2. The Puritans 1909

Editor: Here we have Francis Davis Millet's "The Puritans," painted in 1909. It’s an oil painting and gives me the immediate impression of both determination and quiet sorrow. What strikes you most when you look at it? Curator: I’m immediately drawn to how Millet visualizes the complexities of religious colonization. The figures, framed against a vast, promising yet unknown landscape, embody the conflicting emotions inherent in their historical moment. What is the price of claiming land in the name of freedom, especially when it displaces others? Editor: I hadn’t thought of it that way. The man preaching seems confident, almost zealous, but the woman next to him is weeping. Curator: Exactly! Millet is subtly critiquing a purely triumphalist narrative. The painting invites us to consider the intersectional impact of Puritanism—its influence on gender roles, its justification for the subjugation of indigenous populations, and the psychological toll of establishing a new world order based on rigid religious dogma. The somber colors, the physical distance between figures, these contribute to a sense of unease. Where is community and shared faith in this artwork? Editor: So, the painting isn’t just about the past; it’s about how we understand power and identity even today. Curator: Precisely. It’s a mirror reflecting our present-day struggles with issues of historical accountability and social justice. How do we reconcile the idealism of a "city upon a hill" with the realities of exclusion and exploitation that accompanied its construction? It makes us ask the tough questions that are vital for an honest conversation on who we are today as a society. Editor: It’s so much more than just a historical scene. I see that now. I'll definitely rethink my initial impression of this work. Curator: Art has power in that regard, changing our lens to better inform our knowledge of the world.