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An account of Burbank's years among the Apaches, Kiowas, Ogallala Sioux, Hopi, Zuni, Arapahoes, Osages and many of the California Indian tribes.
Elbridge Burbank was a artist who painted western American Indians. He visited over 125 tribes from 1890 to 1900. The collection (1894-1915) consists of correspondence (1897-1898) to his wife, while he was in South Dakota among the Sioux Indians; in Montana with the Crow and Cheyennes; and in Arizona, with the Apaches. Also included are reminiscent writings, family letters, legal documents, photographs, and miscellany (1894-1915). (MF 330)
An account of Burbank's years among the Apaches, Kiowas, Ogallala Sioux, Hopi, Zuni, Arapahoes, Osages and many of the California Indian tribes.
Elbridge Ayer Burbank (1858-1949) travelled West in 1897 to paint portraits of Native Americans. By 1906, he had created nearly 1,000 oil portraits of Indians throughout North America. Burbank worked under the patronage of his uncle, Edward Ayer, but also in an informal association with members of the Bureau of American Ethnography, particularly William H. Holmes. This thesis suggests that Burbank's portraits were constructed, visually and conceptually, through the implementation of a number of contemporary ethnographic ideas and practices. Visually, Burbank builds on a compositional format employed in earlier Indian portraiture. Attention to visual specificity and empirical accuracy differentiates Burbank's works from earlier works and reflects contemporary ethnographic photography, particularly the "type" photographs used in physical anthropology. Burbank also often adopted for his own compositions the designs in his sitters' dress and ornaments. Burbank understood that to be pertinent to ethnographers his images not only had to match photography's visual accuracy, but also had to classify specifically enough for scientific purposes the visual information they contained. Burbank's portraits do so in that they are identified with the sitter's name, tribe, geographic location, date, and artist's signature. The importance of this particular information was derived from categorizations used in "life group" ethnographic exhibits and "type" photographs. While Burbank's labels shape how individual images are understood, they also define the portraits' relationship to one another. If the portraits are considered a collection, and Burbank's intention was to complete a portrait from every North American tribe, the labels also introduce a rational system, based on objective facts, through which each work could be quantified, classified, and compared. Lastly, Burbank's purpose in his endeavor was to preserve on canvas the physical traits and cultural objects of Indian culture for future study. This idea, to save elements of traditional Indian culture for scientific study because the culture was believed soon to disappear, was termed salvage ethnography and was the driving force in ethnography at the time. Burbank understood that for his images to be used in this manner, they had to comprise a collection that was rational, accurate, and complete.
Indian Country analyzes the works of Anglo writers and artists who encountered American Indians in the course of their travels in the Southwest during the one-hundred-year period beginning in 1840. Martin Padget looks first at the accounts produced by government-sponsored explorers, most notably John Wesley Powell's writings about the Colorado Plateau. He goes on to survey the writers who popularized the region in fiction and travelogue, including Helen Hunt Jackson and Charles F. Lummis. He also introduces us to Eldridge Ayer Burbank, an often-overlooked artist who between 1897 and 1917 made thousands of paintings and drawings of Indians from over 140 western tribes. Padget addresses two topics: how the Southwest emerged as a distinctive region in the minds of late-nineteenth- and early-twentieth-century Americans, and what impact these conceptions, and the growing presence of Anglos, had on Indians in the region. Popular writers like Jackson and Lummis presented the American Indians as a "primitive culture waiting to be discovered" and experienced firsthand. Later, as Padget shows, Anglo activists for Indian rights, such as Mabel Dodge Luhan and Mary Austin, worked for the acceptance of other views of Native Americans and their cultures.