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Unit 3 · Topic 3.11

3.11 Developing an American Identity

After independence, Americans worked to create a national culture that was distinct from Britain's, through art, writing, language and architecture that celebrated the republic. At the same time, strong regional and state loyalties continued, and the new national identity was defined in ways that excluded many people.

Key terms

  • national identity
  • Noah Webster
  • Charles Willson Peale
  • neoclassical architecture
  • regional identity

Building a national culture

Having won political independence, many Americans wanted cultural independence too. They tried to show that the new republic could produce its own art and ideas worthy of a great nation.

Painters celebrated the Revolution and its heroes. Charles Willson Peale painted dozens of portraits of Revolutionary leaders, including Washington, and opened a museum in Philadelphia in 1786 to display American natural history and portraits. John Trumbull painted scenes of the Revolution, such as the signing of the Declaration of Independence, and Gilbert Stuart painted the portrait of Washington that later appeared on the dollar bill.

Language and literature

Noah Webster believed a new nation needed its own language. His spelling book (1783), known as the 'Blue-Backed Speller', taught generations of children to read and promoted simpler American spellings such as 'color' instead of 'colour' and 'center' instead of 'centre'. He later published his American Dictionary of the English Language (1828).

Writers explored what it meant to be American. In Letters from an American Farmer (1782), the French-born writer J. Hector St. John de Crèvecoeur asked 'What is an American?' and described people of many European backgrounds blending into a new people. Phillis Wheatley, who had been enslaved, published a book of poems in 1773 and later wrote praising Washington. Mercy Otis Warren wrote plays and later a history of the Revolution.

Architecture and symbols

Americans connected their republic to the ancient republics of Greece and Rome. Neoclassical architecture, with columns, domes and symmetry modeled on ancient buildings, became the style of the new government. Jefferson designed the Virginia State Capitol in 1785, modeled on a Roman temple in France. The US Capitol and the President's House (later the White House) were begun in the 1790s in Washington, D.C., in neoclassical styles.

New national symbols spread too: the Great Seal with its eagle and the motto E pluribus unum ('out of many, one'), Fourth of July celebrations, and the near-worship of Washington as a national hero.

Limits: regions and exclusion

National identity grew alongside, not instead of, older loyalties. Many people still thought of their state as their 'country', and regional differences in economy, religion and slavery stayed strong (3.12).

The new identity also excluded many. The Naturalization Act of 1790 limited citizenship by naturalization to 'free white persons'. Republican motherhood gave white women a role as teachers of republican virtue in the home (3.6), but not political rights. Native nations and enslaved African Americans were outside the national community, even as African Americans and Native peoples built their own identities and communities.

Worked examples

Try each one yourself first, then open the solution.

  1. Example 1

    Using a visual source

    Short-answer practice: A portrait from the 1790s shows George Washington standing beside classical columns, with a copy of the Constitution on a table. Briefly explain ONE way this image reflects efforts to build an American identity after the Revolution.

    Show the solution
    1. Step 1: Identify the symbols in the image: Washington, classical columns, the Constitution.
    2. Step 2: Connect them to a broader development.
    3. Step 3: Explain the purpose: what message was the artist sending?

    Answer: Model answer: The portrait presents Washington as a virtuous republican leader, and the classical columns link the new United States to the ancient republics of Rome and Greece, which neoclassical artists and architects admired. By celebrating national heroes and the Constitution, artists like Gilbert Stuart and Charles Willson Peale helped create a shared American identity that was separate from Britain's.

Common mistakes

  • Assuming national identity replaced state and regional identity. Both existed together, and sectional loyalties later nearly broke the nation apart.
  • Placing Webster's 1828 dictionary in Period 3. His speller (1783) belongs here; the dictionary came later.
  • Ignoring who was left out. The Naturalization Act of 1790 is strong evidence that early national identity was defined by race.

On the exam

  • Visual sources like portraits, buildings and seals often appear. Ask what values they promote: republicanism, virtue, connection to Rome.
  • This topic pairs well with 4.9 for questions about how American culture changed over time.

Connected topics

Videos

  • Developing an AMERICAN Identity [APUSH Review]

    Heimler's HistoryWatch on YouTube (opens in a new tab)

  • Developing an American Identity in Under 3 mins (APUSH Topic 3.11)

    Maximum InsightWatch on YouTube (opens in a new tab)

  • Developing an AMERICAN IDENTITY [APUSH Review Unit 3 Topic 11 (3.11)] Period 3: 1754-1800

    Heimler's HistoryWatch on YouTube (opens in a new tab)

  • #26 - APUSH 3.11 Developing an American Identity [UPDATED]

    APUSH SlidesWatch on YouTube (opens in a new tab)

Check yourself

4 questions on 3.11 Developing an American Identity. Pick an answer to see if you got it, and why.

"Small causes, such as a nick-name, or a vulgar tone in speaking, have actually created a dissocial spirit between the inhabitants of the different states, which is often discoverable in private business and public deliberations. Our political harmony is therefore concerned in a uniformity of language.

As an independent nation, our honor requires us to have a system of our own, in language as well as government. Great Britain, whose children we are, and whose language we speak, should no longer be our standard; for the taste of her writers is already corrupted, and her language on the decline."

Source: Noah Webster, Connecticut teacher and author of a widely used spelling book, Dissertations on the English Language, 1789.

Question 1 of 4

Webster's argument in the second paragraph most directly reflects

Question 2 of 4

Webster's reference to a "dissocial spirit between the inhabitants of the different states" best supports which claim about the early republic?

"What attachment can a poor European emigrant have for a country where he had nothing? . . . his country is now that which gives him land, bread, protection, and consequence: Ubi panis ibi patria [Where there is bread, there is my country], is the motto of all emigrants."

"What then is the American, this new man? He is either an European, or the descendant of an European, hence that strange mixture of blood, which you will find in no other country. I could point out to you a family whose grandfather was an Englishman, whose wife was Dutch, whose son married a French woman, and whose present four sons have now four wives of different nations. He is an American, who, leaving behind him all his ancient prejudices and manners, receives new ones from the new mode of life he has embraced, the new government he obeys, and the new rank he holds. . . . Here individuals of all nations are melted into a new race of men . . . ."

Source: J. Hector St. John de Crèvecoeur, French-born farmer who settled in New York, Letters from an American Farmer, written mostly before the Revolution and published in London in 1782.

Question 3 of 4

Crèvecoeur's description most directly reflects

Question 4 of 4

Crèvecoeur's definition of "the American" is most limited by its

0 of 4 answered