Wandering Indians near Fort Laramie (1861) by Albert Bierstadt (German-born American painter, 1830-1902)

Albert Bierstadt (German-born American painter, 1830-1902) Wandering Indians near Fort Laramie (1861)

Matthew Biagell explains in his book Albert Bierstadt that,"Athough Bierstadt made probing studies of individual Indians during his travels in the West, he usually generalized their appearances & activities in his paintings. He placed them, as he placed European peasants in earlier works, in the middle distance, so that we witness their presence in a landscape setting rather than focus on their movements." Many of his landscapes including Native Americans are the western equivalent of his European generalized landscapes & reveals Bierstadt's consistent attitude toward subject matter regardless of its locale human subjects are engaged in seemingly unrelated activities. His paintings, bathed in a golden glow, often suggest nostalgia for a previous age when Native Americans were thought to have lived harmoniously with nature. Here they are not wily, wicked, or predatory, but are engaged instead in peaceful domestic industry. Works such as this are obviously part of the broad western European tradition of Arcadian scenes, but in its American version the tradition assumes a particular complexity & ambivalence. His painting including Natives often portray the nobility of the Indians before their contact with Europeans & subsequent debasement. Paintings displaying this attitude undoubtedly provided the public with the images it wanted to see, especially during the years Indians were systematically being driven from their lands. Suchromanticized paintings might also be considered retardataire; the Indian, noble or otherwise, no longer engaged many serious 19C writers after the 1850s, & precise anthropological & linguistic analyses of Indian tribes were already being included in the Pacific railroad reports by that time.

Albert Bierstadt (German-born American painter, 1830-1902) was best known for these lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Bierstadt, was born in Solingen, Germany. He was still a toddler, when his family moved from Germany to New Bedford in Massachusetts. In 1853, he returned to Germany to study in Dusseldorf, where he refined his technical abilities by painting Alpine landscapes. After he returned to America in 1857, he joined an overland survey expedition traveling westward across the country. Along the route, he took countless photographs & made sketches & returned East to paint from them. He exhibited at the Boston Athenaeum from 1859-1864, at the Brooklyn Art Association from 1861-1879, & at the Boston Art Club from 1873-1880. A member of the National Academy of Design from 1860-1902, he kept a studio in the 10th Street Studio Building, New York City from 1861-1879. He was a member of the Century Association from 1862-1902, when he died.

Indian Camp by Albert Bierstadt (German-born American painter, 1830-1902)

Albert Bierstadt (German-born American painter, 1830-1902) Indian camp, the end of the day (1862)

Matthew Biagell explains in his book Albert Bierstadt that,"Athough Bierstadt made probing studies of individual Indians during his travels in the West, he usually generalized their appearances & activities in his paintings. He placed them, as he placed European peasants in earlier works, in the middle distance, so that we witness their presence in a landscape setting rather than focus on their movements." Many of his landscapes including Native Americans are the western equivalent of his European generalized landscapes & reveals Bierstadt's consistent attitude toward subject matter regardless of its locale human subjects are engaged in seemingly unrelated activities. His paintings, bathed in a golden glow, often suggest nostalgia for a previous age when Native Americans were thought to have lived harmoniously with nature. Here they are not wily, wicked, or predatory, but are engaged instead in peaceful domestic industry. Works such as this are obviously part of the broad western European tradition of Arcadian scenes, but in its American version the tradition assumes a particular complexity & ambivalence. His painting including Natives often portray the nobility of the Indians before their contact with Europeans & subsequent debasement. Paintings displaying this attitude undoubtedly provided the public with the images it wanted to see, especially during the years Indians were systematically being driven from their lands. Suchromanticized paintings might also be considered retardataire; the Indian, noble or otherwise, no longer engaged many serious 19C writers after the 1850s, & precise anthropological & linguistic analyses of Indian tribes were already being included in the Pacific railroad reports by that time.

Albert Bierstadt (German-born American painter, 1830-1902) was best known for these lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Bierstadt, was born in Solingen, Germany. He was still a toddler, when his family moved from Germany to New Bedford in Massachusetts. In 1853, he returned to Germany to study in Dusseldorf, where he refined his technical abilities by painting Alpine landscapes. After he returned to America in 1857, he joined an overland survey expedition traveling westward across the country. Along the route, he took countless photographs & made sketches & returned East to paint from them. He exhibited at the Boston Athenaeum from 1859-1864, at the Brooklyn Art Association from 1861-1879, & at the Boston Art Club from 1873-1880. A member of the National Academy of Design from 1860-1902, he kept a studio in the 10th Street Studio Building, New York City from 1861-1879. He was a member of the Century Association from 1862-1902, when he died.

Camping Indians in Mariposa, Yosemite Valley, California by Albert Bierstadt (German-born American painter, 1830-1902)

Albert Bierstadt (German-born American painter, 1830-1902) Camp Indians in Mariposa, Yosemite Valley, California (c 1872)

Matthew Biagell explains in his book Albert Bierstadt that,"Athough Bierstadt made probing studies of individual Indians during his travels in the West, he usually generalized their appearances & activities in his paintings. He placed them, as he placed European peasants in earlier works, in the middle distance, so that we witness their presence in a landscape setting rather than focus on their movements." Many of his landscapes including Native Americans are the western equivalent of his European generalized landscapes & reveals Bierstadt's consistent attitude toward subject matter regardless of its locale human subjects are engaged in seemingly unrelated activities. His paintings, bathed in a golden glow, often suggest nostalgia for a previous age when Native Americans were thought to have lived harmoniously with nature. Here they are not wily, wicked, or predatory, but are engaged instead in peaceful domestic industry. Works such as this are obviously part of the broad western European tradition of Arcadian scenes, but in its American version the tradition assumes a particular complexity & ambivalence. His painting including Natives often portray the nobility of the Indians before their contact with Europeans & subsequent debasement. Paintings displaying this attitude undoubtedly provided the public with the images it wanted to see, especially during the years Indians were systematically being driven from their lands. Suchromanticized paintings might also be considered retardataire; the Indian, noble or otherwise, no longer engaged many serious 19C writers after the 1850s, & precise anthropological & linguistic analyses of Indian tribes were already being included in the Pacific railroad reports by that time.

Albert Bierstadt (German-born American painter, 1830-1902) was best known for these lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Bierstadt, was born in Solingen, Germany. He was still a toddler, when his family moved from Germany to New Bedford in Massachusetts. In 1853, he returned to Germany to study in Dusseldorf, where he refined his technical abilities by painting Alpine landscapes. After he returned to America in 1857, he joined an overland survey expedition traveling westward across the country. Along the route, he took countless photographs & made sketches & returned East to paint from them. He exhibited at the Boston Athenaeum from 1859-1864, at the Brooklyn Art Association from 1861-1879, & at the Boston Art Club from 1873-1880. A member of the National Academy of Design from 1860-1902, he kept a studio in the 10th Street Studio Building, New York City from 1861-1879. He was a member of the Century Association from 1862-1902, when he died.

