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Cowboy Knights and Prairie Madonnas American Illustrations of the Plains and Pre-Raphaelite Art

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Cowboy Knights and Prairie Madonnas American Illustrations of the Plains and Pre-Raphaelite Art University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Winter 1985 Cowboy Knights and Prairie Madonnas American Illustrations Of The Plains And Pre-Raphaelite Art Kirsten H. Powell Middlebury College Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Powell, Kirsten H., "Cowboy Knights and Prairie Madonnas American Illustrations Of The Plains And Pre- Raphaelite Art" (1985). Great Plains Quarterly. 1826. https://digitalcommons.unl.edu/greatplainsquarterly/1826 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COWBOY KNIGHTS AND PRAIRIE MADONNAS AMERICAN ILLUSTRATIONS OF THE PLAINS AND PRE,RAPHAELITE ART KIRSTEN H. POWELL In 1911, Dorothy Canfield's short story "The lives here and has for years-a man from Ne­ Westerner" appeared in Scribner's Magazine. 1 braska."Z The story describes the chauvinism of Joanna, In vain she tries to deny the accounts of the a young lady from Kansas who, when sent East Nebraskan's tales of broncobusting, cattle to attend college, tries to convince her friends branding, and cowpunching that make their that eastern notions of the West are misconcep­ simple lives seem commonplace. As Joanna tions. "You think all Western men are long­ attempts to convince them of the hard-won haired cowpunchers!" she cries to her Maine­ sophistication of Kansas City, the "Nebraskan" born roommate. "Let me tell you that they are appears on the scene, shown in H. C. wall's not, but a great deal better-dressed, and more illustration riding a horse and dressed in chaps, up-to-date and-and cultivated than these silly spurs, ten-gallon hat, and neckerchief (fig. 1). Eastern boys!" She takes her crusade to Hills­ Speaking with a pronounced Yankee twang, he boro, Vermont, where she informs her elderly invites Joanna to visit his ranch, adding, "T'aint cousins that there is no difference at all be­ much to look at compared to the payrayra (he tween Kansas and Vermont except that Kansas pronounced prairie as Joanna had heard 'old is sophisticated ahd advanced and modern settlers' in Kansas say the word), but we'd be while Vermont is provincial, narrow, and almighty glad to see you.,,3 behind the times. To her surprise, her cousins Determined to expose the man as an im­ tell her, "We know about the West. A Westerner poster, Joanna visits his tiny Vermont farm. After showing her the house, the old man takes her to a partitioned room in the barn, telling An instructor of art history at Middlebury Col­ her that she is the first person he has ever al­ lege, Kirsten H. Powell has divided her research lowed to enter. There, beside a rough bunk and between American art pottery and western American illustration. Her most recent book is a small cook stove, is a wall covered with pic­ Cowboy Knights Errant and Klondike Kings: tures of western scenes. Western Illustrations by P. V. E. Ivory (1982). They were of all sorts, rough line drawings [CPQ 5 (Winter 1985): 39-5Z.] cut from newspapers, colored illustrations 39 40 GREAT PLAINS QUARTERLY, WINTER 1985 FIG. 1. H. C. Wall, from "The Westerner," Scribner's Magazine, 1911. Center for Great Plains Studies Collection of Western Art, University of Nebraska-Lincoln. from the magazines, but they all represented There is an underlying theme in Canfield's Western scenes, the sort of Western scene that story: the prevailing eastern stereotypes of west­ Joanna was always repudiating in her descrip­ ern life at the turn of the century. As she tions of her Kansas home-cattle stampedes, indicates, these stereotypes were projected in cow-punchers, Indians, sod-houses, lines of illustrated articles and stories published in the prairie schooners making their way through popular press. Despite the reality of western the sage-brush, cow-boys galloping along progress, the old Vermonter could maintain his over vast sunlit plains where nothing broke nostalgic image of a place he had visited forty the perfect circle of the sky-line. years earlier with the help of pictures cut from magazines. Although those pictures struck the As she takes in the array of pictures, the man young lady from Kansas as false, they were typi­ adds, "You see, my being out there such a short cal of the imagery that promoted the myth of the time- t'was only three months from start to West for the eastern public. On that wall in the finish- I was afraid I'd forget about it some.,,4 barn there might have been scenes like Percy He explains that despite his passion for Nebraska Ivory's Knight Errant of the Plains (fig. 2), which he put aside his dreams of making something of appeared on the cover of Harper's Weekly in himself and a life in