Mexican America - Resources and Credits
This section contains educational materials to supplement your journey through Mexican America as illustrated by the collections of the National Museum of American History.
The glossary explains some of the terms used to talk about the history and peoples of Mexico and the American West and Southwest.
The national borders of Mexico have changed radically between the start of the Aztec Empire in the 14th century and the present. See Mexican maps from the collections of the University of Texas Libraries.
Scenes and figures from postcards commemorating the American West and Southwest from the Victor A. Blenkle Postcard Collection, Archives Center, National Museum of American History, Smithsonian Institution.
- Colonia outside of El Paso (circa 1920)
- David Crockett
- Greetings from San Antonio, Texas (The Alamo)
- Mexican Home, New Mexico (circa 1925)
- Old Spanish Days (circa 1925)
Historical scenes and figures from Mexico from the Victor A. Blenkle Postcard Collection, Archives Center, National Museum of American History, Smithsonian Institution.
- Avenida A Tijuana (circa 1910)
- Basílica de Nuestra Señora de Guadalupe (circa 1925)
- Calle del Comercio Ciudad Juárez (circa 1925)
- Mexican Market Scene (undated photograph)
- Quetzalcoatl
- Taxco, Guerrero (circa 1910)
- Temple of Quetzalcoatl, Teotihuacan (circa 1910)
Other Smithsonian Institution projects about the peoples of Mexico and their descendants, culture, and environment.
For additional information on the history of Mexico, Mexican Americans, and the diverse peoples of the American West and Southwest, please see the bibliography.
Esta sección contiene materiales educativos a fin de complementar el recorrido a través de la América Mexicana ilustrado por objetos provenientes de las colecciones del Museo Nacional de Historia Americana.
Pulsando sobre el enlace que se observa a continuación se puede acceder a un glosario donde se explican algunos de los términos usados para referirse a la historia y a los pueblos de México, tanto como del oeste y sudoeste de América.
Los límites nacionales de México han cambiado radicalmente entre los comienzos del Imperio Azteca en el siglo XIV y el presente. Pulse el siguiente enlace para ver mapas de México de las colecciones de las Bibliotecas de la Universidad .de Texas.
Pulsar los siguientes enlaces para ver tarjetas con escenas y figuras, y fotos conmemorativas del oeste y sudoeste americano de la Colección de Postales Victor A. Blenkle, Archives Center, National Museum of American History, Smithsonian Institution.
- Colonia en las afueras de El Paso (ca. 1920)
- David Crockett
- Saludos desde San Antonio, Texas
- Hogar Mexicano, Nuevo México (ca. 1925)
- Viejos Tiempos Españoles (ca. 1925)
Pulsar los siguientes enlaces para ver escenas y figuras históricas de México.
- Avenida A Tijuana (ca. 1910)
- Basílica de Nuestra Señora de Guadalupe (ca. 1925)
- Calle del Comercio Ciudad Juárez (ca. 1925)
- Escena de un Mercado Mexicano (foto sin fecha)
- Quetzalcoatl
- Taxco, Guerrero (circa 1910)
- Templo de Quetzalcoatl, Teotihuacan (ca. 1910)
Pulsar los siguientes enlaces para ver otros proyectos de la Institución Smithsonian acerca de los pueblos de México y sus descendientes, su cultura y su entorno.
Para mayor información sobre la historia de México, los mexicoamericanos y los diversos pueblos del oeste y sudoeste americano, por favor pulsar sobre el enlace de bibliografía a continuación.
The Mexican America object group is a collective effort of the staff of the National Museum of American History, Kenneth E. Behring Center: Division of Home and Community Life; Division of Information Technology and Communications; Division of Music, Sports and Entertainment; Division of Politics and Reform; New Media Program; Program in Latino History and Culture; Office and Museum Management and Services; and Registration Services.
Special thanks to Diana Taggart and Michelle Sánchez.
El grupo de objetos América Mexicana es un esfuerzo conjunto del personal del Museo Nacional de Historia Americana, del Centro Kenneth E. Behring: División de Vida en el Hogar y la Comunidad; División de Tecnología Informativa y Comunicaciones; División de Música, Deportes y Entretenimiento; División de Política y Reforma; Programa de Nuevos Medios de Comunicación; Programa de Historia y Cultura Latinas; La Oficina de Gestión y Servicios de Museo; y la Oficina de Servicios de Adquisiciones.