Indians in the Rocky Mountains, Lander Peak 1863 by Albert Bierstadt (German-born American painter, 1830-1902)

Albert Bierstadt (German-born American painter, 1830-1902) Rocky Mountains, Lander Peak (1863)

Matthew Biagell explains in his book Albert Bierstadt that,"Athough Bierstadt made probing studies of individual Indians during his travels in the West, he usually generalized their appearances & activities in his paintings. He placed them, as he placed European peasants in earlier works, in the middle distance, so that we witness their presence in a landscape setting rather than focus on their movements." Many of his landscapes including Native Americans are the western equivalent of his European generalized landscapes & reveals Bierstadt's consistent attitude toward subject matter regardless of its locale human subjects are engaged in seemingly unrelated activities. His paintings, bathed in a golden glow, often suggest nostalgia for a previous age when Native Americans were thought to have lived harmoniously with nature. Here they are not wily, wicked, or predatory, but are engaged instead in peaceful domestic industry. Works such as this are obviously part of the broad western European tradition of Arcadian scenes, but in its American version the tradition assumes a particular complexity & ambivalence. His painting including Natives often portray the nobility of the Indians before their contact with Europeans & subsequent debasement. Paintings displaying this attitude undoubtedly provided the public with the images it wanted to see, especially during the years Indians were systematically being driven from their lands. Suchromanticized paintings might also be considered retardataire; the Indian, noble or otherwise, no longer engaged many serious 19C writers after the 1850s, & precise anthropological & linguistic analyses of Indian tribes were already being included in the Pacific railroad reports by that time.

Albert Bierstadt (German-born American painter, 1830-1902) was best known for these lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Bierstadt, was born in Solingen, Germany. He was still a toddler, when his family moved from Germany to New Bedford in Massachusetts. In 1853, he returned to Germany to study in Dusseldorf, where he refined his technical abilities by painting Alpine landscapes. After he returned to America in 1857, he joined an overland survey expedition traveling westward across the country. Along the route, he took countless photographs & made sketches & returned East to paint from them. He exhibited at the Boston Athenaeum from 1859-1864, at the Brooklyn Art Association from 1861-1879, & at the Boston Art Club from 1873-1880. A member of the National Academy of Design from 1860-1902, he kept a studio in the 10th Street Studio Building, New York City from 1861-1879. He was a member of the Century Association from 1862-1902, when he died.

Indian Camp in the Mountains by Albert Bierstadt (German-born American painter, 1830-1902)

Albert Bierstadt (German-born American painter, 1830-1902) Indian camp in the mountains

Matthew Biagell explains in his book Albert Bierstadt that,"Athough Bierstadt made probing studies of individual Indians during his travels in the West, he usually generalized their appearances & activities in his paintings. He placed them, as he placed European peasants in earlier works, in the middle distance, so that we witness their presence in a landscape setting rather than focus on their movements." Many of his landscapes including Native Americans are the western equivalent of his European generalized landscapes & reveals Bierstadt's consistent attitude toward subject matter regardless of its locale human subjects are engaged in seemingly unrelated activities. His paintings, bathed in a golden glow, often suggest nostalgia for a previous age when Native Americans were thought to have lived harmoniously with nature. Here they are not wily, wicked, or predatory, but are engaged instead in peaceful domestic industry. Works such as this are obviously part of the broad western European tradition of Arcadian scenes, but in its American version the tradition assumes a particular complexity & ambivalence. His painting including Natives often portray the nobility of the Indians before their contact with Europeans & subsequent debasement. Paintings displaying this attitude undoubtedly provided the public with the images it wanted to see, especially during the years Indians were systematically being driven from their lands. Suchromanticized paintings might also be considered retardataire; the Indian, noble or otherwise, no longer engaged many serious 19C writers after the 1850s, & precise anthropological & linguistic analyses of Indian tribes were already being included in the Pacific railroad reports by that time.

Albert Bierstadt (German-born American painter, 1830-1902) was best known for these lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Bierstadt, was born in Solingen, Germany. He was still a toddler, when his family moved from Germany to New Bedford in Massachusetts. In 1853, he returned to Germany to study in Dusseldorf, where he refined his technical abilities by painting Alpine landscapes. After he returned to America in 1857, he joined an overland survey expedition traveling westward across the country. Along the route, he took countless photographs & made sketches & returned East to paint from them. He exhibited at the Boston Athenaeum from 1859-1864, at the Brooklyn Art Association from 1861-1879, & at the Boston Art Club from 1873-1880. A member of the National Academy of Design from 1860-1902, he kept a studio in the 10th Street Studio Building, New York City from 1861-1879. He was a member of the Century Association from 1862-1902, when he died.

Karl Ferdinand Wimar (1828-1862) The Captive Charger

Karl Ferdinand Wimar (1828-1862 a painter of the American West was also known as Charles Wimar & Carl Wimar) The Captive Charger

A German-born immigrant to the United States, Charles Wimar(1828-1862) was fascinated by the American frontier.   In 1843, he traveled to St. Louis, a fur-trading frontier town at the time. Between 1846 & 1850, he was apprenticed to the artist Leon de Pomarede, & accompanied him on a journey up the Mississippi, to St. Anthony Falls in Minnesota. In 1852, Wimar returned to Germany; & for 4 years, he studied with with Emmanuel Leutze & Josef Fay in Düsseldorf. After his return to the United States, Wimar took several journeys up the Mississippi River and, in 1858, up the Yellowstone River – documented in various sketchbooks. When he died from tuberculosis at the age of 34, he left about 50 paintings. Wimar's paintings, like others of the time, reinforced notions of Native Americans as savage & white settlers as cultivated & divinely ordained - a notion that helped justify white colonization of the West. 

Indigenous American Women by Alfred Jacob Miller (1810-1874) - Indian Courtship

Alfred Jacob Miller (American artist, 1810-1874) Indian Courtship

Indian Courtship

"The North American Indian carries his wonderful stoicism into every transaction of his life,- even the tender subject of selecting a helpmate does not disturb his tranquility - neither is he affected with the slightest romance in regard to the subject. He brings his presents and casts them at the feet of his bronzed favorite, ostensibly for her; but intended for the optics of the father,- these consist of cloths of brilliant colors, beaver skins, beads, trinkets &c." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837). 

In July of 1858, Baltimore art collector William T. Walters commissioned 200 watercolors at $12  apiece from Baltimore-born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text written by the artist, & were delivered in installments over the next 21 months & ultimately bound in 3 albums. These albums included the field-sketches drawn during Miller's 1837 expedition to the annual fur-trader's rendezvous in the Green River Valley (now western Wyoming).  These watercolors offer a unique record of the the lives of those involved in the closing years of the western fur trade & a look at the artist's opinions of both women & Native Americans.  The Walters Art Museum, Baltimore, Maryland.

