Social Education 72(4), pp 171–176 ©2008 National Council for the Social Studies Teaching with Documents Letter to, and Paintings by, George Catlin David Rosenbaum, Lee Ann Potter, and Elizabeth K. Eder

Letters received and sent by Secretary of War Lewis Cass in the 1830s reveal views of the city, St. Louis from the River much about relations between the U.S. government and Native Americans. In the Below (see p.176). In this detailed land- immediate aftermath of the Indian Removal Act, signed into law on May 28, 1830, scape, Catlin positioned the American by President Andrew Jackson, some letters came from interpreters and school teach- Fur Company steamboat Yellowstone ers seeking payment for their work; others dealt with trade issues; some addressed in the center, with the bustling city of the exchange of ceremonial gifts; and still others came from individuals requesting 15,000 inhabitants along the horizon. It government assistance with a variety of matters involving Native Americans and was also there that on March 26, 1832, access to the West. he boarded the Yellowstone with fur traders and Indians for the 2,000-mile In January 1832, Pennsylvania-born in 1829 requesting a government position trip from St. Louis to Fort Union. As he artist George Catlin (1796-1872) sent working among the Indians. This request began the first of several long sojourns such a letter to Secretary of War Cass. did not materialize, but Catlin did not deep into the frontier, this time traveling Writing from St. Louis, Missouri, Catlin give up. He first traveled to the West to the mouth of the Yellowstone River at told Cass of his plans to travel through against his family’s wishes in 1830, when the western border of present-day North “Indian Country” for the purpose of paint- he set out for St. Louis and befriended Dakota, it is likely that Catlin had his let- ing portraits of Indians and requested a General William Clark, governor of ter from Cass with him. He may have also letter of support that he could give to the the Missouri Territory, superintendent begun taking copious travel notes at this various government officials, known as of Indian Affairs in St. Louis, and the time, which were later published in 1841 Indian agents, whom he would meet along famous co-leader of the expedition with as Letters and Notes on the Manners, his proposed journey. On February 18, Meriwether Lewis. Clark was in charge Customs, and Condition of the North 1832, Cass responded from his office of the federal government’s relations with American Indians. in Washington, D.C. In this single-page 35 western tribes.1 In this position, he The American Fur Company operated letter, the Department of War’s copy of invited Catlin to travel with him to visit Fort Union as a fortress against possible which is featured in this article, Cass told Native Americans. Indian attack and as a well-appointed out- Catlin that his plans were “laudable.” He To manage the government’s relations post and major trading post. This became further recommended that Catlin show with the tribes, Clark had set up a net- Catlin’s base for a month or so, during Cass’s letter to the Indian agents, and work of Indian agents, mostly former which time he found Indians whom he indicated confidence that they would Army officers, who reported to him, but described as, “undoubtedly the finest be helpful. often lived among the Native Americans. looking, best equipped, and most beauti- But Cass was not the first cabinet offi- These agents were vital in carrying out fully costumed of any on the Continent.” 2 cial to whom George Catlin had writ- government policies and communicat- It was here where Catlin painted Stu- ten in his quest to travel west. Although ing with the Indians. They also became mick-o-súcks, Buffalo Bull’s Back Fat, he was a little-known, aspiring portrait important to George Catlin, as they were Head Chief, Blood Tribe (See p.175). In painter who had been trained as a lawyer, able to assist him with transportation, this waist-length portrait, Catlin placed Catlin had been thinking since at least supplies, and translation services on his Buffalo Bull’s Back Fat (named after a 1826 of a way he could finance a Western numerous trips to the West between 1830 prized cut of bison) slightly to the left expedition. Perhaps inspired by viewing and 1836. of the center of the canvas. His facial a delegation of Native Americans visiting During this six-year period, Catlin used features are almost symmetrical, with Philadelphia in the early 1820s, Catlin St. Louis as his base of operations. It was eyes that stare out at the viewer, accen- had written to one of Cass’s predecessors there that he captured one of the earliest tuated by a piece of hair hanging to the

