George Catlin's Paintings of Plain Native Americans

"To what extent did George Catlin's paintings in the early nineteenth

century accurately represent Native American culture and life?"

Comanche Meeting the Dragoons, 1834 “Col. Dodge ordered the command to halt, while he rode forward with a few of his staff, and an ensign carrying a white flag. I joined this advance, and the Indians stood their ground until we had come within half a mile of them, and could distinctly observe all their numbers and movements. We then came to a halt, and the white flag was sent a little in advance, and waved as a signal for them to approach; at which one of their party galloped out in advance of the war-party, on a milk white horse, carrying a piece of white buffalo akin on the point of his long lance in reply to our flag”-Letters and Notes, Letter 41

Beyond the Image: What is George Catlin implying about Plain Native Americans through this painting?

A Closer Look…….

Catlin through this image is demonstrating the Comanche surrendering to the Dragoons. Catlin is describing in his diary otherwise known as, “Letters and Notes on the Manners, Customs, and Conditions of North American Indians” the Comanche’s grace in surrender. The buffalo skin is a sign of their culture, as buffalo were the main game to hunt on the Plains. The Comanche leader looks heroic and domineering in comparison to the Dragoons, who were American servicemen at the time. The “Noble Savage” myth states that these Plain Native Americans were a brave, honorable, and innocent people. Joseph Herring, a National Endowment Humanities archivist argues that Catlin perpetuates this “Noble Savage” myth through out his paintings.

Comanche Feats of Horsemanship, 1834–35All of the "untouched" Plains cultures Catlin most admired had been affected by Europeans, in no way more dramatically than by the acquisition of horses from the Spanish. An enthusiastic horseman himself, Catlin considered the Comanche the best of all Plains equestrians. He pointed out their adaptations of such Spanish techniques as the use of the lasso as well as practices they had developed on their own, including the use of their horse's body as a shield when firing upon enemies with bows and guns (http://www.americanart.si.edu/catlin/)

Beyond the image: When were white settlers first present among the Plain Native American communities? Do you believe this corrupted their way of culture and life?

A Closer Look……..Catlin depicts the skill of the Comanche horsemen. This oil painting reveals a sense of camaraderie among the men. The Comanche also appear to be heroic and skilled warriors. Their dress reveals a difference in culture in comparison to white Americans.Hight, a scholar of the Mandan believes that Catlin’s objective was to paint the Plain Indians in their natural state. Could this be considered their natural state? Hight mentions that in the early nineteenth century, white American culture was already present in Plain Native American life. In addition, alcoholism and smallpox plagued these communities. Moreover, Catlin does not paint these scenes. He paints ones of traditional culture and triumphant feats.

La-dóo-ke-a, Buffalo Bull, a Grand Pawnee Warrior, 1832

During Buffalo Bull's sitting, Catlin focused on his face and his totem (the buffalo head painted on his chest, partially hidden behind a large peace medal). The artist often finished bodies and costume details in an urban studio. (http://www.americanart.si.edu/catlin/)

Beyond the Image: What are two stereotypes associated with the Plain Native Americans? How does this painting demonstrate these stereotypes? Why were these stereotypes created?

A Closer Look…..

This painting of Buffalo Bull represents a depiction of a Plain Native American chief. He is holding a bow and arrow in hand while wearing a symbol of peace around his neck. Does this painting represent the dualism of Plain Native American culture? Scholar and historian Robert F. Berkhofer believes there are two common misconceptions of the Native Americans during this time. These people were labeled either noble or ignoble. The Plain Native Americans represented both a peaceful and warring people. Most white Americans could not explain differences in culture thus, labeling the Plain Native Americans as one or the other was a practical solution.

Stu-mick-o-súcks, Buffalo Bull's Back Fat, Head Chief, Blood Tribe, 1832This magnificent portrait was painted at Fort Union "from the free and vivid realities of life" rather than "the haggard deformities and distortions of disease and death" Catlin noted among frontier Native Americans. Buffalo Bull's Back Fat (named after the most delectable cut of bison) was a chief of the Blackfoot, a tribe of the northernmost Plains whose territory straddled the present-day border between the United States and Canada. Catlin considered the people of the northern Plains the least corrupted by white contact. This commanding portrait, for example, was exhibited to favorable notice in the Paris Salon of 1846. (http://www.americanart.si.edu/catlin/)

Beyond the image: What period does this painting represent? What is the definition of this period?