The Buffalo Dance by Karl Ferdinand Wimar (1828-1862)

Karl Ferdinand Wimar (1828-1862 a painter of the American West was also known as Charles Wimar & Carl Wimar) The Buffalo Dance

The Buffalo Dance, or Bison Dance, was an annual dance festival of many North American Plains Indians, including the Mandan, Sioux, Cheyenne, Pawnee, & Omaha, among others. The festival traditionally coincided with the return of the buffalo herds, & included a feast & a dance with a number of men wearing buffalo & other animal skins.As the buffalo, or bison, was so central to society, it was important to assure the return of the herd & an abundance of food & resources. It is notable for being one of the earliest films made featuring Native Americans. The Buffalo Dance can also refer to section of larger ceremonies & dances, such as the Sun Dance. In some Native American tribes, societies it was also a dance more associated with curing the ill, calling on the spirit of the buffalo.

A German-born immigrant to the United States, Charles Wimar was fascinated by the American frontier, Wimar focused during this period on images of indiginous American conflicts with settlers, in particular the theme of captivity & abduction. This theme appeared widely in the popular literature & visual arts of the 18C & 19C, in which it was fashionable to mythologize the struggles of the frontier with exotic portrayals of the West & Native Americans. When he died from tuberculosis at the age of 34, he left about 50 paintings. In 1843, he traveled to St. Louis, a fur-trading frontier town at the time. Between 1846 & 1850, he was apprenticed to the artist Leon de Pomarede, & accompanied him on a journey up the Mississippi, to St. Anthony Falls in Minnesota. In 1852, Wimar returned to Germany; & for 4 years, he studied with with Emmanuel Leutze & Josef Fay in Düsseldorf. After his return to the United States, Wimar took several journeys up the Mississippi River and, in 1858, up the Yellowstone River – documented in various sketchbooks. Wimar's paintings, like others of the time, reinforced notions of Native Americans as savage & white settlers as cultivated & divinely ordained - a notion that helped justify white colonization of the West. 

Paul Kane (1810–1871) Native American Buffalo Camp

Paul Kane (1810–1871) Buffalo Camp

The main reason for the bison's near-demise, much like the actual demise of the Passenger Pigeon, was commercial hunting.
Bison skins were used for industrial machine belts, clothing such as robes, & rugs. There was a huge export trade to Europe of bison hides. Old West bison hunting was very often a big commercial enterprise, involving organized teams of one or two professional hunters, backed by a team of skinners, gun cleaners, cartridge reloaders, cooks, wranglers, blacksmiths, security guards, teamsters, & numerous horses & wagons. Men were even employed to recover & recast lead bullets taken from the carcasses. Many of these professional hunters, such as Buffalo Bill Cody, killed over a hundred animals at a single stand & many thousands in their career. One professional hunter killed over 20,000 by his own count. A good hide could bring $3 in Dodge City, Kansas, & a very good one (the heavy winter coat) could sell for $50 in an era when a laborer would be lucky to make a dollar a day.

The hunter would customarily locate the herd in the early morning, & station himself about 100 yards/meters from it, shooting the animals broadside through the lungs. Head shots were not preferred as the soft lead bullets would often flatten & fail to penetrate the skull, especially if mud was matted on the head of the animal. The bison would continue to drop until either the herd sensed danger & stampeded or perhaps a wounded animal attacked another, causing the herd to disperse. If done properly a large number of bison would be felled at one time. Following up were the skinners, who would drive a spike through the nose of each dead animal with a sledgehammer, hook up a horse team, & pull the hide from the carcass. The hides were dressed, prepared, & stacked on the wagons by other members of the organization.

For a decade after 1873, there were several hundred, perhaps over a thousand, such commercial hide hunting outfits harvesting bison at any one time, vastly exceeding the take by American Indians or individual meat hunters. The commercial take arguably was anywhere from 2,000 to 100,000 animals per day depending on the season, though there are no statistics available. It was said that the Big .50s were fired so much that hunters needed at least two rifles to let the barrels cool off; The Fireside Book of Guns reports they were sometimes quenched in the winter snow. Dodge City saw railroad cars sent East filled with stacked hides.


The building of the railroads through Colorado & Kansas split the bison herd in two parts, the southern herd & the northern herd. The last refuge of the southern herd was in the Texas Panhandle.

Alfred Jacob Miller (1810-1874) - Indian Lodge

Alfred Jacob Miller (American artist, 1810-1874) Indian Lodge

Indian Lodge

Along the waters of the upper Platte River, Miller encountered this Indian who had taken advantage of a perculiarly bent tree to put up planks to form a "very tolerable Lodge for his progeny." To the right a female is seated, making moccasins. The head of the household is seated to the left, smoking his calumet, "not trying to solve the difficult problem, the squaring of the circle," Miller supposed. A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).  

In July of 1858, Baltimore art collector William T. Walters commissioned 200 watercolors at $12  apiece from Baltimore-born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text written by the artist, & were delivered in installments over the next 21 months & ultimately bound in 3 albums. These albums included the field-sketches drawn during Miller's 1837 expedition to the annual fur-trader's rendezvous in the Green River Valley (now western Wyoming).  These watercolors offer a unique record of the the lives of those involved in the closing years of the western fur trade & a look at the artist's opinions of both women & Native Americans. 

 The Walters Art Museum, Baltimore, Maryland. 

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. 

Karl Bodmer (1809-1893) Encounters 19C Native American Traditions

Karl Bodmer (Swiss Artist, 1809-1893) Watercolor of an Assinboin Indian magic pile 

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. 

Indian Camp in California by Albert Bierstadt (German-born American painter, 1830-1902)

Albert Bierstadt (German-born American painter, 1830-1902) Indian camp in California (1866)

Matthew Biagell explains in his book Albert Bierstadt that,"Athough Bierstadt made probing studies of individual Indians during his travels in the West, he usually generalized their appearances & activities in his paintings. He placed them, as he placed European peasants in earlier works, in the middle distance, so that we witness their presence in a landscape setting rather than focus on their movements." Many of his landscapes including Native Americans are the western equivalent of his European generalized landscapes & reveals Bierstadt's consistent attitude toward subject matter regardless of its locale human subjects are engaged in seemingly unrelated activities. His paintings, bathed in a golden glow, often suggest nostalgia for a previous age when Native Americans were thought to have lived harmoniously with nature. Here they are not wily, wicked, or predatory, but are engaged instead in peaceful domestic industry. Works such as this are obviously part of the broad western European tradition of Arcadian scenes, but in its American version the tradition assumes a particular complexity & ambivalence. His painting including Natives often portray the nobility of the Indians before their contact with Europeans & subsequent debasement. Paintings displaying this attitude undoubtedly provided the public with the images it wanted to see, especially during the years Indians were systematically being driven from their lands. Suchromanticized paintings might also be considered retardataire; the Indian, noble or otherwise, no longer engaged many serious 19C writers after the 1850s, & precise anthropological & linguistic analyses of Indian tribes were already being included in the Pacific railroad reports by that time.

