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Medallic Circuitry in Nineteenth-Century Portraits of Native Americans

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Medallic Circuitry in Nineteenth-Century Portraits of Native Americans 'Ideal Vehicles': Medallic Circuitry in Nineteenth- Century Portraits of Native Americans Item Type text; Electronic Thesis Authors Gabrielsen, Natalia Marie Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 16:35:39 Link to Item http://hdl.handle.net/10150/626399 ‘IDEAL VEHICLES’: MEDALLIC CIRCUITRY IN NINETEENTH-CENTURY PORTRAITS OF NATIVE AMERICANS by Natalia Marie Gabrielsen ____________________________ Copyright © Natalia Marie Gabrielsen 2017 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 2017 STATEMENT BY AUTHOR The thesis titled 'Ideal Vehicles': Medallic Circuitry in Nineteenth-Century Portraits ofNative Americans prepared by Natalia Marie Gabrielsen, has been submitted in partial fulfillmentof requirements for a master's degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations fromthis thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. Natalia Marie Gabrielsen APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: December 13. 2017 Sarah Moore Date Professor of Art History 2 ACKNOWLEDGEMENTS I owe so much to the Arizona State Museum for helping to inform and guide my scholarly pursuits, and I am especially grateful to Jannelle Weakly for her guidance and insight during my time in the Photographic Collections department. A great number of my formative years was spent in her company, and I doubt that my continued academic career would have happened without her influence. I feel very fortunate to have been able to work with the Art History faculty, especially my advisor, Sarah Moore, who has lent me so much direction, review, and support during this research. The relationships that I’ve made in the Department of Art History and the wider School of Art have been so deeply valuable – both academically and personally – and I look forward to engaging in these networks for years to come. None of what I’ve been lucky to accomplish up until this point would be possible without the enduring encouragement and support from my family. I am profoundly thankful to my father, Tim, and my mother, Marie, for their love, comfort, and steadfast confidence in my plans. This appreciation extends to my younger siblings – Lara, Noah, and Anna – who have always been willing to listen and lighten the load. Lastly, I’d like to recognize my partner, CJ Nieto, for his patience and devotion throughout my time with this project. Words feel inadequate for accurately conveying the intimacy of his assistance and encouragement, and he generously reviewed, contributed, and listened throughout the process. With his steady and grounding love, trust, and determination, anything I set out to achieve feels possible. 3 TABLE OF CONTENTS IMAGE LIST ...................................................................................................................................5 ABSTRACT .....................................................................................................................................6 INTRODUCTION ...........................................................................................................................7 CHAPTER ONE: Literature Review .............................................................................................11 CHAPTER TWO: Charles Bird King and Early Medallic Circuits .............................................20 CHAPTER THREE: George Catlin and the Circulation of Value ................................................36 CONCLUSION AND DIRECTIONS ...........................................................................................47 BIBLIOGRAPHY ..........................................................................................................................51 4 IMAGE LIST Figure 1. Charles Bird King, Young Omahaw, War Eagle, Little Missouri, and Pawnees, 1821, Oil on canvas, Smithsonian American Art Museum, p. 20 Figure 2. Charles Bird King, Petalesharro (Generous Chief), Pawnee, circa 1822, Oil on wood, The White House, Washington, D.C., p. 25 Figure 3. Charles Bird King, Peskelechaco, Pawnee, circa 1822, Oil on wood, National Museum of Copenhagen, p. 25 Figure 4. George Catlin, Shon-ta-yi-ga, Little Wolf, a Famous Warrior, 1844, Oil on canvas, Smithsonian American Art Museum, p. 36 Figure 5. George Catlin, The White Cloud, Head Chief of the Iowas, 1844/1845, Oil on canvas, National Gallery of Art, p. 41 Figure 6. T.C. Cannon (Kiowa/Caddo), Collector #5 (Man in a Wicker Chair), 1975, Oil/acrylic on canvas, Collection of Nancy and Richard Bloch, p. 48 Figure 7. T.C. Cannon (Kiowa/Caddo), Washington Landscape with Peace Medal Indian, 1973, Acrylic on canvas, New Mexico Museum of Art, p. 49 5 ABSTRACT I examine the mobility and circulation of peace medals featured in nineteenth-century portraiture of Native Americans through the lens of object-oriented ontology. This research strives to establish a different perspective for considering nineteenth-century portraiture of Native Americans by situating the works through the framework of materiality and circulation. By applying this approach to a series of portraits of Native Americans with peace medals, my research seeks to define issues of movement and power within the transient, fluctuating space of the nineteenth-century American frontier. To accomplish this, I trace the production and distribution of peace medals within paintings widely viewed at the time, as well as the movement of groups and individuals involved with transporting and receiving the medals. Tracking these objects and their mechanisms of movement within the visual culture of the nineteenth century, indicating not only the thing itself but also its processes of production and movement, reveals a dimension of specificity to pictorial narratives, even as the exhibited artworks promoted generalized ideals regarding Indian policy through their circulation. I follow the peace medals’ logistics of production and transit to underscore issues of value and currency on the American frontier, highlighting the ways in which peace medals and the artwork depicting them participated in narratives of Native displacement. 6 INTRODUCTION Against the rapidly developing nineteenth-century American landscape, transitional objects emerge which move within and between shifting historical narratives. The Indian peace medallion is one such object whose production, distribution, display, function, and reproduction intersect with many histories and interpretations. These objects permeated visual art of the period, as artists sought to depict the Native American, both as a player, albeit on the losing side of westward expansion, and as a complex symbol for the expanding nation in its triumph over wilderness. Employed broadly by the United States government during the nineteenth century, peace medals were dispersed across the continent during negotiations with Native tribes. In this study, I examine the mobility and circulation of peace medals featured in nineteenth-century portraiture of Native Americans through the lens of object-oriented ontology. The method of object-oriented ontology – or, thing theory – has been applied generally within the field of art history to interpret the movement, agency, and interaction of things, rejecting anthropocentrism.1 Jennifer Roberts’ scholarship on the materiality and movement of artwork in Transporting Visions: The Movement of Images in Early America will serve as my primary methodological model.2 By applying this approach to a series of portraits of Native Americans with peace medals, my research seeks to define issues of circulation and value within the transient, fluctuating space of the nineteenth-century American frontier. To accomplish this, I trace the production and distribution of peace medals within paintings widely viewed at the time, as well as the movement of groups and individuals involved with transporting and receiving the 1 For more on object-oriented ontology, see: Levi R. Bryant, The Democracy of Objects (Michigan Publishing, University of Michigan Library: Open Humanities Press, 2011), http://dx.doi.org/10.3998/ohp.9750134.0001.001. Bill Brown, “Thing Theory,” in Things (Chicago: University of Chicago Press, 2004), 1-16. W. J. T. Mitchell, "Romanticism and the Life of Things: Fossils, Totems, and Images." Critical Inquiry 28, no. 1 (2001): 167-84, http://www.jstor.org.ezproxy1.library.arizona.edu/stable/1344265. 2 Jennifer Roberts, Transporting Visions: The Movement of Images in Early America (Berkeley and Los Angeles: University of California Press, 2014). 7 medals. Tracking these objects and their
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