A Closer Look…..Catlin is quite a diverse character. Scholarly articles on his work and life point to his fondness of Plain Native American life. However, Catlin aspires to sell his paintings of their "culture" for profit . Catlin, along with P.T. Barnum created "Wild West“ shows to demonstrate Native American customs and rituals to white Americans. Archivist John Herring states that some of these rituals could have been fabricated for entertainment value. The Smithsonian cites this painting as one of the favorites of the Parisian salons. Catlin’s exhibition in France was well received by George Sand, Charles Baudelaire, and Eugene Delacroix. George Sand also help to perpetuate the “Noble Savage” myth in Europe. Buffalo Bull represents the Romantic period of art for its idealization of the Plain Native American warrior culture.

Ball-play of the Choctaw—Ball up, 1846–50ChoctawCatlin was a big fan of Choctaw lacrosse, which he witnessed in Indian Territory in 1834. He described ball-play as "a school for the painter or sculptor, equal to any of those which ever inspired the hand of the artist in the Olympian games or the Roman forum." Lacrosse was a physical, even violent, and game called "little brother of war" in Choctaw that included no-holds-barred scuffling and wrestling as players struggled desperately for the ball (http://www.americanart.si.edu/catlin/)

Question: Beyond the image: What does this tell us about Plain Native American culture? Why did he paint this game?

A Closer Look……

George Catlin paints a myriad of Plain Native Americans playing a game of Choctaw. Choctaw is similar to that of lacrosse. With the sheer numbers, Catlin paints a sense of tribe, where everyone participates in the game. Their culture seems playful and enjoyable.

Prairie Meadows Burning, 1832

Prairie fires, sometimes natural and sometimes set by Indians, cleared out saplings, shrubs, and dead brush and promoted regeneration of nutritious grasses that attracted buffalo herds. The most dramatic fires occurred in the tallgrass, where prairie grasses grew as tall as men (http://www.americanart.si.edu/catlin/)

Beyond the Image: What can you learn about the landscape from this painting? How did the Plain Native Americans use the landscape to their advantage?

A Closer Look……

This depicts the prairie fires that were often set by the Plain Native Americans. Catlin paints the smoke and fire brilliantly as the people advance towards the fire. Catlin depicts a part Plain Native American life of clearing the prairie for regeneration of the soil. Again, the plain Native Americans are travelling in groups as a collaborative effort to control and manage the prairie fires.

Pigeon's Egg Head (The Light) Going to and Returning from Washington, 1837–39‘[W]hen I had embarked, and the boat was about to depart, Wi-jun-jon made his appearance on deck, in a full suit of regimentals! He had in Washington exchanged his beautifully garnished and classic costume, for a full dress 'en militaire.’ It was, perhaps, presented to him by the President. It was broadcloth, of the finest blue, trimmed with lace of gold; on his shoulders were mounted two immense epaulettes; his neck was strangled with a shining black stock, and his feet were pinioned in a pair of waterproof boots, with high heels, which made him “step like a yoked hog. (Letters and Notes, Letter 55)

Question: Describe the difference between Plain Native American and white American culture using the image. Why does Catlin attempt to demonstrate the disappearance of Plain Native American culture? What US law enacted by Andrew Jackson encouraged Catlin to paint Plain Native American life?

A Closer Look….The Removal Act of 1830 enacted by Andrew Jackson’s Congress mandated that all Native Americans be moved from lands East of the Mississippi. Upon witnessing Plain Native American at a presidential meeting in Washington, Catlin became intrigued by their appearance and culture. Catlin realized that the Removal Act would eventually come to destroy their culture and way of life. Catlin on his quest out west was greeted by William Clark, Superintendent of Indians Affairs. Clark aided George Catlin in his trip up the Mississippi to the Prairie du Chien to witness and paint the Plain Native Americans culture. This image demonstrates a transition of culture, one that Catlin wants to record artistically before its loss.

