Thomas Hart Benton

Experiencing Nashville: Part One - Sunnyside / Sunnyside For the past 5 years, I have lived within walking distance to a place called Sunnyside. It is pre-civil war antebellum home that stands right in the middle of what is now known as Sevier Park. I will occasionally park my car in the small lot right by the house and have a quick lunch. I really had no idea that the house was so old, and held such historical importance. Here are some fun bits of history about the place: (Source: Metropolitan Historical Commission) Caught in the middle of Battle of Nashville: Sunnyside was located directly between the Union and Confederate lines prior to the Battle of Nashville on Dec. 15, 1864. Afterwards it served as a hospital for wounded soldiers. The home of Mrs. Jesse Benton, widow of Jesse Benton who left Nashville after a feud with Andrew Jackson. Built in the 1840s, restored in the 1920s by Col. Granville Sevier. Two log cabins east of the house, reputed to have been built by the French for trade with the Chickasaw and Choctaw Indians, may be the oldest structures in Metropolitan Nashville. Metro Parks Department bought Sunnyside in 1945 from the estate of Col. Granville Sevier. Note: Deedbook research indicates that the house was built in the 1850s. Documentary and archaeological evidence supports a 19th century date for the construction of the log cabins. The offices of the Metropolitan Historical Commission and Metropolitan Historic Zoning Commission are located at Sunnyside in Sevier Park, 3000 Granny White Pike. Sunnyside was built in about 1852 by Mary Childress Benton. Its site is part of Nashvilleâ��s early settlement history. On July 10, 1788, the state of North Carolina granted Thomas Hardiman 640 acres, equivalent to one square mile, along Brownâ��s Creek for his service in the Revolutionary War. The property changed hands several times before Mary Benton purchased about 38 acres of it in January 1852. By this time, a house of cedar logs existed on the present home site. Mary Benton was the widow of Jesse Benton and the first cousin of Sarah Childress Polk, wife of President James Polk. Jesse, along with his brother, Thomas Hart Benton, is remembered for engaging in a famous pistol fight with Andrew Jackson in 1813. The ongoing quarrel with Jackson caused both brothers to leave Nashville. Thomas Hart Benton moved to Missouri, becoming a well-known public figure and U.S. Senator. Jesse left Nashville to live and own property in both Texas and Louisiana, refusing to â��live longer among people who gave such political preference to a man like Andrew Jackson.â�� Jesse died in 1843. During construction of the house, Mary lived in the log house and found it so comfortable that she incorporated it into an ell behind the main house, which is a traditional frame building with two rooms downstairs and two upstairs on either side of a central hall. This form is known as an I-house. Sunnysideâ��s vernacular interpretation of popular antebellum architectural styles combines decorative brackets, usually an Italianate feature, with the central porch, two-story columns, and symmetry of Greek Revival. Mary brought her widowed niece, Minerva Douglass, and her nieceâ��s two children, Henry and Mary, to live in the completed house. Young Mary Douglass gave Sunnyside its name, reflecting its bright, open hillside location. Mary Douglass later married Theodore Francis (Frank) Sevier of Kentucky, and the young couple lived at Sunnyside until the Civil War, when Frank enlisted in the Confederate Army. John Shute bought the property during the Civil War for his daughter, Mrs. Stephen Childress, whose husband was a relative of Mary Benton. The couple changed the name of the house to Lee Monte to honor Confederate General Robert E. Lee. The Battle of Nashville raged around the house on December 15 and 16, 1864. The property stood between Confederate and Union lines and still bears reminders of the fighting in scars left by minie balls on the porch door and columns. Wounded Union soldiers were treated here in the days following the battle. The Childress family returned after the war and enlarged the farm to 140 acres before selling it in 1875. In 