Un agradecimiento especial a Diana Taggart y Michelle Sánchez.
"Mexican America - Resources and Credits" showing 7188 items.
Page 701 of 719
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
(Confederate Soldier Monument), (sculpture)
- Notes
- Save Outdoor Sculpture, Kentucky survey, 1994
- Summary
- A uniformed Confederate soldier stands at parade rest, holding the barrel of his musket before him with both hands, the butt of which rests by his feet. The soldier has a mustache and wears a broad-rimmed hat, with a cartridge bag on his proper right hip. He wears front-buckle low boots, and socks with pant legs tucked in. A short log is behind the proper left leg of the soldier. The statue is mounted upon a multitiered base with inscriptions on the front beneath a relief of crossed sabers and muskets. The back of the base has a relief of the Confederate flag
- Date
- Installed 1907. Dedicated Aug. 1907
- sculptor
- Unknown
- Control number
- IAS KY000166
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
In Honor of the Indian, (sculpture)
- Notes
- Save Outdoor Sculpture, New York survey, 1994
- Summary
- A Native-American male figure, dressed in a loin cloth and wearing his hair in braids, stands with his arms raised above his head looking skyward. He wears a headband with two feathers sticking out of the back. The feathers signify the Long House People. The headband is a sphere representing mother earth the creator. In the headband there are four diamonds which represent the four salt waters or the four winds. The figure holds a long peace pipe in his proper left hand and strapped to his back is a quiver of arrows. The figure is placed atop a rough rock-like formation that includes three or four logs crossed to resemble a fire. The fire symbolizes a prayer of thanksgiving. The figure faces east and stands atop a base that is situated within a 5 ft. x 5 ft. square cement dugout
- Date
- 1972. Copyrighted 1972
- sculptor
- Hill, Joseph Tenderfoot
- Control number
- IAS NY000416
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
Land Otter Pole, (sculpture)
- Notes
- Save Outdoor Sculpture, Alaska survey, 1992
- Summary
- Totem pole features a human figure wearing a dogskin headdress. The figure's feet morph into the next figure's ears. The headdressed figure holds a club in one hand and a land otter's tail in the other. The club is symbolic of his magical powers. The lower figure is a drowned man holding onto two logs and being taken to the home of the land otters
- Date
- Late 1930s. Installed 1947
- sculptor
- Wallace, John Dewey 1861-1952
- Unknown (Native American) (copy after)
- Control number
- IAS AK000137
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
Life Sketches, (sculpture)
- Notes
- Save Outdoor Sculpture, Minnesota survey, 1994
- Summary
- A mural consisting of nine relief figures depicting the early settlement of New Ulm, Minnesota. From left to right the reliefs depict: a woman feeding geese; a woman making cheese; a Native American warrior on horseback; a woman cooking in front of a tepee; a man standing with his hands on his hips, wearing a hat; a farmer with a horse and plow; a woodsman leaning on his axe; and a sawyer, sawing a log with the wrong end of the saw
- Date
- 1974
- sculptor
- Dingman, Gordon
- Control number
- IAS MN000403
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
United Singers Victory Monument, (sculpture)
- Notes
- Save Outdoor Sculpture, New Jersey survey, 1995
- Summary
- The monument consists of a rectangular, bronze relief plaque placed on the front center of a roughly textured granite slab. In the upper left of the plaque is a roundel relief portrait bust of Austrian composer Eduard Kremser, depicted with moustache and beard. On the right of the plaque stands the Goddess of Victory barefoot, holding a laurel victory wreath in her proper right hand, her proper left hand holding the hem of her gown. On the bottom left corner of the plaque is a scene with a man in profile seated on a log in a forest. His proper right hand is raised as if conducting and before him stands an elf. The sculpture is mounted upon a short, rectangular base
- Date
- June 1915
- sculptor
- Unknown
- Subject
- Kremser, Eduard
- Control number
- IAS NJ000405
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
Pioneer Monument, (sculpture)
- Notes
- Save Outdoor Sculpture, Pennsylvania survey, 1995
- SOS Assessment Award, 2001
- Summary
- The rectangular granite monument is topped by a standing male figure holding the barrel of his riffle with both hands, the butt resting on the ground. The figure is dressed in a coonskin cap, a buckskin jacket, and leggings. There is a tree stump behind the figure's proper right leg. He represents the pioneer men and women who crossed the Allegheny Mountains and settled in northwest Pennsylvania. The sculpture is mounted on a tiered, rectangular base that is adorned on the front with a circular relief of a log cabin
- Date
- Dedicated May 12, 1888
- sculptor
- Unknown
- fabricator
- Hailwood, J. P.
