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George Catlin Artist Study

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George Catlin Artist Study George Catlin was born in 1796 in Wilkes-Barre, Pennsylvania. While growing up, George encountered "trappers, hunters, explorers and settlers who stayed with his family on their travels west." As his father had trained at Litchfield Law School, George was sent there when he was 17, although he disliked the field of law. He was admitted to the Bar in 1819 and practiced law for two years before giving it up to travel and study art. In 1823, he studied art in Philadelphia and became known for his work as a portraitist. After a meeting with "tribal delegation of Indians from the western frontier, Catlin became eager to preserve a record of Native American customs and individuals." Catlin began his journey in 1830 when he accompanied Governor William Clark on a diplomatic mission up the Mississippi River into Native American territory. St. Louis became Catlin's base of operations for five trips he took between 1830 & 1836, eventually visiting fifty tribes. Two years later he ascended the Missouri River more than 1900 miles to Fort Union Trading Post, near what is now the North Dakota-Montana border, where he spent several weeks among indigenous people who were still relatively untouched by European culture. He visited eighteen tribes, including the Pawnee, Omaha, and Ponca in the south and the Mandan, Hidatsa, Cheyenne, Crow, Assiniboine, and Blackfeet to the north. There he produced the most vivid and penetrating portraits of his career. During later trips along the Arkansas, Red, and Mississippi rivers, as well as visits to Florida and the Great Lakes, he produced more than 500 paintings and gathered a substantial collection of artifacts. When Catlin returned east in 1838, he assembled the paintings and numerous artifacts into his Indian Gallery, and began delivering public lectures that drew on his personal recollections of life among the American Indians. Catlin traveled with his Indian Gallery to major cities such as Pittsburgh, Cincinnati, and New York. He hung his paintings "salon style"—side by side and one above another. Visitors identified each painting by the number on the frame, as listed in Catlin's catalogue. Soon afterward, he began a lifelong effort to sell his collection to the U.S. government. The touring Indian Gallery did not attract the paying public Catlin needed to stay financially sound, and the United States Congress rejected his initial petition to purchase the works. In 1839 Catlin took his collection across the Atlantic for a tour of European capitals. As a showman and entrepreneur, he initially attracted crowds to his Indian Gallery in London, Brussels, and Paris. The French critic Charles Baudelaire remarked on Catlin's paintings, "He has brought back alive the proud and free characters of these chiefs, both their nobility and manliness." Catlin wanted to sell his Indian Gallery to the U.S. government to have his life's work preserved intact. His continued attempts to persuade various officials in Washington, D.C. to buy the collection failed. In 1852 he was forced to sell the original Indian Gallery, now 607 paintings, due to personal debts. The industrialist Joseph Harrison acquired the paintings and artifacts, which he stored in a factory in Philadelphia, as security. Catlin spent the last 20 years of his life trying to re-create his collection, and recreated more than 400 paintings. This second collection of paintings is known as the "Cartoon Collection", since the works are based on the outlines he drew of the works from the 1830s. In 1872, Catlin traveled to Washington, D.C. at the invitation of Joseph Henry, the first secretary of the Smithsonian. Until his death later that year in Jersey City, New Jersey, Catlin worked in a studio in the Smithsonian "Castle". In 1879 Harrison's widow donated the original Indian Gallery, more than 500 works, along with related artifacts, to the Smithsonian. The accuracy of some of Catlin's observations has been questioned. He claimed to be the first white man to see the Minnesota pipestone quarries, and pipestone was named catlinite. Catlin exaggerated various features of the site, and his boastful account of his visit aroused his critics, who disputed his claim of being the first white man to investigate the quarry.[8] Previous recorded white visitors include the Groselliers and Radisson, Father Louis Hennepin, Baron de Lahontan, and others. Lewis and Clark noted the pipestone quarry in their journals in 1805. The fur trader Philander Prescott had written another account of the area in 1831. George Catlin, “Téh-ke-néh-kee, Black Coat, a Cherokee Chief” Painted in Fort Gibson, Indian Territory, 1834y George Catlin, “White Cloud Iowa Nation Head Chief” George Catlin, " Catlin, George Comanche Village” Comanche George Catlin, " Catlin, George Prairie Wildfires Burning," 1832 Wildfires Prairie George Catlin, “Co-ee-há-jo, a Seminole Chief” 1937 ” George Cat George lin, "Attacking the Grizzlythe Bear," "Attacking 1844 lin, -1833 George Catlin, "Buffalo Chase with Bows and Lances," 1832 .
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