Wednesday, November 20, 2019

~ Seet-sé-be-a, Midday Sun by George Catlin 1796-1872

George Catlin (American artist, 1796-1872) Seet-sé-be-a, Midday Sun, a Pretty Girl

The artist George Catlin (1796–1872), who based his entire body of work—including over 500 paintings done in the 1830s & several books recounting his travels—on the theory of the Vanishing American, provided a vivid description of the process at work: "In traversing the immense regions of the Classic West, the mind of a Philanthropist is filled to the brim with feelings of admiration; but to reach this country, one is obliged to descend from the light & glow of civilized atmosphere, through the different grades of civilization, which gradually sink to the most deplorable vice & darkness along our frontier; thence through the most pitiable misery & wretchedness of savage degradation, where the genius of natural liberty & independence have been blasted & destroyed by the contaminating vices & dissipations of civilized society. Through this dark & sunken vale of wretchedness one hurries as through a pestilence, until he gradually rises again into the proud & heroic elegance of savage society, in a state of pure & original nature, beyond the reach of civilized contamination … Even here, the predominant passions of the savage breast, of treachery & cruelty, are often found, yet restrained & frequently subdued by the noblest traits of honor & magnanimity,—a race of men who live & enjoy life & its luxuries, & practice its virtues, very far beyond the usual estimations of the world … From the first settlements of our Atlantic coast to the present day, the bane of this blasting frontier has regularly crowded upon them, from the northern to the southern extremities of our country, &, like the fire in a mountain, which destroys every thing where it passes, it has blasted & sunk them, & all but their names, into oblivion, wherever it has traveled."

New Jersey born George Catlin (1796-1872) is reknowned for his extensive travels across the American West, recording the lives of Native Americans. In 1818, Catlin practiced law in Connecticut & Pennsylvania, but he abandoned his practice in 1821 to pursue painting. Catlin enjoyed modest success painting portraits & miniatures, but he longed to be a history painter. In 1828, after seeing a delegation of western Indians in the east, he had wrote that he had found a subject, "on which to devote a whole life-time of enthusiasm." In 1830, Catlin made his initial pilgrimage to St. Louis to meet William Clark & learn from him all he could of the western lands he hoped to visit. Catlin traveled the frontier from 1830 to 1836, visiting 50 tribes west of the Mississippi, from present-day North Dakota to Oklahoma, creating an astonishing visual record of Native American life. He had only a short time to accomplish his goal—to capture with canvas & paint the essence of Indian life & culture. In that same year, the Indian Removal Act commenced the 12-year action that would remove the remaining Indians from land east of the Mississippi. Within a few years, the they would be decimated by smallpox; with in a few decades, the number of buffalo would drop from millions to a few thousand, & the Native Americans' high prairies would be crosshatched by the plow & the railroad.

Monday, November 18, 2019

~ Chin-cha-pee, Fire Bug That Creeps, Wife of Pigeon's Egg Head by George Catlin 1796-1872

George Catlin (American artist, 1796-1872) Chin-cha-pee, Fire Bug That Creeps, Wife of Pigeon's Egg Head

The artist George Catlin (1796–1872), who based his entire body of work—including over 500 paintings done in the 1830s & several books recounting his travels—on the theory of the Vanishing American, provided a vivid description of the process at work: "In traversing the immense regions of the Classic West, the mind of a Philanthropist is filled to the brim with feelings of admiration; but to reach this country, one is obliged to descend from the light & glow of civilized atmosphere, through the different grades of civilization, which gradually sink to the most deplorable vice & darkness along our frontier; thence through the most pitiable misery & wretchedness of savage degradation, where the genius of natural liberty & independence have been blasted & destroyed by the contaminating vices & dissipations of civilized society. Through this dark & sunken vale of wretchedness one hurries as through a pestilence, until he gradually rises again into the proud & heroic elegance of savage society, in a state of pure & original nature, beyond the reach of civilized contamination … Even here, the predominant passions of the savage breast, of treachery & cruelty, are often found, yet restrained & frequently subdued by the noblest traits of honor & magnanimity,—a race of men who live & enjoy life & its luxuries, & practice its virtues, very far beyond the usual estimations of the world … From the first settlements of our Atlantic coast to the present day, the bane of this blasting frontier has regularly crowded upon them, from the northern to the southern extremities of our country, &, like the fire in a mountain, which destroys every thing where it passes, it has blasted & sunk them, & all but their names, into oblivion, wherever it has traveled."