Dying Buffalo, Shot with an Arrow, 1832–33After I had had the requisite time and opportunity for using my pencil, M'Kenzie and his companions came walking their exhausted horses back from the chase, and in our rear came four or five carts to carry home the meat. The party met from all quarters around me and my buffalo bull, whom I then shot in the head and finished. And being seated together for a few minutes, each one took a smoke of the pipe, and recited his exploits, and his ‘coups’ or deaths; when all parties had a hearty laugh at me, as a novice, for having aimed at an old bull, whose flesh was not suitable for food, and the carts were escorted on the trail, to bring away the meat.” (Letters and Notes, Letter 4)

Beyond the Image: How important were the buffalo to Plain Native American life? Why did George Catlin paint the ‘dying’ buffalo along with the Plain Native Americans? What is the symbolism?

A Closer Look…….

Catlin who witnessed the hunting of the buffalo was intrigued by the Plain Native Americans methods of hunting. Ceremonies of the Plain Native Americans were used in P.T. Barnum and Catlin’s “Wild West shows”. These shows commenced in America and were eventually seen in London and Paris. A popular ceremony to witness at these shows was one of buffalo hunt. Buffalo hunts involved strong communication between members of the Plain Native American tribes.

This painting demonstrates a death of a buffalo but also a death of a culture and people. With the passing of the Removal Act, Plain Native American culture was destined for destruction.

Buffalo Hunt under the Wolf-skin Mask, 1832–33Before they acquired horses in the eighteenth century, Indians developed ingenious methods to hunt buffalo on foot. One method was the stealthy approach in disguise. Since more than half the calves born each year died, bison tolerated the packs of wolves that took care of the carcasses. Buffalo were unprepared, however, for Indians in wolves' clothing, who approached (http://www.americanart.si.edu/catlin)

Question: Beyond the image: How well did George Catlin portray Plain Native American life?

A Closer Look…..

George Catlin, an artist, adventurer, showman, and idealist was one of the first artists to paint Plain Native Americans. This technique of the Plain Native Americans was to disguise as wolves for hunting buffalo. Although Plain Native Americans were still using these techniques to hunt, the introduction of guns made it easier to shoot and kill buffalo. The technique of stealth and disguise is demonstrated here.

Catlin depicts the Plain Native Americans in a natural state, using the skin of wolves as a hunting technique. Again, these people are seen as one with nature.

Máh-to-tóh-pa, Four Bears, Second Chief, in Full Dress, 1832

This extraordinary man, though second in office, is undoubtedly the first and most popular man in the nation. Free, generous, elegant, and gentlemanly in his deportment-handsome, brave and valiant; wearing a robe on his back, with the history of his battles emblazoned on it; which would fill a book of themselves, if properly translated. This, readers, is the most extraordinary man, perhaps, who lives at this day, in the atmosphere of Nature's noblemen . . . Letters and Notes, vol. 1

Beyond the Image: Is this painting in accordance with the “Noble Savage” myth? What is the “Noble Savage” myth?

A Closer Look……

This painting of Four Bears with a full headdress and clothing depicts a man of stature in the Plain Native American community. Today’s state of Missouri, where Catlin painted many Plain Native American demonstrates nobility of the people. Again, Catlin appreciated and intrigued by their culture painted only glorious depictions. Potential reasons for Catlin’s painting these people are guilt for the dispossession lands, a loss of “Eden” or natural state, and the juxtaposition of Plain Native American culture to the arising movement towards modernity and industrialization.

Sources•Catlin, G. (1844). Letters and Notes on the Manners, Customs, and Conditions of North American Indians. London•Herring, J. B. (2006). Selling the Noble Savage Myth: George Catlin and the Iowa Indians in Europe:1843-1845. Kansas History, 29(422), 226-245.•Hicks, D., Dolittle , P. E., & Ewing, E. T. (2004). The SCIM-C Strategy: Expert Historians, Historical Inquiry, and Multimedia. Social Education, 68(3), 221-225.•Hight, K. S. (1990). Doomed to Perish: George Catlin's depiction of the Mandan. Art Journal, 49(2), 119-123.•Johnson, M. M. (2004). George Catlin & His Indian Gallery. Arts & Activities, 135(3)•New York Public Library. (2008). George Catlin. Retrieved Apr. 7, 2008, from http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm?keyword=George+Catlin&submit.x=0&submit.y=0•Smithsonian American Art Museum.. (n.d.). George Catlin & His Indian Gallery. Retrieved Apr. 7 ,2008 , from http://www.americanart.si.edu/catlin/index.html