M a y /Ju n e 2008 171 top of his nose. Buffalo Bull’s Back Fat’s Teaching Activities status as a Blackfoot chief is suggested in both the clothing that he wears and Distribute copies of the featured docu- seen at the fort. Ask a volunteer from objects that he holds—perhaps emblems 1 ment and the three works of art to each group to share their findings with of authority. Indians had no tradition of students. Begin by focusing attention on the class. As an extension, encourage individual portraiture, but they may have the letter. Ask one student to read the them to visit the Smithsonian American recognized how Catlin used a leader’s letter aloud while the others follow along. Art Museum’s “Catlin Classroom” website stance, clothing, headdress, and sym- Lead a class discussion by posing the fol- at catlinclassroom.si.edu. Direct them to bolic objects to make him distinct, even lowing questions: What type of document select “Catlin’s Quest” campfire story and though he used European American art is it? What is the date of the document? locate paintings that he might have cre- traditions to portray chiefs and leaders. Who was the intended recipient? Who ated at or near their fort. These ideas were no doubt carried with created it? For what purpose? Who would the artist during his travels west along have possessed the original? Next, direct Ask students to assume the role of with sketchbooks, canvas, brushes, and students to study each of the works of 4 one of the Indians whose portrait pigments. art. Ask them to describe what they see. they saw while conducting research for While in the Upper Missouri territo- Finally, encourage them to hypothesize activity #3. Invite students to write a jour- ries, the prolific artist may have worked what the works of art have to do with nal entry describing the experience of on five or six paintings a day. In the case the letter. Explain that the paintings are having been the subject of a painting and of portraits, Catlin tried to capture his among hundreds completed by George their reaction to not having the oppor- sitter’s likeness as faithfully as possible. Catlin, depicting scenes and individu- tunity to see the finished portrait (since He did not do a lot of preliminary sketch- als whom he met on his journey to the Catlin completed most of his works in his ing but instead drew outlines of the figure American West, about which he had writ- studio). Invite student volunteers to share on canvas with broad brushstrokes and ten to Secretary Cass. their entries with the class and lead a class then added some dimension and detail. discussion asking students to consider to Depending upon how much time was Provide students with information what extent they think Catlin’s works of afforded Catlin, he might fill in details 2 from the background essay about art were accurate representations of the with a limited palette of unmixed pig- George Catlin and his work. Or sug- people whom he met and the places he ments until he had enough of the color gest that they find out more from the visited. scheme so that he could return to it later. Smithsonian American Art Museum’s Pigment was applied in thin brushstrokes website at americanart.si.edu—by select- Remind students that Indian agents so that it could dry quickly and not crack ing “Search Collections,” clicking on the 5 were crucial in carrying out govern- when the canvas was rolled for storage. “Artists” tab, and inputting “George Catlin.” ment policy with the Indians and helpful Painting would later be completed dur- Encourage them to take on the role of to George Catlin on his journeys into the ing the winter months, in Catlin’s stu- Catlin and draft the letter he wrote to American West. Encourage students to dio back east. This working method may Secretary Cass in January 1832, prompting conduct research into the various roles account for his vast output. On this 1832 the featured response. Invite volunteers played, and skills possessed by Indian voyage alone, Catlin painted more than to share their letters with the class. agents in the mid-nineteenth century 170 hunting scenes, ceremonies, games, and to create a job description for an landscapes, and portraits of the people Provide students with a blank map of Indian agent. whom he met. 3 the United States. Ask them to trace Among them were the Mandan, whose the route taken by the Yellowstone on Locate the lesson plan entitled way of life so intrigued the artist that he its journey up the Missouri River from St. 6“Making Treaties and Weaving devoted more than half of the first volume Louis to Fort Union in 1832. Direct them Wampum” on the “Catlin Classroom” of Letters and Notes to describing them. to label the various forts that Catlin may website at catlinclassroom.si.edu. After The Mandan, in turn, were no doubt have visited along the way. These include introducing students to its content, lead impressed by the artist’s abilities as they Fort Leavenworth, Fort Pierre, Fort Clark, a class discussion asking the students to apparently lined up to have their portraits and Fort Union. Divide students into four consider to what extent Cass’s choice of painted (based on the number of such groups and assign each group to conduct the word “laudable” in his response to works Catlin completed). Catlin’s stay research on a fort (Note: The National Park Catlin was ironic given the government’s at Fort Clark, near the Mandan village, Service’s website, www.nps.gov, contains Indian policies at the time. lasted about a month. Here he painted links to much information), and consider many scenes such as Bull Dance, Mandan what Catlin might have experienced or O-kee-pa Ceremony (see p.174). In the

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S o c i a l Ed u c a t i o n 172 M a y /Ju n e 2008 173 Page from a register of letters sent to the Secretary of War indicating the receipt of Catlin’s letter. Catlin’s

George Catlin at the Smithsonian American Art Museum

The majority of works Catlin painted during his travels in the West between 1830 and 1836 are in the permanent collection of the Smithsonian American Art Museum. Experts differ as to where Catlin was each year and which groups he painted when, but they are in agreement that he covered an amazing amount of territory west of the Mississippi (almost 2,000 miles), and his output was prodigious (about 325 portraits and 200 scenes of American Indian life). You can view these works in person in Washington, D.C.; by searching the museum’s website, ameri- canart.si.edu; or by using the award-winning George Catlin, Bull Dance, Mandan O-kee-pa Ceremony, 1832, oil on canvas, educational website CatlinClassroom.si.edu. This 23¼ × 28 in., Smithsonian American Art Museum interactive site compiles paintings, historical documents, and commentary from contem- porary scholars and Indian leaders so you can explore the intersections of two cultures, both in Catlin’s time and today.