Albert Bierstadt (German-born American painter, 1830-1902) was best known for these lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Bierstadt, was born in Solingen, Germany. He was still a toddler, when his family moved from Germany to New Bedford in Massachusetts. In 1853, he returned to Germany to study in Dusseldorf, where he refined his technical abilities by painting Alpine landscapes. After he returned to America in 1857, he joined an overland survey expedition traveling westward across the country. Along the route, he took countless photographs & made sketches & returned East to paint from them. He exhibited at the Boston Athenaeum from 1859-1864, at the Brooklyn Art Association from 1861-1879, & at the Boston Art Club from 1873-1880. A member of the National Academy of Design from 1860-1902, he kept a studio in the 10th Street Studio Building, New York City from 1861-1879. He was a member of the Century Association from 1862-1902, when he died.

Paul Kane (1810–1871) Return of a War Party in Canada, 1847

Paul Kane (1810–1871) Return of a War Party in Canada, 1847. Songhees village (left) and Fort Victoria (right).

Pacific Coast Ohlone Indian 1816 by Louis Choris (1795-1828)

Ohlone people, also known as the Costanoan, are a Native American people of the central & northern California coast. When Spanish explorers & missionaries arrived in the late 18th century, the Ohlone inhabited the area along the coast from San Francisco Bay through Monterey Bay to the lower Salinas Valley. They lived by hunting, fishing, & gathering, in the typical ethnographic California pattern. The members of these various bands interacted freely with one another as they built friendships & marriages, traded tools & other necessities, & partook in cultural practices. Before the Spanish came, the northern California region was one of the most densely populated regions north of Mexico. However in the years 1769 to 1833, the Spanish missions in California had a devastating effect on Ohlone culture. The Ohlone population declined steeply during this period.

 Louis Choris (German-Russian painter 1795-1828) Ohlone Indian 1816

Louis Choris (1795-1828) was a German-Russian painter & explorer. He was one of the 1st sketch artists used for for expedition research. Choris, who was a Russian of German stock, was born in Yekaterinoslav, now Dnipropetrovsk, Ukraine on March 22, 1795. He visited the Pacific coast of North America in 1816, on board the Ruric, being attached in the capacity of artist to the Romanzoff expedition under the command of Lieutenant Otto von Kotzebue, sent out for the purpose of exploring a Northwest Passage. After the voyage, Choris went to Paris, where he issued a portfolio of his drawings in lithographic reproduction. Choris worked extensively in pastels, as he documented the Ohlone people in the missions of San Francisco, California in 1816. Voyage Pittoresque Autour du Monde, Avec des Portraits de Savages d'Amerique...by Louis Choriswas was published in Paris by Firmin Didot in 1822. Choris was only 20 years old,  when he was appointed official artist aboard the Rurik, 1815- 1818, commanded by the Russian, Otto von Kotzebue. After visiting islands in the South Seas, Kotzebue explored the North American coast & landed twice on the Hawaiian Islands. The first work in particular has great American interest because of its lithographs of California, the Queen Charlotte Islands, the Aleutians, St. Lawrence Island in the Bering Sea, & Kotzebue Sound in Alaska. The lithographs cover all aspects of native life & culture.

Paul Kane (1810–1871) Native American encampment

Paul Kane (1810–1871) Native American encampment

Indian Stick Game at Mission Dolores 1822 by Louis Choris (1795-1828)

Ohlone people, also known as the Costanoan, are a Native American people of the central & northern California coast. When Spanish explorers & missionaries arrived in the late 18th century, the Ohlone inhabited the area along the coast from San Francisco Bay through Monterey Bay to the lower Salinas Valley. They lived by hunting, fishing, & gathering, in the typical ethnographic California pattern. The members of these various bands interacted freely with one another as they built friendships & marriages, traded tools & other necessities, & partook in cultural practices. Before the Spanish came, the northern California region was one of the most densely populated regions north of Mexico. However in the years 1769 to 1833, the Spanish missions in California had a devastating effect on Ohlone culture. The Ohlone population declined steeply during this period.

Louis Choris (German-Russian painter 1795-1828) Indian Stick Game at Mission Dolores 1822
Louis Choris (1795-1828) was a German-Russian painter & explorer. He was one of the 1st sketch artists used for for expedition research. Choris, who was a Russian of German stock, was born in Yekaterinoslav, now Dnipropetrovsk, Ukraine on March 22, 1795. He visited the Pacific coast of North America in 1816, on board the Ruric, being attached in the capacity of artist to the Romanzoff expedition under the command of Lieutenant Otto von Kotzebue, sent out for the purpose of exploring a Northwest Passage. After the voyage, Choris went to Paris, where he issued a portfolio of his drawings in lithographic reproduction. Choris worked extensively in pastels, as he documented the Ohlone people in the missions of San Francisco, California in 1816. Voyage Pittoresque Autour du Monde, Avec des Portraits de Savages d'Amerique...by Louis Choriswas was published in Paris by Firmin Didot in 1822. Choris was only 20 years old,  when he was appointed official artist aboard the Rurik, 1815- 1818, commanded by the Russian, Otto von Kotzebue. After visiting islands in the South Seas, Kotzebue explored the North American coast & landed twice on the Hawaiian Islands. The first work in particular has great American interest because of its lithographs of California, the Queen Charlotte Islands, the Aleutians, St. Lawrence Island in the Bering Sea, & Kotzebue Sound in Alaska. The lithographs cover all aspects of native life & culture.

Louisiana Native Americans by French-born François Bernard 1812–c 1880

Portrait, landscape, & genre painter, Francois Bernard is known in Louisiana primarily for his portraits in oil, pastel, & watercolor. He was probably born Nimes, France.

François Bernard (French-born Louisiana painter, 1812–a 1880) Choctaw Village Near Chefuncte
He studied at the Ecole des Beaux Arts at Paris & Collin' & exhibited in the Paris salon between 1842 & 1849. His portraits of Louisiana residents are dated as early as 1848, when he apparently was visiting. Bernard returned in Dec. 1856, to settle in New Orleans, supposedly at the invitation of a group of sugar planters who wanted him to paint their portraits. He worked in New Orleans during the winter months & traveled as an itinerant painter in the summer. It is probable that Bernard returned to France during these travels, since his children were born there (ca. 1857 & ca. 1862). He seems to have left New Orleans during the Civil War & traveled, especially around Mandeville, Louisiana, where he painted local Native Americans. In February of 1867, it was reported that he had returned to the city. 

François Bernard (French-born Louisiana painter, 1812–a 1880) Two Chitimacha Indians
He exhibited in New Orleans at Wageners in 1867; at the Grand State Fair in 1868; at Wagener & Meyer's from 1869-71; & at the American Exposition from 1885-6. About 1875, Bernard left New Orleans for Peru.

