Winslow Homer was a self-taught artist from Boston, best known for his Civil War paintings, which he created at the request of Harper's Weekly magazine. But after the war, Homer moved to a totally different subject matter: childhood. The artist painted the life of American children as a world unto itself, where adults seemed to have no influence.

Homer's children, like the ones depicted in Snap the Whip, can be compared to similar literary characters of the time, like Louisa May Alcott's Little Women and Mark Twain's Tom Sawyer. They are potential America, the stock from which renewal will spring in the aftermath of the Civil War: young, strong, quick-witted, practical, and without pretense. The piece can now be viewed at The Met in New York City.

Image: Winslow Homer, CC0, via Wikimedia Commons

James Abbott McNeill Whistler (1834-1903) was a painter mainly active during the American Gilded Age and a leading proponent of the motto "art for art's sake." Whistler’s best-known piece is a painting entitled Arrangement in Grey and Black No. 1: The Artist’s Mother. While it is a portrait of his mother, the identity of the woman, according to the artist, should be of no interest to the viewer, only the formal layout of grays and blacks.

For Whistler, art was not about moral instruction or storytelling but, instead, about formal perfection. He believed that artists should not simply replicate what they see in nature but express their emotional response to it. Art should be filled with sentiment, not sentimentality. These ideas formed the basis of the Aesthetic Movement of the 1870s and 1880s and influenced several American artists.

Image: James McNeill Whistler, CC0, via Wikimedia Commons

It may seem totally innocent to us today, but in the late 19th century, this piece was a true scandal. Madame X, by John Singer Sargent (1856-1925), is a portrait of Virginie Gautreau, a young woman born in New Orleans who moved to Paris after her father’s death. There, she married a wealthy man twice her age and became the talk of the town, due to her independent character and her alleged infidelities.

Virginie posed for Sargent, the world's most sought-after portrait painter of his time, and the work turned out to be as rebellious, elegant, and striking as its model. Sargent always thought that this was his masterpiece, but the public hated it. Shortly before his death, he donated the painting to the Metropolitan Museum of Art in New York, saying, "I suppose it is the best thing I have done."

Image: John Singer Sargent, CC0, via Wikimedia Commons

Mary Cassatt (1845-1926) was not only one of the foremost American Impressionists but also an outstanding woman painter of the 19th century. She was raised and initially trained in Philadelphia before moving to Paris, where she befriended prolific Impressionists like Edgar Degas. However, Cassatt’s subject matter was very different from that of her French counterparts. She depicted a distinct world, drawn from her own strong family interests: sociable encounters over tea, fashionable women in theaters or drawing rooms, and mothers with their babies.

For example, The Child's Bath not only reflects Cassatt’s technical ability but also serves as a testament to her exploration of motherhood and female roles. Her approach succeeds in capturing everyday life, and the painting is remarkable for its composition and use of color. This piece, like many of her works, stands as a reminder of the value of small, deeply meaningful moments that make up culture and life in all its complexity.

Image: Mary Cassatt, Public domain, via Wikimedia Commons

Perhaps one of the most famous houses in America is located in Eldon, a tiny community in southern Iowa. Contrary to what one might think, no one of distinction, notoriety, or power has ever lived in this house. Its fame is owed entirely to artist Grant Wood (1891-1942), who used it in the background of his painting American Gothic.

Wood enlisted his sister Nan to pose as the woman and recruited a dentist from Cedar Rapids, B. H. McKeeby, as the man. The painting won a prize in Chicago in 1930 and was instantly catapulted to national fame. Since then, it has been reproduced and satirized by popular culture to exhaustion and is now one of the most recognizable American paintings. Wood's American Gothic honors those who settled the land and has become an iconic representation of American identity and resilience.

Image: Grant Wood, Public domain, via Wikimedia Commons

Edward Hopper (1882-1967) studied at the New York Institute of Art and Design and worked for many years as a magazine illustrator. Although he didn't particularly enjoy this job, it helped sharpen his compositional skills. Thanks to these influences, Hopper's work has come to typify the American Realism movement. His paintings convey the sense that the events depicted are taking place in front of the viewer in the here and now, as seen in his famous diner scene, Nighthawks.

In this stark, impassive, realist painting, Hopper evokes a powerful sense of urban alienation, highlighting the isolation. The bright fluorescent light in the all-night diner contrasts strongly with the surrounding gloom outside and immediately transports us to a scene from a film noir movie. Exhibited at the Art Institute of Chicago, Nighthawks is considered one of Hopper's masterpieces and is worth visiting at least once in a lifetime.

Image: Edward Hopper, Public domain, via Wikimedia Commons

Mark Rothko (1903-1970), along with Jackson Pollock, was one of the greatest representatives of American abstraction. He is best known for his color field paintings. Through his work, he sought to achieve an ambitious utopia: to express the most basic universal emotions.

When Rothko painted Untitled (Violet, Black, Orange, Yellow on White, and Red) he was arriving at a point of maturity in what was a highly nuanced and distinct visual style. He had abandoned any remaining references to recognizable imagery, and the result is a painting with a great expressive force. Rothko used to say that he preferred to paint large pictures because he wanted to be very intimate and human. In this work, he achieves this immersion entirely through his sensitive use of color.

Image: chummels

Jackson Pollock (1912-1956) was a leading figure in Abstract Expressionism and is best known for his "drip technique." Pollock's drip method entailed placing a canvas on the floor and then dripping, pouring, and at times throwing paint over its surface. Although his technique appeared to favor chance, the artist stressed that everything in his paintings was fully intentional.

One of his most emblematic works is Autumn Rhythm (Number 30), which is currently on display at the Metropolitan Museum of Art in New York. If you ever have the chance to see this piece in person, know that Pollock believed contemplation of his paintings allowed the viewer to access personal and unconscious responses to the modern world. As Pollock advised, the viewer should look passively and "try to receive what the painting has to offer."

Image: Simi Iluyomade

Andy Warhol (1928-1987) started making paintings of Marilyn Monroe shortly after her death. He used a black and white publicity photograph taken by Gene Korman for the 1953 movie Niagara to create a stencil for silk-screen printing, a technique he had adopted for transferring photographic images to canvas. Over the course of four months, Warhol created more than twenty works based on the Korman photograph.

What Warhol called the "assembly line effect" of the repeated image aimed to criticize the supposed uniqueness of the work of art in a world of mass reproduction and mass media. Yet, the repetitive Marilyns are full of small variations, as the paint is applied by hand. Twenty Marilyns is such an iconic work of American art history that, in a 2004 article published in The Guardian, it was named the third most influential piece of modern art in a survey of 500 artists, critics, and other members of the art world.

Image: pvdberg

Apart from Andy Warhol, perhaps the greatest exponent of American Pop Art is Roy Lichtenstein (1923-1997). Lichtenstein was mainly drawn to action and true romance comic strips. Through his depictions of fighter pilots and tearful drowning damsels, he drew attention to the constructed nature of gender roles. Lichtenstein's exaggeration of these gender stereotypes in comic book characters led some critics to recognize his paintings as true works of art.

Whaam!, based on a comic book panel published by DC Comics in 1962, is Lichtenstein's witty and irreverent reaction to the contemporary popularity of Abstract Expressionism. With this piece, the artist attempted to deflate that movement's pomposity by presenting pictorial subject matter based on what was regarded as crass commercial art. Since Whaam!, Lichtenstein was viewed by the public eye as the ultimate American master of Pop Art.

Image: Eric Koch, CC0, via Wikimedia Commons