New Jersey born George Catlin (1796-1872) is reknowned for his extensive travels across the American West, recording the lives of Native Americans. In 1818, Catlin practiced law in Connecticut & Pennsylvania, but he abandoned his practice in 1821 to pursue painting. Catlin enjoyed modest success painting portraits & miniatures, but he longed to be a history painter. In 1828, after seeing a delegation of western Indians in the east, he had wrote that he had found a subject, "on which to devote a whole life-time of enthusiasm." In 1830, Catlin made his initial pilgrimage to St. Louis to meet William Clark & learn from him all he could of the western lands he hoped to visit. Catlin traveled the frontier from 1830 to 1836, visiting 50 tribes west of the Mississippi, from present-day North Dakota to Oklahoma, creating an astonishing visual record of Native American life. He had only a short time to accomplish his goal—to capture with canvas & paint the essence of Indian life & culture. In that same year, the Indian Removal Act commenced the 12-year action that would remove the remaining Indians from land east of the Mississippi. Within a few years, the they would be decimated by smallpox; with in a few decades, the number of buffalo would drop from millions to a few thousand, & the Native Americans' high prairies would be crosshatched by the plow & the railroad.

Saturday, November 16, 2019

~ Pshán-shaw, Sweet-scented Grass, 12-year-old Daughter of Bloody Hand by George Catlin 1796-1872

George Catlin (American artist, 1796-1872) Pshán-shaw, Sweet-scented Grass, Twelve-year-old Daughter of Bloody Hand


The artist George Catlin (1796–1872), who based his entire body of work—including over 500 paintings done in the 1830s & several books recounting his travels—on the theory of the Vanishing American, provided a vivid description of the process at work: "In traversing the immense regions of the Classic West, the mind of a Philanthropist is filled to the brim with feelings of admiration; but to reach this country, one is obliged to descend from the light & glow of civilized atmosphere, through the different grades of civilization, which gradually sink to the most deplorable vice & darkness along our frontier; thence through the most pitiable misery & wretchedness of savage degradation, where the genius of natural liberty & independence have been blasted & destroyed by the contaminating vices & dissipations of civilized society. Through this dark & sunken vale of wretchedness one hurries as through a pestilence, until he gradually rises again into the proud & heroic elegance of savage society, in a state of pure & original nature, beyond the reach of civilized contamination … Even here, the predominant passions of the savage breast, of treachery & cruelty, are often found, yet restrained & frequently subdued by the noblest traits of honor & magnanimity,—a race of men who live & enjoy life & its luxuries, & practice its virtues, very far beyond the usual estimations of the world … From the first settlements of our Atlantic coast to the present day, the bane of this blasting frontier has regularly crowded upon them, from the northern to the southern extremities of our country, &, like the fire in a mountain, which destroys every thing where it passes, it has blasted & sunk them, & all but their names, into oblivion, wherever it has traveled."

New Jersey born George Catlin (1796-1872) is reknowned for his extensive travels across the American West, recording the lives of Native Americans. In 1818, Catlin practiced law in Connecticut & Pennsylvania, but he abandoned his practice in 1821 to pursue painting. Catlin enjoyed modest success painting portraits & miniatures, but he longed to be a history painter. In 1828, after seeing a delegation of western Indians in the east, he had wrote that he had found a subject, "on which to devote a whole life-time of enthusiasm." In 1830, Catlin made his initial pilgrimage to St. Louis to meet William Clark & learn from him all he could of the western lands he hoped to visit. Catlin traveled the frontier from 1830 to 1836, visiting 50 tribes west of the Mississippi, from present-day North Dakota to Oklahoma, creating an astonishing visual record of Native American life. He had only a short time to accomplish his goal—to capture with canvas & paint the essence of Indian life & culture. In that same year, the Indian Removal Act commenced the 12-year action that would remove the remaining Indians from land east of the Mississippi. Within a few years, the they would be decimated by smallpox; with in a few decades, the number of buffalo would drop from millions to a few thousand, & the Native Americans' high prairies would be crosshatched by the plow & the railroad.