1882, Dr. L.G. Noel purchased the estate at auction. Noel owned the property longer than any other individual and renamed it Idlewild for his motherâ��s home in Memphis. Dr. Noel was a prominent Nashville dentist and also taught dentistry classes at Vanderbilt, where he served as chair of dental pathology from 1905 until the dental school closed in 1926. During this period, the property slowly changed from a country estate to a suburban one as modern conveniences like telephones and indoor plumbing were added. A few chickens, horses, and a dairy cow remained, but farming gave way to suburbanization as the Noel family subdivided part of the land. After Dr. Noelâ��s death, Granville Sevier, son of Frank and Mary Douglass Sevier, came back to visit the house where his mother had grown up. In 1927, he purchased 20 1/2 acres from the Noel family and brought his mother back to the home she had christened Sunnyside. Sevier renovated the house, adding the one-story brick wings, enlarging the basement, and building the stone office. His heirs sold the property to the city of Nashville after his death in 1945. Sevier Park opened on this property in 1948. In 1954, a swimming pool was added to the park, and the community center was built in 1963. By 1985, the park had picnic shelters, a ball diamond, tennis courts, a playground, and a basketball court. Sunnyside was occupied by the family of a Parks Department superintendent until 1987. Later, the building housed various community groups. A major restoration was completed in 2004, and Sunnyside is now home to the Metropolitan Historical Commission and Metropolitan Historic Zoning Commission. If you want to check it out for yourself, here are some directions: Sunnyside in Sevier Park is located in the Belmont-Hillsboro and 12th South neighborhoods, where 12th Avenue South becomes Granny White Pike. From downtown, take 12th Avenue South south (away from downtown). Sevier Park is located about two and a half miles from downtown. Turn left on Kirkwood and the driveway is on the right. Sunnyside is the yellow Greek Revival house in the middle of the park. Sunnyside is owned by Metro-Nashville Government and is located in Sevier Park on 12th Avenue South (Granny White Pike) just north of I-440 (no exit off I-440). The grounds are open to the public but the house itself is not.   Stay tuned for the next installment of “Experiencing Nashville” by Sally Kent

SAMUEL AND DEFSY VAUGHAN / Re: reply to Aaron Clements question: PRESENTED AS IS AND NEEDS TO PROOF READ I.E.This is one of the lists I have worked on in the past the blue high lighted individuals are my ancestors back to Samuel Vaughan son of William and Fereby Vaughan. I hope this helps you find your ancestor�s connection.Samuel VAUGHANBirth: 1 SEP 1776 in Russell Co., VirginiaDeath: 29 APR 1852 in Madison Co., ArkansasMarriage 1 Catherine HAMMONSBirth: ABT. 1786 in Russell Co., VirginiaDeath: BEF. 1870 in Madison Co. Arkansas1. Defsy VAUGHAN b: ABT. 18092. Susannah VAUGHAN b: ABT. 18113. George Washington VAUGHAN b: 27 FEB 1813 in Warren Co, Tennessee4. Andrew Jackson VAUGHAN b: 2 FEB 1815 in Warren Co., Tennessee5. Margaret VAUGHAN b: FEB 18321 Joseph Stanton EDWARDS b: SEP 1776 in Russell Co., Virginia d: : 29 APR 1852 in Madison Co., Arkansas Susannah E VAUGHN b: ABT 1811 d: 18682 Catherine EDWARDS b: BET 1825 AND 18302 William Nutterville EDWARDS b: 21 FEB 1828 d: 24 DEC 1907 Martha E RICE b: 18303 Joseph M EDWARDS b: 1848 Sarah Jane HESTER b: 7 OCT 1844 d: 12 SEP 19363 Robert Andrew Jackson EDWARDS b: 19 NOV 18593 Margaret Elizabeth EDWARDS b: 23 DEC 1860 d: ABT 1908 Samuel Young SATATHITE b: 6 MAY 1852 d: 30 AUG 18953 Jasper Newton EDWARDS b: 15 JUL 1862 d: 4 NOV 1919 Nettie FRAYLEY3 Telitha Tennessee EDWARDS b: 22 AUG 1863 Benjamin Franklin POWELL b: JUL 18503 Thomas Jefferson EDWARDS b: 22 AUG 1866 d: 6 JAN 1949 Celia BELL d: 7 OCT 1892 Mary Myrtle STEWART b: 8 JUN 1889 d: 25 SEP 19823 Isabell Asberian EDWARDS b: 14 JUN 1872 d: 3 OCT 1915 Robert Jasper CARTER d: BEF 1900 John PEACE3 Sunana Elmira EDWARDS b: 23 AUG 1874 d: 10 FEB 1958 Robert Marion GLASPIE b: 18 JAN 1861 d: 29 JUN 19463 Rhoda Elzada EDWARDS b: 25 DEC 1878 d: 27 JAN 1903 Thomas