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Ml 48106 18 BEDFORD ROW. LONDON WC1R 4EJ. ENGLAND Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 131337-3 HARWELLr PETER ^C'!6£'<T IMAGES -:P T«E a ^ I C A , livOI A - k ; REFLECTED I •'I PRINTS 133.-1 ^o.1, UNIVERSITY i.'F vELAwAKE (WINTERTHUR FR06RA4), W.A., University Miaonms hterrational 3oo n. zees road, ann a rb o r, mi «sio6 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PLEASE NOTE: In all cases this material has been filmed In the best possible way from the available copy. Problems encountered with this document have been Identified here with a check mark . 1. Glossy photographs J 2. Colored Illustrations _____ 3. Photographs with dark background y '4. Illustrations are poor copy _____ 5. Print shows through as there 1s text on both sides of pai-e______ 6. Indistinct, broken or small print on severalpages _______ throughout 7. Tightly bound copy with print lost in spine _____ 8. Computer printout pages with indistinct print _____ 9. Page(s) lacking when material received, and not available from school or author _____ 10. Page(s)_____ seem to be missing in numbering only as text follows _____ 11. Poor carbon copy _____ 12. Not original copy, several pages with blurred type __ 13. Appendix pages are poor copy _____ 14. Original copy with light type _____ 15. Curling and wrinkled pages _____ 16. Other______________ _______ ___ _______________ University Microfilms International 300 N 2=S3 30.. ANN ARBOR. Ml -18106 ‘3131 761-4700 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IMAGES OF THE AMERICAN INDIAN REFLECTED IN PRINTS 1830-1860 BY Peter Herbert Hammell A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture. June, 1979 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IMAGES OF THE AMERICAN INDIAN REFLECTED IN PRINTS 1830-1860 BY Peter Herbert Hammell Approved /• Scott T. Swank, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved Stephanfeanie fc. Wolf, Ph.Dl / V Chairjfafljof the Department of Early American Culture a ' V Approved kiJL- Geyard^J. Mangone, PhlD. University Coordinator of\gr. e Studies Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IMAGES OF THE AMERICAN INDIAN REFLECTED IN PRINTS 1830-1860 PREFACE The subject of Indian-White relations has received extensive attention in recent historical writing. One primary concern has been the negotiation and the enforcement of treaties between the United States and American Indian groups. Among those scholars who have ex­ plored this aspect of the subject are Wilcomb E. Washburn, Paul Francis Prucha, Reginald Horseman, Bernard W. Sheehan, Herman J. Viola, and Vine Deloria, Jr.^ The exploration of the treaty process indicates that a transition occurred during the early nineteenth century in regard to ;he United States Government's attitude toward that instrument. When the United States was militarily weak and many American Indian nations were strong, this tool was important in the maintenance of peace. Once the balance of military strength reversed, during the early decades of the nineteenth century, the treaty process became a pseudolegalistic tool which the United States skillfully manipulated to drive the American Indian from his land and to destroy his cultural stability. n x Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. American Indian-White relations have also been examined in terms of their role in the development of the United States into a major world power, as in the work of Richard Slotkin where he de­ scribes the American Indian in American literature as both a symbol and a victim of the new nation. Ellwood Parry discusses the visual imagery of the Indian in similar terms. As the United States steadily expanded its territorial limits westward, the American Indian was caught up in the development of the nation. The development of vigin lands, of expanding American democratic government, and of a systematic native removal policy intermingled during the first half- century of nation building. The character of the nation during this 2 period has been analyzed by Michael Rogin. Studies have been made of Andrew Jackson's role as the nation's strongest leader during this period and his direct influence on Indian removal. Michael Rogin, Ronald N. Satz and James C. Curtis have analyzed the impact of Jackson on the course of American policy toward Indians. Scholars have also approached this period philosophically from the perspective of the American Indian whose universe was re­ ordered in a period of a few decades. These works sympathetic to the American Indian viewpoints are frequently dismissed as being marred by emotionalism. However, well documented and respectable studies have begun to place the Native American experiences in context. The cool logic of Vine Deloria, Jr. and Kirke Kickingbird reveal the previously subconscious bias of Whites in regard to the study of 3 American Indian-White relations. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Clearly the oldest and most widely subscribed approach to the subject is that of romantic sensationalism. Since the sixteenth century, travel accounts, captivity narratives, and other printed sources have emphasized the barbarity of American Indian cultures, including practicesof torture, martial exploits and pagan ceremonies. Roy Harvey Peace and Richard Slotkin have explored the origins and evolutions of this aspect of Indian-White relations. In one form or another the romantic sensationalism of the early period has continued until the present. Few attempts have been made in this type of nar­ rative to adhere to even rudimentary authenticity in terms of material culture, customs and morality.^ Various sources have been utilized for the examination of these aspects of Indian-White relations. Actual reports of White contacts with American Indians have been utilized, frequently with no attempt to interpret the relationship between the writer's views and ex­ periences and the ethnographic record as determined by other sources. The ethnographic records, compiled by means of material culture research, archaeological work and written accounts, has been extensively utilized. Treaties and other surviving legal documents have been used. One medium which may be utilized in the examination of this subject is the print. The period during which the basis for modern United States-Indian relations was formulated, 1830-1860, was a period during which the print enjoyed immense popularity as an in­ formative medium. Pioneers in the examination of American Indians Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. through paintings and prints include John C. Ewers, Bradford F. Swan, Herman J. Viola, Ellwood Parry, and Peter C. Marzio. The American Indian as a symbol of the American *\~~ion and the manifestations of this symbol in popular culture are analyzed by E. McClung Fleming and by Rayna Diane Green. Prints are utilized as the primary source material for this study because they reflect the integration of visual impressions and mental constructs pertaining to the American Indian which influenced public policy makers within the United States Government more than the media of paintings, sculpture or popular literature. The artists who created these prints were not the best artists of the day. Their artistic skills were less developed than those of the best academic painters of the period. Their limited skills encouraged them to reply on the conventions of their art form or academic image of their subject, as much as on the subject itself, in the creation of graphics. In academic art, as in literature, the formal precepts of composition, grammer, and syntax influence the artist. The formal precepts can skew the description of the subject matter, directing it toward the pre-determined emphasis of the culture reflected in the artist's language.