When
George Catlin was born on a farm near Wilkes-Barre
in Luzerne County, Pennsylvania on
July 26, 1796 the area was only a couple of generations removed from being on
the frontier. During the American Revolution it had been subject to raids by native tribes
allied with the British. His own mother had been taken
hostage on such foray and she
was held for a while in captivity. Like many female captives she was apparently well treated and grew
sympathetic to the tribe that held her until she was ransomed. Her tales
of that experience and the yarns of old timers set fire to the
imagination of the young boy with an artistic bent.
As
he roamed the woods, streams, and fields hunting and fishing he began to search for
and collect arrowheads and other
artifacts of the now vanished tribes that once roamed the same ground. While visiting Philadelphia with his father he witnessed the colorful array
of a large delegation of trans-Mississippi chiefs and warriors on their way to a meeting with President Thomas Jefferson in Washington. After reading accounts of the Western
explorations of Lewis and Clark, who he grew to idolize, young George became determined
to somehow go West and see the tribes for himself.
Meanwhile
he set himself on becoming an artist. The Peales
of Philadelphia, the family of
the foremost painters of the young Republic, took an interest in the
talented lad and mentored him. Charles Wilson Peale also
shared his enthusiasm for Native culture and his collection of artifacts brought
back by Lewis and Clark.
Catlin--early work, a lithograph of Buffalo Harbor. |
Peale
recognized the young artist’s sharp eye for detail and meticulous draftsmanship. After
Catlin began to specialize in quality
engravings, Peale recommended him for a prestigious project—a documentary
volume on the route of the Erie Canal, other New York water ways, the Niagara
escarpment, and the fledgling city of
Buffalo. Several of his plates were included in the first
American book to include
lithography, Cadwallader D. Colden’s Memoir,
Prepared at the Request of a Committee of the Common Council of the City of New
York, and Presented to the Mayor of the City, at the Celebration of the
Completion of the New York Canals, published in 1825.
Three
years later while traveling in Upstate
New York and preparing more of the landscape
prints for which he was becoming know, Catlin met Clara Bartlett Gregory in Albany
and married her the same year. She
was evidently devoted to her husband
and became the mother to four of his children despite his frequent long absences.
The
first of those absences came with a dream
opportunity—to accompany his
hero General William Clark, Superintendent of Indian Affairs in the
new Bureau of Indian Affairs in the War Department, as the official artist on a diplomatic mission up the Mississippi River into Native American
territory in 1830. On that trip into what is now Minnesota Catlin for the first time encountered tribes with little previous contact with Europeans other than trading in furs. He began making the detailed sketches or cartoons
which he would use later in his studio
to execute oil paintings. He had found his life calling.
From the first trip with William Clark--Blood chief Buffalo Bull's Back Fat. |
Catlin
and his family would base themselves in St.
Louis for the next six years and he would make a total of five extended
expeditions during which time he would visit
and document more than 50 tribes just before their way of life would vanish forever and their cultures became corrupted where they were not destroyed. On one of these
trips the dutiful Clara accompanied him at least part way.
His
most important and productive trip came in 1832 when ascended the Missouri River more than 1850 miles to the Fort Union Trading Post near what is now the North Dakota-Montana border. He
spent weeks among 18 tribes including the Pawnee,
Omaha, and Ponca in the south and
the Mandan, Hidatsa, Cheyenne, Crow, Assiniboine, and Blackfeet
to the north. He sketched portraits, costume studies, village
life, hunting scenes, and rituals.
He captured the powerful Mandan,
the most significant of the northern plains tribes and Lewis’ and
Clark’s hosts during their first winter just before they were virtually wiped out by a small pox epidemic caused by infected blankets traded to them. That included a depiction of the sun dance in
which warriors would hang from the ceremonial lodge poles with thongs
attached to skewers piercing their chest muscles while they had visions.
Mandan Sun Dance Lodge. |
Catlin
returned to the East with his wife
in 1838 and completed hundreds of
paintings which he assembled into the Indian
Gallery which he took on a tour of
principle cities. The paintings were displayed in the salon style of the day occupying walls floor to ceiling. The artist would also lecture on his adventures and on tribal customs and display objects from his
extensive artifact collection. The main source of revenue was the sale of a detailed
and illustrated catalogue from which visitors could identify each
painting from the number attached to
it and read details about the subject.
Despite
strong notices in the press the tour, which was Catlin’s only
source of income, struggled from the
expense of the tour, rental cost exhibit
space, and most of all the high cost
of the catalogue which most viewers could not
afford to purchase. Although he had numerous offers to buy individual
works, Catlin was desperate to keep the collection together and to finance subsequent trips to the Arkansas, Red, and Mississippi Rivers; and to Florida and the Great Lakes
region. Eventually he had more than 500 paintings in
the Indian Gallery.