- Grindrod, A.
- Control number
- IAS PA000971
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
Q. J.'s Earth Museum, (sculpture)
- Notes
- Save Outdoor Sculpture, North Carolina survey, 1994
- Summary
- Q. J.'s Earth Museum is a one-story stone, stucco, and log cabin adorned with numerous sculptures and small plaques created from regional artifacts. The pieces throughout the museum change as they are sold and replaced. Included among the objects that have been used to create the pieces are fossilized shells and bones, sperm whale tusks, minerals, Indian arrowheads, Civil War relics, petrified wood, bottles, crystal, antlers, shark and beaver teeth, cypress knees, and glass electrical insulators. Slogans and inscriptions are placed throughout the museum. Fossils, rocks, and leaf and fern imprints in concrete fill a porch and overflow into the yard. The chimney is topped with a sculpture of a beaver
- Date
- 1979
- sculptor
- Stephenson, Q. J. 1920-
- Control number
- IAS NC000439
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
Man Riding on Tail of Whale, (sculpture)
- Notes
- Save Outdoor Sculpture, Washington survey, 1994
- Rupp, James, "Art in Seattle's Public Places", Seattle: University of Washington Press, 1992, pg. 23
- Seattle Arts Commission's "Fieldguide to Seattle's Public Art", 1991, pg. 92
- Summary
- Cedar totem pole depicting a man riding a killer whale. The whale's face is near the bottom of the pole, its tail fins are near the top. A human figure is at the top; his arms and legs are wrapped around the whale's tail. The stylized pole is painted black with highlight colors of red, green and white. The figures are carved on a hollowed out cedar log which has been cut in half lengthwise. The pole is supported with a concrete and metal base support
- Date
- 1971. Installed 1987
- sculptor
- Pasco, Duane 1932-
- Control number
- IAS WA000582
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
(Bicentennial Marker), (sculpture)
- Notes
- Save Outdoor Sculpture, Arkansas survey, 1994
- Summary
- A rectangular stele containing a bas-relief plaque that depicts the historical evolution of the local landscape and culture from an agrarian-based area populated by Native Americans to an industrial and commercial area. Moving from left to right, the relief shows: a forest and Native-Americans tilling the soil by hand in front of simple huts; a lumberyard and train transporting logs; a drainage ditch and people laboring; a tractor harvesting crops; and an airplane flying over a modern building. On the stele below the relief, two circular Bicentennial insignias flank an inscription. The stele is mounted on two short supports set upon a foundation
- Date
- 1976
- sculptor
- Yostel, George d. 1982
- Control number
- IAS AR000299
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
- This record comes from another Smithsonian unit: Art Inventories Catalog, Smithsonian American Art MuseumNo Image Available
Lincoln Triumphant, (sculpture)
- Notes
- Save Outdoor Sculpture, Indiana survey, 1993
- Summary
- Bronze relief plaques with bust portraits of Abraham Lincoln and Shawnee Chief Set-Te-Tah are mounted on two sides of the upper tier of a tripartate concrete marker. The Lincoln plaque is mounted on the west side and depicts Lincoln in proper left profile. He is beardless and wears a wide collar with broad labels. In the lower left of the plaque is a figure of Lincoln splitting rails, and in the upper proper right of the plaque is a log cabin. The Chief Set-Te-Tah plaque depicts the Chief in proper left profile, wearing braids, with feathers across the back of his head. The marker is topped with a sphere, and has a tapered lower section
- Date
- 1928. Dedicated Feb. 12, 1928
- sculptor
- Honig, George H. b. 1881
- Subject
- Lincoln, Abraham
- Set-Te-Tah, Chief
- Control number
- IAS IN000801
- Data Source
- Art Inventories Catalog, Smithsonian American Art Museums
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