Hart Benton GLASPIE b: 4 SEP 1863 d: 17 MAR 19514 Mary Jane GLASPIE4 Robert Cale GLASPIE4 Thomas Hart Benton Jr GLASPIE4 Charles Earl GLASPIE4 Ruby Mae GLASPIE3 William Lonzo EDWARDS b: 31 OCT 1878 d: 30 APR 1956 Fannie Lee BURD b: 18 SEP 1880 d: 10 OCT 19613 Middleton Cager EDWARDS b: 13 DEC 1880 d: 30 JUL 1940 Elves HUNTER b: 1 DEC 1896 d: 21 AUG 1917 Rose GOSWICK Eudora HUNTER b: 1 DEC 18963 John Brady EDWARDS b: 3 JUL 1882 d: ABT 1934 Betty HILL3 Charles Curtis EDWARDS b: 26 JUL 1884 d: 7 JUN 1957 Minnie HOLDER b: 19 SEP 18882 Andrew J EDWARDS b: 1831 Elizabeth SLAVENS2 Samuel Vaughn EDWARDS b: 1833 d: ABT 1870 Elizabeth SALMON b: ABT 1836 d: ABT 18692 Mary Ann EDWARDS b: 1834 Clausen BARRETT Alexander F ROGERS b: 18122 Thomas Jefferson EDWARDS b: 1836 Lucinda SLAVENS b: ABT 18443 Edward Lafayette EDWARDS b: 7 JUL 1860 d: 8 SEP 1934 Jessie ENLOE b: 6 MAY 1863 d: 17 DEC 19374 Ernest Rivers EDWARDS b: 19 NOV 1891 d: 5 JUL 1982 Nancy Melvina FREE b: 18 FEB 1894 d: 15 APR 19934 Samuel Harrison EDWARDS b: 13 MAY 1894 d: 18 NOV 1978 Ollie Leola FREE b: 19 JAN 1907 d: 28 AUG 19924 Daniel Roberto EDWARDS4 Thomas Jefferson EDWARDS b: 27 MAY 1892 d: 19 JAN 1971 MINNIE4 Lula Mae EDWARDS Unknown MCLISH3 Nancy EDWARDS b: AFT 18563 Susanna Elizabeth EDWARDS b: AFT 18563 Bolton Philip EDWARDS b: AFT 18563 Micajah EDWARDS b: AFT 18563 Gilbert Fletcher EDWARDS b: AFT 18563 Samuel EDWARDS b: AFT 18563 Daniel EDWARDS b: AFT 18562 Susanna EDWARDS b: 1838 William Jackson GILLESPY b: 6 JUN 18333 Thomas Hart Benton GLASPIE b: 4 SEP 1863 d: 17 MAR 1951 Rhoda Elzada EDWARDS b: 25 DEC 1878 d: 27 JAN 19034 Mary Jane GLASPIE4 Robert Cale GLASPIE4 Thomas Hart Benton Jr GLASPIE4 Charles Earl GLASPIE4 Ruby Mae GLASPIE3 Matilda Jane GILLESPY b: 18 MAY 1859 d: 15 APR 1940 Thomas Warren STATATHITE b: 4 OCT 18503 Robert Marion GLASPIE b: 18 JAN 1861 d: 29 JUN 1946 Sunana Elmira EDWARDS b: 23 AUG 1874 d: 10 FEB 19583 John Cale GILLESPY b: ABT 18652 Margaret Jane EDWARDS b: 18402 Jasper EDWARDS b: 18422 Micijah EDWARDS b: ABT 18462 Virginia EDWARDS b: ABT 18472 Middleton Scarborough Tobe EDWARDS b: 22 AUG 1851 d: 12 JAN 1927 UNKNOWN3 Arthur EDWARDSIn reply to J. Potter question:The green high lighted individuals are Micajah Hamman (Hammons) and his wife�s you had questions on.EPHRAIM (HAMMAN2. THOMAS HAMMONS (EPHRAIM (HAMMAN)1) was born Dec.19.1759, and diedFeb.24.1833 in Hawkins County, Tennessee. He married SEALAH.Children of THOMAS HAMMONS and SEALAH are:3. MARTHA CATHERINE HAMMAN (HAMMONS), b. 1787, Virginia; d. Bet. 1860 -1870, Madison County, Arkansas (Vaughan Cemetery).3. MARGARET "PEGGY" HAMMAN (HAMMONS), b. Bet. 1787 - 1797, Tennessee; d.Oct.1869, Madison County, Arkansas.3. MICAJAH HAMMAN (HAMMONS), b. Dec.27.1789, Hawkins County, North Carolina; d. Oct.27.1876, Benton County, Arkansas.3. SISTER HAMMAN (HAMMONS).3 MICAJAH HAMMAN (HAMMONS) (THOMAS HAMMONS, EPHRAIM (HAMMAN)) was born Dec.23.1789 in Hawkins County, North Carolina, and died Oct.27.1876 in Benton County, Arkansas. He married (1) NANCY ROARK Bet. 1806 - 1809.He married (2) MARY (POLLY BECKY) VAUGHAN b.abt.1800-1860 or 61, m. bet.1828 - 1832.Children of MICAJAH (HAMMONS) and NANCY ROARK are:4. THOMAS HAMMONS, b. 1809.4. WILLIAM HAMMONS, b. 1815.4. JAMES HAMMONS, b. Bet. 1815 - 1820.4. KATIE HAMMONS.4. PEGGY HAMMONS, m. GEORGE VAUGHAN.Children of MICAJAH (HAMMONS) and MARY VAUGHAN are:4. STOKELY DOLLISON HAMMONS, b. Dec.01.1832, Hawkins County, Tennessee; d. Feb.06.1865, Madison County, Arkansas (Vaughn Cemetery).4. AMANDA J. HAMMONS, b. 1836, Hawkins County, Tennessee; d. Benton County, Arkansas.1. WILLIAM VAUGHAN and FEREBY BENTON2. JOHN VAUGHAN (WILLIAM PATRICK1) was born Abt. 1762 in Virginia, and died July 14, 1842 in Hancock County, Tennessee. He married NANCY CALLICOT October 16, 1794 in Halifax County, Virginia.Children of JOHN VAUGHAN and NANCY CALLICOT are:3.JAMES VAUGHAN, b. October 15, 1795, Halifax County, Virginia.3.BEVERLY VAUGHAN, b. January 04, 1797, Halifax County, Virginia; m. MARY ANNBOSTICK, 18563.MARY POLLY VAUGHAN, b. April 12, 1800, Hawkins County, Tennessee; m. JOHNGILLIAM.3.REBECKAH VAUGHAN, b. June 24, 1802, Hawkins County, Tennessee; m. ROLLER.3.BENJAMIN WALKER VAUGHAN, b. November 