Inkpaduta (Scarlet Point) (c 1805–c 1879) - Wahpekute Dakota Indian chief

Inkpaduta (Scarlet Point) (c 1805–c 1879) by William E. Lass

Inkpaduta (Scarlet Point) (c 1805–c 1879) was a Wahpekute Dakota Indian chief and perpetrator of the so-called Spirit Lake Massacre, the principal clash between American Indians and whites in Iowa's history—was the son of chief Wamdisapa. When Inkpaduta was born in present-day southern Minnesota, the Wahpekute, numbering only about 550, ranged out of their main village near present-day Faribault, Minnesota, to hunt and trap. Their conditions were worsened by traditional warfare with the Sauk and Meskwaki to their south and by the disastrous 1837 smallpox epidemic.

Tasagi, the leading Wahpekute chief, favored ceding tribal lands to the federal government under the abortive 1841 Doty Treaty. Possibly because of tribal contention over the agreement, Tasagi was murdered. Inkpaduta was complicit enough to be forced into exile by Tasagi's adherents. For the next 16 years Inkpaduta and his small band hunted, trapped, and foraged in present-day northwestern Iowa, southwestern Minnesota, and southeastern South Dakota.

Because Inkpaduta did not participate in the 1851 treaties under which the Dakota (Eastern or Santee Sioux) ceded their lands in Minnesota and Iowa for annual government payments and reservations on the upper Minnesota River, his band had to continue to live off the land. Subsistence became much more difficult as whites began to settle northwest of Fort Dodge. Pioneers' complaints about begging and stealing by followers of Inkpaduta and Sintomniduta, a brother-in-law of the prominent Sisseton Dakota chief Sleepy Eyes, exacerbated tensions.

Relations deteriorated further after the murder of Sintomniduta by a white ruffian and the government's abandonment of three-year-old Fort Dodge in 1853. Threatened with starvation in the cold, snowy winter of 1856-1857, Inkpaduta and his dozen or so men killed some settlers between West Okoboji Lake and East Okoboji Lake on March 8, 1857. Within a few days, they killed 32 settlers. The affair was soon widely publicized as the Spirit Lake Massacre, because the entire lake complex was historically identified only as "Spirit Lake."

While Inkpaduta's band was escaping to the west, fear of a general Indian uprising gripped the Iowa-Minnesota frontier. Panicky newspaper editors made Inkpaduta an instant villainous celebrity. Although Inkpaduta did not play a significant role in Minnesota's Indian War of 1862, in which some 450 settlers were slain, the government's failure to apprehend him helped cause it. Some Dakota concluded that the government was incapable of responding to Indian attacks.

The army's offensive in Minnesota caused hundreds of Dakota to flee into Dakota Territory and Canada. Sympathy for their cause and white incursions during the Montana gold rush caused the Nakota (Middle Sioux) and Lakota (Western or Teton Sioux) to expand hostilities. When the federal government sent several thousand troops into Dakota Territory, Inkpaduta and his band were living with the Yanktonai, a branch of the Nakota. Inkpaduta participated in Sioux defeats at White Stone Hill (September 3, 1863) and Killdeer Mountain (July 28, 1864).

After the Killdeer Mountain setback, Inkpaduta became associated with Sitting Bull, prominent medicine man of the Hunkpapa Lakota. Inkpaduta was involved in the Lakota resistance to white advances in the upper Missouri country for over a decade before the epochal Great Sioux War of 1876. During that conflict, he was at the Battle of the Little Bighorn in which Sitting Bull and Crazy Horse led the annihilation of Lieutenant Colonel George Armstrong Custer's 220-man command. The aged and blind Inkpaduta did not participate in the fighting, but two of his sons distinguished themselves.

After the battle, Inkpaduta fled to Canada. He died several years later in the vicinity of present-day Brandon, Manitoba. Inkpaduta's reputation has been somewhat resurrected by recent historical reinterpretation that places more emphasis on his uncompromising resistance to the white takeover of Indian lands.

Sources A short scholarly biography of Inkpaduta is in Mark Diedrich, Famous Chiefs of the Eastern Sioux (1987). Another well-researched account is Peggy Rodina Larson, "A New Look at the Elusive Inkpaduta," Minnesota History 48 (1982), 24–35, derived from her master's thesis, "Inkpaduta-Renegade Sioux" (Mankato State College, 1969). The most detailed coverage of the Spirit Lake Massacre is in F. I. Harriott's five-part article in Annals of Iowa 18 (1932–1933), 243–94, 323– 82, 434–70, 483–517, 597–628; Abbie Gardner-Sharp, History of the Spirit Lake Massacre and Captivity of Miss Abbie Gardner (1885); and Thomas Teakle, The Spirit Lake Massacre (1918). The hysteria caused by the Spirit Lake Massacre and inconsistencies in firsthand accounts about it are presented in Mary Hawker Bakeman, ed., Legends, Letters and Lies: Readings about Inkpaduta and the Spirit Lake Massacre (2001). The only full-length biography, Maxwell Van Nuys, Inkpaduta- The Scarlet Point: Terror of the Dakota Frontier and Secret Hero of the Sioux (1998), is flawed by numerous errors, suppositions, and bias.

Research by Lass, William E. "Inkpaduta (Scarlet Point)" The Biographical Dictionary of Iowa. University of Iowa Press, 2009. 

Native Americans by Cassilly Adams (1843-1921)

 Cassilly Adams (American artist, 1843-1921)  Detail of Custer's Last Fight (1884)

Cassilly Adams (American artist, 1843-1921)  Custer's Last Fight (1884)

A descendant of President John Adams, Kassilli or Cassilly Adams (1843-1921) was born  in Zanesville, Ohio. His father, William Adams, was an amateur painter. Young Cassilly studied painting at the Academy of Art in Boston and Cincinnati Art School. During the Civil War he served in the US Navy.

From Europe to the Atlantic coast of America & on to the Pacific coast during the 17C-19C, settlers moved West encountering a variety of Indigenous Peoples who had lived on the land for centuries.

By 1880, Adams was living in St. Louis. In 1884, the artist created a monumental canvas depicting the Battle of the Little Bighorn (death of the Seventh Cavalry Regiment of the US Army and its famous commander George Custer) - "Custer's Last Fight." The painting was exhibited across the country, and then was purchased by the company "Anheuser-Busch" and later donated to the Seventh Cavalry. After the restoration of the original during the Great Depression, it was exhibited in the officers' club at Fort Bliss (Texas), and June 13, 1946 was burned in a fire. Despite the success of "Custer's Last Fight," Adams remained a relatively unknown artist. He focused on the image of Indians American West Plains life, worked as an illustrator, a farmer. He died Kassilli Adams May 8, 1921 in Traders Point near Indianapolis.