George Catlin by William Fisk. The artist often wore the shirts and other clothing from his collection of Native outfits and artifacts. |
In 1839 he had better luck taking the Indian Gallery on a tour of European capitals where it was a sensation. The pictures struck a chord with a population already enamored with the Romantic vision of the Noble Savage as an innocent creature of Nature and primed by the popularity of James Fennimore Cooper’s Leather Stocking Tales and other American books. A French critic gushed, “He has brought back alive the proud and free characters of these chiefs, both their nobility and manliness.”
The
European triumph proved to be only a
temporary respite from financial desperation, however.
To
avoid selling the work piecemeal and to support his family Catlin tried
repeatedly to sell the collection intact
to Congress. That then notoriously parsimonious body refused
every plea to preserve the
collection as an irreplaceable national
treasure.
One of the most famous images--Chief Four Bears of the Mandan in all of his magnificence. |
He
derived some income from the publication of a series of books beginning with Manners,
Customs, and Condition of the North
American Indians,
in two volumes, with approximately
300 engravings, the source of the
images the contemporary American public
is most familiar with in 1841. Three years later he published Catlin’s North American Indian Portfolio with 25 plates suitable for framing.
Through
the 1840’s Catlin was based largely in Europe where wealthy patrons could afford his expensive books and plates. But tragedy struck in 1845 in Paris when his
wife Clara and youngest son died of some infectious disease. On his
return to the states Catlin unsuccessfully published a collection of pictures
from those years, Eight Years’ Travels and Residence in Europe.
What interest the American buying public had in Catlin was limited to
his work as an Indian iconographer. Unfortunately they were still not interested
enough in that either to support him.
Clara Catlin circa 1840 by George Linen |
In 1852 in order to fend off clamoring creditors and finance further explorations and work
Catlin sold the now 607 paintings in the Indian Gallery to industrialist Joseph Harrison who promised not to break the collection up and to hold it in trust until Catlin could re-purchase it. He stored the collection in one of his Philadelphia factories where they were removed from public view for years.
Unfortunately the artist could never redeem his work.
Instead he began to painstakingly duplicate as many of the paintings as possible using
his original cartoon sketches, notes,
and his own memory. Over 20 years he
re-created more than 400 of them. These
paintings, known as the Cartoon
Collection are not as highly prized
today as the originals but do sometimes turn up for private sale.
Dramatic action in Attacking the Grizzly |
Catlin also continued to travel and do new work
when possible. He toured the American South West, Central and South America as well as returning to
the Great Plains where he captured
the Sioux, Cheyenne, and the Arapaho and the environs of Fort Laramie as the Oregon Trail encroached on tribal
lands. All of this was documented in Last Rambles amongst the Indians of the
Rocky Mountains and the Andes published in 1868. Work on the Southwest tribes was issued
separately. A final posthumous volume, My
Life among the Indians issued his unpublished
material in 1908 edited by N.
G. Humphreys.
During
the final years of his life, Catlin was evidently progressively more eccentric.
While working in Brazil wrote
and published Shut Your Mouth a lengthy
essay suggesting that people who are slack
jawed, mouth breathers or just talk too much are apt suffer to any number of physical
ailments. His prescription to “keep your mouth shut” somehow went through eight editions showing that American taste runs more to crack-pot quackery than anthropological
art.
In
1872, sick and broke the first Secretary of
the Smithsonian Institution invited
Catlin to make use of studio space
in the museum Castle in
Washington. It was there that the artist
did his final work before dying in Jersey City, New Jersey on December 23,
1872 at the age of 76.
Chief Osceola, bane of he U.S. Army Regular Dragoons in the Florida Seminole Wars. |
The
Smithsonian did end up with Catlin’s original Indian Gallery in 1879 when Joseph Harrison’s widow donated the
whole collection to the museum. The Gallery
is now a centerpiece of the Smithsonian
American Art Museum.
Other significant collections of Catlin’s vast
output and associated material include the Department of Anthropology at the
Smithsonian’s National Museum of Natural
History, 700 sketches at the American Museum of Natural History in
New York City; artifacts in the University of Pennsylvania Museum of
Archaeology and Anthropology
collections; and 239 of illustrations of North and South American Indians and other illustrative and manuscript material in the
Huntington Library in San Marino, California.
Of
course no illustrated history of the
American West, or study of Native Americans in books,
articles, or TV documentaries is
complete without illustrations from the prolific George Catlin.
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