04, 1804, Hawkins County, Tennessee.3.NANCY VAUGHAN, b. January 19, 1807, Hawkins County, Tennessee; m. WILLIAMROBENS, January 09, 1835 Hawkins Co. TN3.MAHALY VAUGHAN, b. March 10, 1809, Hawkins County, Tennessee; d. 1841; m.DECKARD.3.JOHN VAUGHAN, b. September 28, 1811, Hawkins County, Tennessee; m. SUSAN SNAPP.3.SAMUEL N. VAUGHAN, b. February 11, 1814, Hawkins County, Tennessee; d. April 25, 1863,Hancock County, TN3.MARTHA VAUGHAN, b. July 02, 1815, Hawkins County, Tennessee; m. DAVIS.3.MARY JANE VAUGHAN, b. May 22, 1818, Hawkins County, Tennessee; m. - GILLEAN.3.GEORGE WASHINGTON VAUGHAN, b. June 15, 1820, Hawkins County, Tennessee.3.JAMES JONES VAUGHAN, b. January 27, 1822, Hawkins County, Tennessee.3.JOHN FRANKLIN VAUGHAN, b. April 14, 1841.3.MARY ULDAH VAUGHAN, b. 1842.3.TENNESSEE VAUGHAN, b. December 27, 1843.I hope this information helps us find the links we have to each other as much of this group is related to other families and little information on this side is discussed. I am learning a lot on my very distance relatives which I do find very interesting as this group is active with those families......END OF this CORRESPONDANCEAll ads are not an endorsement by the blog author.A

Charles Banks Wilson: An Oklahoma Life in Art /   Charles Banks Wilson is one of Oklahoma’s premier artists whose artworks have been collected and exhibited around the globe. Gilcrease Museum holds one of the most comprehensive collections of Wilson’s work ranging from his early years as an art student and illustrator to his extensive series of Native American portraits and scenes of Oklahoma life. Working in a variety of mediums, Wilson’s talent prompted Thomas Hart Benton to declare him “America’s finest artist historian.”   Wilson is an accomplished illustrator, muralist, lithographer, sculptor, and teacher. His work has been widely acclaimed for its attention to detail and insightful composition. The exhibition Charles Banks Wilson: An Oklahoma Life in Art will not only showcase the museum’s holdings but will also include a number of artworks from private collections and several new paintings that have never been on public view.   “Painting is a form of poetry made to be seen,” says Wilson. “A painting should not only appeal but should also mean.” The meanings that Wilson finds in his subjects have come from a lifetime of study and effort. Born in Arkansas, the artist spent his formative years in Miami, Oklahoma, a place that would shape his view of the world around him.   Wilson’s career as an artist began in the 1930’s after training at the Chicago Art Institute. After a stint in New York in the 1940s working as a book illustrator, he returned to his Oklahoma roots in Miami to begin his life’s work. Over the next sixty years Wilson would build a body of work that places him among the important artists of our time. He has been compared to George Catlin and Joseph Henry Sharp for the significance of his portraits of American Indians but also to Regionalist artists such as Thomas Hart Benton and John Steuart Curry for his rich but humane renderings of everyday Oklahoma life. “When you look at a work of art, you are sharing an experience in the company of the artist.”   Charles Banks Wilson: An Oklahoma Life in Art consists of over 200 of the artist’s finest works, including oils, watercolors, pencil drawings, and lithographs. “Wilson’s accomplishments are simply extraordinary,” says Randy Ramer, collections manager at Gilcrease. “When you consider the scope of his efforts, it’s hard to find anyone to seriously compare him with. Take a look at his murals now at the state capitol. Wilson rendered many scenes from Oklahoma history that had been largely forgotten and are now captured for all time. He has captured the look and feel of Oklahoma, a real sense of time and place. We owe him a great debt of gratitude for what he has given us.”   