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Re-examines Catlin's art and his vision of a "nation's park" to protect the buffalo and native American people
This Is A New Release Of The Original 1844 Edition.
The first biography in over sixty years of a great American artist whose paintings are more famous than the man who made them. George Catlin has been called the “first artist of the West,” as none before him lived among and painted the Native American tribes of the Northern Plains. After a false start as a painter of miniatures, Catlin found his calling: to fix the image of a “vanishing race” before their “extermination”—his word—by a government greedy for their lands. In the first six years of the 1830s, he created over six hundred portraits—unforgettable likenesses of individual chiefs, warriors, braves, squaws, and children belonging to more than thirty tribes living along the upper Missouri River. Political forces thwarted Catlin’s ambition to sell what he called his “Indian Gallery” as a national collection, and in 1840 the artist began three decades of self-imposed exile abroad. For a time, his exhibitions and writings made him the most celebrated American expatriate in London and Paris. He was toasted by Queen Victoria and breakfasted with King Louis-Philippe, who created a special gallery in the Louvre to show his pictures. But when he started to tour “live” troupes of Ojibbewa and Iowa, Catlin and his fortunes declined: He changed from artist to showman, and from advocate to exploiter of his native performers. Tragedy and loss engulfed both. This brilliant and humane portrait brings to life George Catlin and his Indian subjects for our own time. An American original, he still personifies the artist as a figure of controversy, torn by conflicting demands of art and success.
George Catlin (1796-1872) was a Pennsylvania-born artist, writer and showman whose portraits of Native Americans are among the most important representation of indigenous peoples ever made.
Showcases the work of the early-nineteenth-century artist who made four trips into Native American country as part of an ambition to paint each tribe, noting the influence of period belief systems on his work as well as his passionate affection for his subjects.
American artist George Catlin (1796-1872) journeyed west five times in the 1830s, traversing the Great Plains and visiting more than 140 American Indian tribes. Convinced that westward expansion from settlers spelled certain disaster for native peoples, Catlin traveled the frontier to paint landscapes and portraits of native tribes, to document their lives and customs before (as he feared) they vanished. He produced hundred of canvases, which he called his Indian Gallery. Ambitious in scope, and filled with color and closely observed detail, the Indian Gallery remains one of the wonders of the nineteenth century. In many of his paintings, Catlin recorded the massive herds of buffalo that roamed the Great Plains; in chronicling the lifeways of Plains Indian cultures, he captured the central importance of the buffalo in their daily lives, from food and shelter to ceremony and naming. This book presents forty original Catlin paintings from the collection of the Smithsonian American Art Museum. The author explores the artist's representation of the close relationship between Native Americans and the buffalo. Using Catlin's own writings, the author also considers the artist's role as an early proponent of wilderness conservation and the national park idea, and how that advocacy remains relevant today -- to the Great Plains, the buffalo, and land use.
The first book to probe the conflicted attitudes that shaped and constrained noted painter George Catlin, famous for his 19th century paintings of vanishing Native American culture. Forces readers to rethink their understanding of the artist--despite his advocacy for Native peoples.
Cover -- Title -- Copyright -- Contents -- Introduction: A Nation's Park, Containing Man and Beast -- Chapter 1. Surviving Progress -- Chapter 2. Preserving the Frontier -- Chapter 3. A Line of Unbroken Descent -- Chapter 4. The Last of Her Tribe -- Chapter 5. Dead of Its Own Too-Much -- Epilogue: De-Extinction -- Notes -- Acknowledgments -- Index
George Catlin painted pictures of Indian tribes during the early 1800's.