daguerreotype is unlike looking at any other type of photograph. The image does not sit on the surface of the metal, but appears to be floating in space, and the illusion of reality, especially with examples that are sharp and well exposed, is unique to the process.
- #12 Thomas Edison s Electric Lamp Patent Drawing Record Group 241 Records of the Patent and Trademark Office National Archives and Records Administration National Archives Identifier: 302053
- #29 The paintings deal with family, community, patriotism, the economy’s shift from agrarian to industrial, and burning social questions of the day like environmentalism and slavery. Throughout the whole progression, painting styles evolve and blossom, becoming mature in the 19th century as painters solidified basic skills and imbued their works with a sense of American character. Por
- #30 http://mfas3.s3.amazonaws.com/objects/SC196760.jpg