Without a doubt, Charles Banks Wilson has created a legacy that can be enjoyed by all Oklahomans. From his American Indian Pureblood series to his portraits and historical murals at the Oklahoma State Capitol, Wilson’s achievements are unparalleled. “While Charles unequivocally says that he is not a historian,” says Ramer. “He certainly has a historian’s eye for detail and a keen interest in the past. He is also a very careful researcher. He will typically spend far more time studying a given subject than he will in the execution of the actual work. I don’t mean just visual observation. Much of his research has taken place in libraries and museum archives around the world. He has a painstaking need to ‘get it right.’” At home in his studio in Fayetteville, AR, Wilson reflects on his life in art. “The importance of what I do, I do not know,” he says. “We do our own stuff and time has to put a value on it.” Location: Gilcrease Museum, 1400 Gilcrease Museum Road Tulsa, OK 74127 (918) 596-2700   Sponsors: The Maxine and Jack Zarrow Family Foundation; SemGroup, L.P.; the Oklahoma Arts Council              

Art 101: Final Exam-Museum Paper / Art 101: Museum Paper � Final ExamArt is referred to as a diverse range of human activities and artifacts, created by an artist, which may cover a variety of forms. (www.wikipedia.org) The form that will be covered in this paper will focus on visual art. Visual art focuses on colors, styles, design elements, the mood of the piece, amongst an inclusion of other visual and historical elements. For my final exam, I will be comparing and contrasting works of art composed by two artists of different cultures and time periods. The first painting, entitled �The Ballard of the Jealous Lover of Lone Green Valley� was created by an American artist by the name of Thomas Hart Benton in 1934. This was a period of Modern Art, which is a genre of art that strayed away from the traditional styles of painting, and started in the late 19th century. A period, which takes place over at least 100 years, is described as a phase in the development of the work of an artist, group of artists or art movement. (period & movement ppt) The second painting, entitled �Self Portrait�, was composed by a Dutch artist by the name of Judith Leyster. This piece was composed in 1630, during the Baroque Period - a period during the early 17th and 18th centuries, also known as the "Age of the Kings", due to the significance of various kings residing in many different countries during this time. (pg.421) Oil is the medium chosen by Judith Leyster to compose her �Self Portrait�. Although there is no medium listed for Thomas Hart Benton�s painting, we can still compare and contrast many other characteristics of the chosen artworks. Let�s start with the comparisons. As humans, no matter what century we were born- the cultures in which we were raised- the way our bodies are shaped- or our ethnicity, we are all just that � HUMAN. Both Leyster and Benton�s artworks represent the theme known as The Human Experience. The Human Experience simply means that some artists display their personal, cultural, or societal experiences through their paintings. (pg.70) Judith Leyster came from a Dutch culture, whose main focus was to display what home, family, business, social organizations and community meant to them.(pg.429) Artists of the Baroque period, such as Leyster, learned to create works of art by lighting their figures, (shapes we detach and focus on) dramatically and plunging the backgrounds into shadow. The background is the surrounding visual information the figure stands out from (pg.89) In �Self Portrait�, Leyster implements an asymmetrical style, a style that implies unevenly distributed weight, which was done to direct our attention towards the woman in the forefront of the painting and casting the violin player into the background. This technique appears to show the viewers that this woman possesses talents aside from being a painter, but an artist of various forms. The light that is used to highlight the main subject appears to come from the direction in which the figure in the foreground has directed her attention to (the front left). It appears as if there may be a large window of light before the figure which is meant to shine on both subjects, however giving precedence to the subject in the foreground. In comparison to the humanistic style of painting that is implemented in Leyster�s painting, Benton�s expressionistic style of painting displays the turbulent