American artist Seth Eastman (1808-1875) portrays Native Americans

Seth Eastman (American artist, 1808-1875) Scalp Dance Of The Dakotas

Born in 1808 in Brunswick, Maine, Seth Eastman (1808-1875) found expression for his artistic skills in a military career. After graduating from the US Military Academy at West Point, where officers-in-training were taught basic drawing & drafting techniques, Eastman was posted to forts in Wisconsin & Minnesota before returning to West Point as assistant teacher of drawing. --- While at Fort Snelling, Eastman married Wakaninajinwin (Stands Sacred), the 15-year-old daughter of Cloud Man, Dakota chief. Eastman left in 1832, for another military assignment soon after the birth of their baby girl, Winona, & he declared his marriage ended when he left. Winona was also known as Mary Nancy Eastman & was the mother of Charles Alexander Eastman, author of Indian Boyhood. --- From 1833 to 1840, Eastman taught drawing at West Point. In 1835, he married his 2nd wife & was reassigned to Fort Snelling as a military commander & remained there with Mary & their 5 children for the next 7 years. During this time Eastman began recording the everyday way of life of the Dakota & the Ojibwa people. Transferred to posts in Florida, & Texas in the 1840s, Eastman made sketches of the native peoples there. This experience prepared him for the next 5 yeas in Washington, DC, where he was assigned to the commissioner of Indian Affairs & illustrated Henry Rowe Schoolcraft's important 6-volume Historical  Statistical Information Respecting the History, Condition, & Prospects of the Indian Tribes of the United States. In 1867, Eastman returned to the Capitol to paint a series of scenes of Native American life for the House Committee on Indian Affairs. From the office of the United States Senate curator, we learn that in 1870, the House Committee on Military Affairs commissioned artist Seth Eastman 17 to paint images of important fortifications in the United States. He completed the works between 1870 & 1875. Of his 17 paintings of forts, 8 are located in the Senate, while the others are displayed on the House side of the Capitol. Eastman was working on the painting West Point, when he died in 1875.

Mariposa Indian Encampment, Yosemite Valley, California by Albert Bierstadt (German-born American painter, 1830-1902)

From Europe to the Atlantic coast of America & on to the Pacific coast during the 17C-19C, settlers moved West encountering a variety of Indigenous Peoples who had lived on the land for centuries.

Albert Bierstadt (German-born American painter, 1830-1902) Mariposa Indian Encampment, Yosemite Valley, California

California and the Indian Wars: Mariposa Indian War, 1850-1851
by Warren A. Beck and Ynez D. Hasse

The Mariposa Indian War was the most famed Indian encounter with miners in the southern Sierra region and also led to the discovery of Yosemite Valley. In 1849, as gold seekers invaded the country immediately west of the present Yosemite National Park they found one of the more densely populated Indian areas of the state. This was a region where acorns were abundant and game was plentiful below the winter snow line. Unfortunately, gold was also easily found along the numerous mountain strearns. At first the Indians (mainly Mono Piutes) welcomed the white man and the goods which could be obtained by trade, but resentment grew as virtually every valley was taken over by the newcomers.

To a certain extent, the story of this clash between Indian and white is the saga of James D. Savage, one of the most remarkable of the many characters of the Gold Rush era. A tall blue-eyed blonde who always wore red shirts to better impress the Indians, Savage had been a Bear Flagger, a one-time Sutter employee, and the one who was reported to have excited San Franciscans by hauling a barrel of gold dust through a hotel lobby. Establishing trading posts on the Fresno River and Mariposa Creek, he reportedly traded to the Indians "an ounce of gold [for] ... five pounds of flour, or a pound of bacon, a shirt required five ounces, and a pair of boots or a hat brought a full pound of the precious metal." Something of a linguist, Savage quickly learned most of the Indian tongues. He further ingratiated himself by taking wives from several different tribes (one authority said thirty-three!). It is hard to determine if the initial Indian attack was directed against Savage or against whites in general.

Through his wives Savage learned of a planned Indian uprising in September, 1850, but other whites did not take the warning seriously. In December, Savage's Trading Post was destroyed at Fresno Crossing, and three of his men killed. A force under Sheriff James Burney clashed indcisively with the Indians on January 11, 1851. An appeal to the Governor for help led to the organization of the Mariposa Battalion under "Major" James D. Savage, with three companies led by Captain John J. Kuykendall, Captain John Boling, and Captain William Dill. Kuykendall's company went southward to the King and upper Kaweah while the other two companies, in three campaigns, followed the Indians into the mountains.

The Mariposa Battalion was forced to wait before attacking the Indians while. a federal Indian commission, composed of Redick McKee, George W. Barbour, and Oliver M. Wozencraft, sought a peaceful solution. On March 19, 1851, the Commissioners signed a treaty at Camp Fremont with six tribes. However, the Yosemites (Miwok) and Chowchillas (Yokut) were absent, so the campaign against them began on March 19. The companies of Boling and Dill moved against the Yosemites, and discovered their valley on March 27. However, the battalion was forced to march in 3- to 5-foot snow drifts and in rain and sleet and found few Indians. The second campaign began on April 13, against the Chowchillas, and destroyed Indian food stores, but again the natives were able to elude their pursuers. However, the death of their chief induced the Chowchillas to surrender and accept reservation stattus. When the Yosemites refused to come to Camp Barbour and make peace, the third campaign launched against them, but with no more success than the others. However, as in all Indian wars the result was foreordained; the Yosemites were captured at Lake Tenaija (or Tenaya, named for their chief) on May 22, and forced to accept reservation life.

The artist Albert Bierstadt (German-born American, 1830-1902) was best known for his lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Bierstadt, was born in Solingen, Germany. He was still a toddler, when his family moved from Germany to New Bedford in Massachusetts. In 1853, he returned to Germany to study in Dusseldorf, where he refined his technical abilities by painting Alpine landscapes. After he returned to America in 1857, he joined an overland survey expedition traveling westward across the country. Along the route, he took countless photographs & made sketches & returned East to paint from them. He exhibited at the Boston Athenaeum from 1859-1864, at the Brooklyn Art Association from 1861-1879, & at the Boston Art Club from 1873-1880. A member of the National Academy of Design from 1860-1902, he kept a studio in the 10th Street Studio Building, New York City from 1861-1879. He was a member of the Century Association from 1862-1902, when he died.

Breaking up Camp at Sunrise by Alfred Jacob Miller (1810-1874)

 Alfred Jacob Miller (American, 1810-1874) Breaking up Camp at Sunrise

At four o'clock in the morning, it is the duty of the last men on guard to loosen the horses from their pickets, in order to range and feed. At daylight, everybody is up;- our provisors are busy with preparations for breakfast;- tents and lodges are collapsed, suddenly thrown down, wrapped up, and bundled into the wagons. If the sun is 20 minutes above the horizon when our breakfast is finished, we conceive he has a reproachful look. By this time the horses are driven in, and each man hurries after his own, saddles or harnesses him, and the train puts itself en route." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).