Thursday, November 14, 2019

~ Ah'-kay-ee-pix-en, Woman Who Strikes Many by George Catlin 1796-1872

George Catlin (American artist, 1796-1872) Ah'-kay-ee-pix-en, Woman Who Strikes Many

The artist George Catlin (1796–1872), who based his entire body of work—including over 500 paintings done in the 1830s & several books recounting his travels—on the theory of the Vanishing American, provided a vivid description of the process at work: "In traversing the immense regions of the Classic West, the mind of a Philanthropist is filled to the brim with feelings of admiration; but to reach this country, one is obliged to descend from the light & glow of civilized atmosphere, through the different grades of civilization, which gradually sink to the most deplorable vice & darkness along our frontier; thence through the most pitiable misery & wretchedness of savage degradation, where the genius of natural liberty & independence have been blasted & destroyed by the contaminating vices & dissipations of civilized society. Through this dark & sunken vale of wretchedness one hurries as through a pestilence, until he gradually rises again into the proud & heroic elegance of savage society, in a state of pure & original nature, beyond the reach of civilized contamination … Even here, the predominant passions of the savage breast, of treachery & cruelty, are often found, yet restrained & frequently subdued by the noblest traits of honor & magnanimity,—a race of men who live & enjoy life & its luxuries, & practice its virtues, very far beyond the usual estimations of the world … From the first settlements of our Atlantic coast to the present day, the bane of this blasting frontier has regularly crowded upon them, from the northern to the southern extremities of our country, &, like the fire in a mountain, which destroys every thing where it passes, it has blasted & sunk them, & all but their names, into oblivion, wherever it has traveled."

New Jersey born George Catlin (1796-1872) is reknowned for his extensive travels across the American West, recording the lives of Native Americans. In 1818, Catlin practiced law in Connecticut & Pennsylvania, but he abandoned his practice in 1821 to pursue painting. Catlin enjoyed modest success painting portraits & miniatures, but he longed to be a history painter. In 1828, after seeing a delegation of western Indians in the east, he had wrote that he had found a subject, "on which to devote a whole life-time of enthusiasm." In 1830, Catlin made his initial pilgrimage to St. Louis to meet William Clark & learn from him all he could of the western lands he hoped to visit. Catlin traveled the frontier from 1830 to 1836, visiting 50 tribes west of the Mississippi, from present-day North Dakota to Oklahoma, creating an astonishing visual record of Native American life. He had only a short time to accomplish his goal—to capture with canvas & paint the essence of Indian life & culture. In that same year, the Indian Removal Act commenced the 12-year action that would remove the remaining Indians from land east of the Mississippi. Within a few years, the they would be decimated by smallpox; with in a few decades, the number of buffalo would drop from millions to a few thousand, & the Native Americans' high prairies would be crosshatched by the plow & the railroad.

Tuesday, November 12, 2019

Karl Bodmer (1809-1893) paints Missouria, Otoe, and Ponca Indians

Karl Bodmer (Swiss Artist, 1809-1893) lithograph of Missouria, Otoe, and Ponca Indians

From Europe to the Atlantic coast of America to the Pacific coast of America during the 17C-19C, settlers moved West encountering a variety of Indigenous Peoples on their journeys. Karl Bodmer (Swiss Artist, 1809-1893) developed a remarkable talent for drawing & painting while studying with his uncle, painter & engraver Johann Jacob Meyer. After further studies in Paris, he joined his brother on a sketching trip through Germany in 1832 where he met Prince Maximilian zu Weid. Maximilian, known for his natural history research in the coastal forests of Brazil, was searching for a professional artist to accompany him on his expedition to North America. Bodmer signed a contract with Maximilian &, 3 weeks later, they set sail for America. From 1833-1834, the two traveled up the Missouri River, retracing the 1805 journey of Lewis & Clark. On the expedition, Bodmer depicted some of the same characters that George Caitlin had painted just months before. Bodmer was the last artist able to paint the Mandan Indians in North Dakota before the fatal 1837 smallpox epidemic that nearly obliterated the tribe. He also painted portraits of the Sioux, Blackfeet, Hidatsa, & other tribes, while Maximilian conducted studies & made notes on the botany & zoology of the areas. Before the end of the journey, Bodmer had completed 81 paintings, illustrating Maximilians expedition. Each elegant painting displayed extremely detailed & accurate accounts of Indian ceremonies & everyday life. In 1843, Maximilian's lithographs were published in Travels in the Interior of America.