relationships that people of his American culture, during the 1930�s, were experiencing. This interpretation is supported by further research and exploration into the life and times of Benton. Benton is known by his expressionistic style of painting. Expressionism arose when artists came to believe that the fundamental purpose of art was to express their intense feelings towards the world, which is evident in "The Ballard of the Jealous Lover in Lone Green Valley". (pg. 520) Expressionists used bold, vibrant, rich colors to attract attention and depict a dramatic scene.The use of color that artists use in their paintings can create a subject of contrast. Benton and Leyster use very choices of color to create the scenes in their pieces. Benton�s painting incorporates bold primary colors of red and blue, which are colors that cannot be made by mixing colors from the color wheel. As stated earlier, the use of these colors are used to attract our attention, and when combined with other principles of design such as patterns and lines, they create a very dramatic scene which can be pleasing to some and may cause a distraction to others. Although both artists use tertiary colors to obtain a softer appearance, Benton�s use of the colors are applied much thicker than Leyster�s. His colors appear to give a sense of warmth, which is supported by the use of white in the background, to create a sun. Leyster uses hues of grey and tan to create a background which appears soft in texture and uses value which gives the appearance of a shadow. The design element that Leyster�s background contains is unity. The colors are very well blended and appear to have been applied with very short, circular brush strokes which gives a sense of oneness. On the contrary, Benton�s background shows lots of variety in the sense that he has incorporated various, contrasting colors.Artists employ other techniques to their paintings to display movement and how they can detach objects in their compositions without painting two separate pictures. Benton has created a scene which uses a hierarchical scale to highlight the focus of this painting, which is the couple that appears to be having a conflict, while also displaying their love and affection for one another. This is supported by the title of the composition, which uses the word �Lover�. The couple has been placed on higher ground to show their importance over the other figures in the painting. He uses diagonal lines to show movement. A very good example of this is how the bow of the violin player has been drawn to that the instrument is being played. Judith Leyster has also employed diagonal lines to show movement in the same manner. The way she uses diagonal was a very effective way of creating a realistic looking easel which the violin player was painted on. Benton uses hatching lines to create the fences that occupy the farmlands in which these figures lived on. His use of implied lines, which are made by using darker shades between colors of the same tone, to create an illusion of separation, creates hills and uneven land. The result is a background that displays the tumult that surrounded the town. The figures are made 3-dimensional (3D) so that our focus was diverted away from the land and placed on them. Leyster uses the same 3D technique to divert our attention away from the figure on the easel. The woman in the foreground is composed as a 3D object to show the viewers that she is the topic of this painting and the background is what is used to show off her talents. In conclusion, both Judith Leyster and Thomas Hart Benton�s humanistic compositions display each artist�s talent and crafty ability of conveying the messages that were representative of their cultures which they lived amongst. Both were successful at conveying the meanings behind their compositions through painting. These artists� design principles were very similar in the sense of them using representational characteristics, however, their approaches in terms of color technique and styles representative of their periods were very different. References:Living With Art by Mark Getleinwww.wikipedia.orgPeriod and Culture power point presentation (Charl Brew)