S o c i a l Ed u c a t i o n 174 George Catlin, Stu-mick-o-súcks, Buffalo Bull’s Back Fat, Head Chief, Blood Tribe, 1832, oil on canvas, 29 × 24 in., Smithsonian American Art Museum

M a y /Ju n e 2008 175 George Catlin from page 172

foreground of this painting, he focused on one portion of the ceremony. Here, participants of the Bull Dance imitate the movements of a buffalo—each wear- ing an entire buffalo skin, head, horns, hooves, and tail. Although Catlin was not the first non- Indian to witness this ceremony, he was one of the first to paint its various com- ponents. When, later, he began to exhibit this and other works, critics questioned their authenticity. However, the signifi- cance of this work lies in the fact that it was rare, firsthand documentation. After smallpox was introduced to the Northern Plains in 1837, about 90 percent of the Mandans died, and there were few left who could verify his account. George Catlin, St. Louis from the River Below, 1832-1833, oil on canvas; 193/8 × 26¾ in., Smithsonian American Art Museum When Catlin returned east in 1837, he had assembled more than 500 paintings and a large collection of Indian objects. In the spring, Catlin shipped the col- nal Indian Gallery had been kept intact, Note about the Featured Document lection, which became known as his and they were donated to the Smithsonian The Department of War’s copy of the letter from “Indian Gallery,” to Albany, New York, Institution seven years after his death in Cass to Catlin is preserved by the National Archives among the Letters Sent by the Office of Indian for exhibition. After this trial run, he 1872 as a gift from Harrison’s widow. Affairs 1824–1881, Records of the Bureau of exhibited the Indian Gallery in several These works are now in the permanent Indian Affairs, Record Group 75. It is reproduced major U.S. cities to much acclaim. Few collection of the Smithsonian American on National Archives Microfilm Publication M21, visual representations of either Indians Art Museum. Letters Sent by the Office of Indian Affairs, 1824–1881, roll 8, page 118. or the landscape west of the Mississippi had been circulated at that time, and the Note exhibition drew large and curious crowds. 1. The federal government referred to groups of Native Americans as “tribes.” This word suggested that mem- Catlin left for Europe in November 1839, bers of each group shared descent, territory, history, and in 1840, the Gallery was on view culture, and political authority. This was not true for For Additional all of the people whom Catlin encountered. Many were in London and eventually Paris and members of bands or extended families. Reading Brussels. While touring there, however, 2. George Catlin, Letters and Notes on the Manners, Catlin was in such financial trouble that Customs, and Condition of the North American Catlin, George. Letters and Notes on Indians (New York: Dover Publications Inc., 1973), he almost lost the entire Gallery. His 23. the Manners, Customs, and Condition desire to keep the collection intact was of the North American Indians . 2 vols. so strong that he re-created more than London, 1841. Reprint, New York: 400 paintings and undertook further Dover Publications, Inc., 1973. travels in the 1850s to paint hundreds of additional works in North and South Dippie, Brian W. et al. George Catlin America. Catlin believed that the Indian David Rosenbaum is an education specialist and His Indian Gallery. New York: Gallery was a national treasure, and had and Lee Ann Potter is the head of Education Smithsonian American Art Museum tried since 1838 to have the U.S. gov- and Volunteer Programs at the National Archives and W.W. Norton & Company, 2002. and Records Administration in Washington, D.C. ernment purchase it. However, his debts Elizabeth K. Eder, Ph.D., is the National caught up with him, and Joseph Harrison, Education Program Manager at the Smithsonian Truettner, William H. The Natural a wealthy American collector, paid the American Art Museum in Washington, D.C. Potter Man Observed: A Study of Catlin’s artist’s creditors in 1852 and took posses- serves as the editor for “Teaching with Documents,” Indian Gallery . Washington, D.C.: a regular department of Social Education. You can sion of the collection. Although George reproduce the images that accompany this article in Smithsonian Institution Press, 1979. Catlin did not live to see his wish ful- any quantity. filled, the majority of works in the origi-

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