In July of 1858, Baltimore art collector William T. Walters commissioned 200 watercolors at $12  apiece from Baltimore-born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text written by the artist, & were delivered in installments over the next 21 months & ultimately bound in 3 albums. These albums included the field-sketches drawn during Miller's 1837 expedition to the annual fur-trader's rendezvous in the Green River Valley (now western Wyoming).  These watercolors offer a unique record of the the lives of those involved in the closing years of the western fur trade & a look at the artist's opinions of both women & Native Americans.  The Walters Art Museum, Baltimore, Maryland.

Pacific Coast Ohlone & Costanoan Native Americans by Louis Choris (1795-1828)

Ohlone people, also known as the Costanoan, are a Native American people of the central & northern California coast. When Spanish explorers & missionaries arrived in the late 18th century, the Ohlone inhabited the area along the coast from San Francisco Bay through Monterey Bay to the lower Salinas Valley. They lived by hunting, fishing, & gathering, in the typical ethnographic California pattern. The members of these various bands interacted freely with one another as they built friendships & marriages, traded tools & other necessities, & partook in cultural practices. Before the Spanish came, the northern California region was one of the most densely populated regions north of Mexico. However in the years 1769 to 1833, the Spanish missions in California had a devastating effect on Ohlone culture. The Ohlone population declined steeply during this period.

Louis Choris (1795-1828) Indian Hunting in the Bay Of San Francisco, CA 1822 Engraved by Jean Augustin Franquein (1789-1839)

Louis Choris (1795-1828) was a German-Russian painter & explorer. He was one of the 1st sketch artists used for for expedition research. Choris, who was a Russian of German stock, was born in Yekaterinoslav, now Dnipropetrovsk, Ukraine on March 22, 1795. He visited the Pacific coast of North America in 1816, on board the Ruric, being attached in the capacity of artist to the Romanzoff expedition under the command of Lieutenant Otto von Kotzebue, sent out for the purpose of exploring a Northwest Passage. After the voyage, Choris went to Paris, where he issued a portfolio of his drawings in lithographic reproduction. Choris worked extensively in pastels, as he documented the Ohlone people in the missions of San Francisco, California in 1816. Voyage Pittoresque Autour du Monde, Avec des Portraits de Savages d'Amerique...by Louis Choriswas was published in Paris by Firmin Didot in 1822. Choris was only 20 years old,  when he was appointed official artist aboard the Rurik, 1815- 1818, commanded by the Russian, Otto von Kotzebue. After visiting islands in the South Seas, Kotzebue explored the North American coast & landed twice on the Hawaiian Islands. The first work in particular has great American interest because of its lithographs of California, the Queen Charlotte Islands, the Aleutians, St. Lawrence Island in the Bering Sea, & Kotzebue Sound in Alaska. The lithographs cover all aspects of native life & culture.

American artist Seth Eastman (1808-1875) portrays Wah-ba-sha Village on the Mississippi River 650 Miles above St. Louis

Seth Eastman (American artist, 1808-1875) Wah-ba-sha Village on the Mississippi River 650 Miles above St. Louis

Born in 1808 in Brunswick, Maine, Seth Eastman (1808-1875) found expression for his artistic skills in a military career. After graduating from the US Military Academy at West Point, where officers-in-training were taught basic drawing & drafting techniques, Eastman was posted to forts in Wisconsin & Minnesota before returning to West Point as assistant teacher of drawing. --- While at Fort Snelling, Eastman married Wakaninajinwin (Stands Sacred), the 15-year-old daughter of Cloud Man, Dakota chief. Eastman left in 1832, for another military assignment soon after the birth of their baby girl, Winona, & he declared his marriage ended when he left. Winona was also known as Mary Nancy Eastman & was the mother of Charles Alexander Eastman, author of Indian Boyhood. --- From 1833 to 1840, Eastman taught drawing at West Point. In 1835, he married his 2nd wife & was reassigned to Fort Snelling as a military commander & remained there with Mary & their 5 children for the next 7 years. During this time Eastman began recording the everyday way of life of the Dakota & the Ojibwa people. Transferred to posts in Florida, & Texas in the 1840s, Eastman made sketches of the native peoples there. This experience prepared him for the next 5 yeas in Washington, DC, where he was assigned to the commissioner of Indian Affairs & illustrated Henry Rowe Schoolcraft's important 6-volume Historical  Statistical Information Respecting the History, Condition, & Prospects of the Indian Tribes of the United States. In 1867, Eastman returned to the Capitol to paint a series of scenes of Native American life for the House Committee on Indian Affairs. From the office of the United States Senate curator, we learn that in 1870, the House Committee on Military Affairs commissioned artist Seth Eastman 17 to paint images of important fortifications in the United States. He completed the works between 1870 & 1875. Of his 17 paintings of forts, 8 are located in the Senate, while the others are displayed on the House side of the Capitol. Eastman was working on the painting West Point, when he died in 1875.

Karl Ferdinand Wimar (1828-1862) The War Party

Karl Ferdinand Wimar (1828-1862 a painter of the American West was also known as Charles Wimar & Carl Wimar) The War Party

A German-born immigrant to the United States, Charles Wimar(1828-1862) was fascinated by the American frontier.   In 1843, he traveled to St. Louis, a fur-trading frontier town at the time. Between 1846 & 1850, he was apprenticed to the artist Leon de Pomarede, & accompanied him on a journey up the Mississippi, to St. Anthony Falls in Minnesota. In 1852, Wimar returned to Germany; & for 4 years, he studied with with Emmanuel Leutze & Josef Fay in Düsseldorf. After his return to the United States, Wimar took several journeys up the Mississippi River and, in 1858, up the Yellowstone River – documented in various sketchbooks. When he died from tuberculosis at the age of 34, he left about 50 paintings. Wimar's paintings, like others of the time, reinforced notions of Native Americans as savage & white settlers as cultivated & divinely ordained - a notion that helped justify white colonization of the West. 

Alfred Jacob Miller (1810-1874) - Arapahos

Alfred Jacob Miller (American, 1810-1874) Arapahos 

"This scene represents an Arapaho Indian en famille, smoking his pipe and reposing under a blanket suspended from the branches of a tree, to screen them from the sun. We saw some fine speciments of this tribe. They do not shave their heads like the Sioux, but braid the centre or scalp lock with ribbons or feathers of the 'War Eagle.' We noticed also a difference in their moccasins, the fronts extending only to the instep and wanting the side flaps. Indians are capable of designating a tribe very often by merely having the moccasins. The Arapahos were tall, finely formed men, from 5 ft. 8 in. to 6 ft. in height. In setting out on their war parties, the process of painting, dressing, and adorning themselves occupies considerably of their time and attention. When a party is seen scouring over the prairies under thes circumstances it bodes no good to theose they happen to encounter. As regards their steeds, they have no geldings & we saw none, except those brought from the States. The animal thus preserves all his game spirit & is capable of great endurance. They partake somewhat of the Arabian breed." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837). 