the West for his wife, a deli­ 1909; or his Madonna of the Prairie, published as cate woman whom he rescued from the rigors a halftone engraving by H. C. Merrill in the same of pioneer life. Joanna returns home with a new year; or N. C. Wyeth's broncobuster from the understanding of the depth of one easterner's cover of the Saturday Evening Post in 1903; or love for her region as well as his deeper love for even Frank Schoonover's Hopalong Takes Com­ his wife. mand, published in 1905 in Outing Magazine. COWBOY KNIGHTS AND PRAIRIE MADONNAS 41 FIG. 2. P. V. E. Ivory, Knight Errant of the Plains, oil on canvas, 1909. Delaware Art Museum, Louisa du Pont Copeland Memorial Fund. 42 GREAT PLAINS QUARTERLY, WINTER 1985 At the turn of the century, when artists firmly traced by Owen Wister in 1895 in his and writers began to search for a vocabulary essay "The Evolution of the Cow-Puncher," to set western heroes and heroines apart from published in Harper's Magazine. As Wister ob­ the general public, they frequently turned to served, the Anglo-Saxon heritage was evident terminology derived from medieval England. "from the tournament at Camelot to the round­ Western adventurers were often equated with up at Abilene," adding, "No doubt Sir Launce­ medieval knights, not only in paintings like lot bore himself with a grace and breeding of Ivory's Knight Errant of the Plains but also which our unpolished fellow of the cattle trail in written accounts like one that appeared in has only the latent possibility; but in personal Scribner's in 1901 entitled "A Section Hand on daring and in skill as to the horse, the knight the Union Pacific Railway." As the writer stops and the cowboy are nothing but the same in Nebraska he recounts, Saxon of different environments.,,8 Frederic Remington's illustrations for Wis­ That evening, in a village inn, while the rain ter's essay also made this point. In The Last poured without, I sat cheek by jowl with a Cavalier Remington showed a cowboy riding Knight Templar who had just returned from beside a ghostly cavalcade featuring mounted a convention of his order in Denver. It was knights in armor, thus linking the cowboy to not the meeting that inspired him; it was the his Arthurian ancestors. Wister developed this mountains. Raised on the prairie, he had imagery further in The Virginian, in which the never seen even hills before, and the sight cowboy hero is a modern Launcelot in leather of the earth rising from a plain until it armor, who, when he rescues Molly Wood (who touched high heaven was like giving his mind comes to the West from Bennington, Vermont), the sense of a new dimension. is "her unrewarded knight.,,9 Wister's and Remington's impressions of the He adds that the band of "knights errant and West set the stage for other eastern artists and ladies fair" climbed Pike's Peak, a task com­ writers to apply their assumptions about pared to a struggling saint's "steep ascent of medieval adventure and chivalry to the western heaven.,,5 Even the most prosaic objects experience .. Behind Wister's and Remington's evoked similar medieval imagery from writers, general equation of the West with Camelot, as in Beatrice Hanscom's poem "In Quiet there seems to have been at least one specific Ways," which describes "long rows of milk­ source for the popular parallels between the pans that shone as bright as armor worn by knights and madonnas of English medieval art parfit knight or bold crusader.,,6 and literature and the vocabulary of American Why was this imagery of England's remote hero-worship. This was the influence of the past applied to the American experience with art of the English Pre-Raphaelite Brotherhood such enthusiasm? One explanation may stem on the American imagination at the turn of from the problem of defming heroes in a the century. Although the presentation of the democratic society based on equality. To dif­ western hero and heroine in the guise of their ferentiate special individuals from the general medieval counterparts is a complex phenome­ population, artists and writers borrowed hier­ non stemming from a variety of sources, Pre­ archical structures from the English monarchy, Raphaelite art played an important role in the so that Buck Taylor was "king" of the cowboys; ways some American illustrators pictured the the Virginian was a "noble" young cowboy; West. Deadwood Dick was the "Black Prince" of the In 1848, a group of English artists and Black Hills; and, more recently, John Wayne writers banded together under the name "Pre­ was the "Duke.,,7 The direct line of figurative Raphaelite" to support their belief that true descent from the heroes of Anglo-Saxon his­ inspiration could be found only in nature and tory to the cowboys of the plains had been in the art of the Middle Ages and the early COWBOY KNIGHTS AND PRAIRIE MADONNAS 43 FIG.
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