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Art of the Americas to World War I
Course: Art of the Americas to World War I > Unit 7
Lesson 5: Realism in the United States- Becoming a city: daily life in 1820, Brooklyn
- John Wesley Jarvis, Black Hawk and His Son Whirling Thunder
- Mount, Bargaining for a Horse
- John James Audubon, The Wild Turkey
- Asher B. Durand, Kindred Spirits
- Richard Caton Woodville, War News from Mexico
- Before the Civil War, the Mexican-American War as prelude
- Face to face with the voters: Bingham's Country Politician
- Frederic Church, The Natural Bridge, Virginia
- Blythe, Justice
- Martyr or murderer? Hovenden's The Last Moments of John Brown
- The Civil War: putting Liberty front and center
- Johnson, A Ride for Liberty -- The Fugitive Slaves
- Mending America, women and the Civil War
- Cotton, oil, and the economics of history
- Eakins, The Champion Single Sculls (Max Schmitt in a Single Scull)
- Heroes of modern surgery: Eakins' Dr. Gross and Dr. Agnew
- Eakins, The Gross Clinic
- The U.S. Civil War, sharpshooters, and Winslow Homer
- Winslow Homer, Army Teamsters
- Winslow Homer, Taking Sunflower to Teacher
- Homer, The Life Line
- Homer, The Fog Warning (Halibut Fishing)
- Homer, Northeaster
- Brown, View of the Lower Falls, Grand Canyon of the Yellowstone
- The closing of the frontier and The Fall of the Cowboy
- The Radical Floriography of Sarah Mapps Douglass
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Blythe, Justice
David Gilmour Blythe's mid-19th century painting, "Justice," portrays a dark courtroom scene. The painting highlights the plight of immigrants, the unfairness of the justice system, and the artist's own anti-immigrant sentiments. The artwork's grim atmosphere and ambiguous message continue to resonate today. Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- why is there a african american in the back ground with a banjo?(2 votes)
- The banjo is an American adaptation of an instrument that "came over" with enslaved Africans. It is very natural to show an African American with one.(1 vote)
Video transcript
(playful piano music) - [Narrator one] We're in the galleries of the de Young Museum, part of the Fine Arts
Museums of San Francisco, and we're looking at a
mid-19th century painting by David Gilmour Blythe called Justice. It's an interesting title
because we're not quite sure whether justice is going
to be done, in fact. - [Narrator two] You
have this bright light that cuts across the foreground, but all of that is saturated
with these shadows. - [Narrator one] It is a
very dark and dismal space, but the figures that are
walking through the door, at least some of them are
quite brightly illuminated. That figure with dark boots on and his hands shoved in his pocket and his shirt opened
and his disheveled hat looks over toward the judge
presiding up on his bench and looks worried, so
he's being pulled over to go sit on the bench by the constable. - [Narrator two] We know
that figure right behind him is the constable 'cause
of that glinting badge that's on his lapel. The figures are really fascinating. In them we feel the sense of uneasiness that's captured in the brush strokes and the lack of
differentiation of their faces in some ways allows them to
stand in for whole populations within the United States. - [Narrator one] They're
poor, likely unemployed. The second figure carries a shovel. The figure behind that seems to carry some kind of carpentry tools. In Pittsburgh, where Blythe was painting, there was a huge influx of
immigrants at this time, and it's overcrowded,
housing is difficult to find. - [Narrator two] The great
wealth harnessed from the city as the industrial center that it was was very much on the back of immigrants. These individuals being
brought in to the courts for being either on the streets because they had no other alternative, but also there's a level of racism. - [Narrator one] Most of the immigrants coming during this period were German, they were Irish, Italian, and this anti-immigrant
feeling in the mid-19th century gives rise to a party that called themselves the Know-Nothings, and what they were involved in were often violent acts
against immigrants. - [Narrator two] And the
most violent, I think, is emblazoned on that placard, this practice of trying to suppress votes by with individuals and dumping them in tubs of blood that was
taken from butcher shops. - [Narrator One] We have to
wonder whether these figures are going to get a fair trial. Especially with that placard on the bench which perhaps signifies that justice, in this case, the judge is perhaps a member of the Know-nothing Party, sympathetic with them at least, and is not going to give these people some of them likely
immigrants, a fair hearing. - [Narrator Two] You do
see just how vulnerable these individuals are coming
into this legal system. - [Narrator One] We do
know that the artist had anti-immigrant feelings. He also had suspicions
against the fair workings of the judiciary, and the
way that the judge sits so sternly in profile with
those books next to him. He's the authority. He's going to wield the law. Above him the scales of justice which don't look quite balanced are also telling us something. And then right opposite
him, a bust on the wall of probably a famous justice from history. And then below we see an African American with a banjo in his lap. So we have this sense of the dispossessed, those who are powerless and vulnerable, and a sense of the powers above them. This is such an interesting painting because we so often look at art, and it's really clear what
position the artist is taking. But in this case we get the feeling that the artist is not
sympathetic with anyone. - [Narrator Two] And I think
that that idea that life is indicting everyone might be in part why this composition still
remains so vital today. - [Narrator One] It's
not particularly fond of the immigrants. He's not particularly fond
of the judicial system. He's not fond of the press. This expectation that justice is blind. That justice is meted
out in an objective way. Is shown to be patently false here. Everything is under suspicion. (playful piano music)