In July of 1858, Baltimore art collector William T. Walters commissioned 200 watercolors at $12  apiece from Baltimore-born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text written by the artist, & were delivered in installments over the next 21 months & ultimately bound in 3 albums. These albums included the field-sketches drawn during Miller's 1837 expedition to the annual fur-trader's rendezvous in the Green River Valley (now western Wyoming).  These watercolors offer a unique record of the the lives of those involved in the closing years of the western fur trade & a look at the artist's opinions of both women & Native Americans.  The Walters Art Museum, Baltimore, Maryland.

Alfred Jacob Miller (1810-1874) - Breakfast at Sunrise

Alfred Jacob Miller (American, 1810-1874) Breakfast at Sunrise

"The sketch represents 'our mess' at the morning meal;- Jean whi is pouring out coffee, seems to our hungry eyes more graceful than Hebe disposing Nectar, although he is more shapeless than a log of wood. The plate service of the table is of capital tin ware, partout, and the etiquette rigid in some particulars;- for instance, nothing in the shape of a fork must be used. With a 'Bowie' you separate a large rib from the mass before you, hold firmly to the smaller end, and your outrageous appetite teaches all the rest. The usual mode of sitting is cross-legged like a Turk. Indians are looking on patiently, in order to be ready for the 2nd table." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837). 

In July of 1858, Baltimore art collector William T. Walters commissioned 200 watercolors at $12  apiece from Baltimore-born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text written by the artist, & were delivered in installments over the next 21 months & ultimately bound in 3 albums. These albums included the field-sketches drawn during Miller's 1837 expedition to the annual fur-trader's rendezvous in the Green River Valley (now western Wyoming).  These watercolors offer a unique record of the the lives of those involved in the closing years of the western fur trade & a look at the artist's opinions of both women & Native Americans.  The Walters Art Museum, Baltimore, Maryland.

Artist Karl Bodmer (1809-1893) Indian Capture of the Calloway Girls and Jemima Boone

Attributed to Karl Bodmer (Swiss Artist, 1809-1893) Capture of the Calloway Girls and Jemima Boone 

The capture and rescue of Jemima Boone and the Callaway girls were captured by a Cherokee-Shawnee raiding party and rescued by Daniel Boone and his rescue team, celebrated for their success. The incident was portrayed by James Fenimore Cooper in a fictionalized version of the episode in his 1826 novel The Last of the Mohicans. After the outbreak of the American Revolutionary War in 1775, violence increased between American Indians and settlers in Kentucky. American Indians, particularly Shawnee from north of the Ohio River, raided the Kentucky settlements, hoping to drive away the settlers, whom they regarded as trespassers. The Cherokee, led by Dragging Canoe, frequently attacked isolated settlers and hunters, convincing many to abandon Kentucky. This was part of a 20-year Cherokee resistance to pioneer settlement. By the late spring of 1776, fewer than 200 Americans remained in Kentucky, primarily at the fortified settlements of Boonesborough, Harrodsburg, and Logan's Station in the southeastern part of the state.

On July 14, 1776, a raiding party caught 3 teenage girls from Boonesborough as they were floating in a canoe on the Kentucky River. They were Jemima, daughter of Daniel Boone, and Elizabeth and Frances, daughters of Colonel Richard Callaway. The Cherokee Hanging Maw led the raiders, 2 Cherokee and 3 Shawnee warriors. The girls' capture raised alarm and Boone organized a rescue party. Meanwhile, the captors hurried the girls north toward the Shawnee towns across the Ohio River. The girls attempted to mark their trail until threatened by the Indians. The 3rd morning, as the Indians were building a fire for breakfast, the rescuers came up. As one Indian was shot, Jemima reportedly said, "That's Father's gun!" He was not immediately killed, but two wounded Native American men later died. The Indians retreated, leaving the girls to be taken home by the settlers. The episode served to put the settlers in the Kentucky wilderness on guard and prevented their straying beyond the fort. Although the rescuers had feared the girls would be raped or otherwise abused, Jemima Boone said, "The Indians were kind to us, as much so as they well could have been, or their circumstances permitted." The Cherokee may have abducted the girls as a response to what they viewed as D. Boone's failure to observe Cherokee treaties. The Treaty of the Green River Wilderness promised Kentucky to Cherokee Tribe for "as long as the waters flow." 

The artist Karl Bodmer (Swiss, 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. 

Indians in Council by Albert Bierstadt (German-born American painter, 1830-1902)

Albert Bierstadt (German-born American painter, 1830-1902) The Indians on Board or in Council in California (c 1872)

Matthew Biagell explains in his book Albert Bierstadt that,"Athough Bierstadt made probing studies of individual Indians during his travels in the West, he usually generalized their appearances & activities in his paintings. He placed them, as he placed European peasants in earlier works, in the middle distance, so that we witness their presence in a landscape setting rather than focus on their movements." Many of his landscapes including Native Americans are the western equivalent of his European generalized landscapes & reveals Bierstadt's consistent attitude toward subject matter regardless of its locale human subjects are engaged in seemingly unrelated activities. His paintings, bathed in a golden glow, often suggest nostalgia for a previous age when Native Americans were thought to have lived harmoniously with nature. Here they are not wily, wicked, or predatory, but are engaged instead in peaceful domestic industry. Works such as this are obviously part of the broad western European tradition of Arcadian scenes, but in its American version the tradition assumes a particular complexity & ambivalence. His painting including Natives often portray the nobility of the Indians before their contact with Europeans & subsequent debasement. Paintings displaying this attitude undoubtedly provided the public with the images it wanted to see, especially during the years Indians were systematically being driven from their lands. Suchromanticized paintings might also be considered retardataire; the Indian, noble or otherwise, no longer engaged many serious 19C writers after the 1850s, & precise anthropological & linguistic analyses of Indian tribes were already being included in the Pacific railroad reports by that time.

Albert Bierstadt (German-born American painter, 1830-1902) was best known for these lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Bierstadt, was born in Solingen, Germany. He was still a toddler, when his family moved from Germany to New Bedford in Massachusetts. In 1853, he returned to Germany to study in Dusseldorf, where he refined his technical abilities by painting Alpine landscapes. After he returned to America in 1857, he joined an overland survey expedition traveling westward across the country. Along the route, he took countless photographs & made sketches & returned East to paint from them. He exhibited at the Boston Athenaeum from 1859-1864, at the Brooklyn Art Association from 1861-1879, & at the Boston Art Club from 1873-1880. A member of the National Academy of Design from 1860-1902, he kept a studio in the 10th Street Studio Building, New York City from 1861-1879. He was a member of the Century Association from 1862-1902, when he died.