Las óleos de todo George Catlin

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58339

Ah yaw ne tak oar ron

Ah-yaw-ne-tak-oar-ron

3196

Ambush for Flamingoes

c1857 Carnegie Museum of Art, Pittsburgh, PA

50922

Black hawk,Sac Chief

mk217

3195

Buffalo Bull : A Grand Pawnee Warrior

1832 National Museum of American Art, Washington D.C.

45356

Buffalo Bull-s Back Fat Oberhauptling des Blutstammes

mk181 1832 Ol auf Leinwand,auf Aluminium aufgezogen 73.7x60.9cm

3197

Buffalo Bulls Fighting in Running Season-Upper Missouri

1837-39 National Museum of American Art, Washington D.C.

31885

Buffalo Chase on the Upper Missouri

mk77 Oil on canvas 25 3/4x32in

45955

Buffalo Chase Over Prairie bark

mk178 1832/33 oil on linen 61x74cm

38342

Buffalo Chase with Bows and Lances

mk136 Oil on canvas 1832-33

50925

Catching wild horses

mk217

50532

Cloudy

mk212 Oil on canvas 71.1x58.1cm

27966

Comanche Indians Chasing Buffalo with Lances and Bows

1846-8 oil on canvas 49.8 x 70.1 cm (19 5/8 x 27 5/8 in) National Museum of American Art,Washington DC (mk63)

30696

Comanche Indians Chasing Buffalo with Lances and Bows

mk68 Oil on canvas Washington, Smithsonian American Art Museum 1846-1848

41436

Crow Chief

mk162 c.1850 oil o nboard 15x21

89424

Five Points

1827(1827) Medium oil cyf

74271

Fort Union 1832 Crow-Apsaalooke oil painting

George Catlin He-ra-te-a, a Brave, Fort Union 1832 Crow/Apsaalooke oil painting 29 x 24 in. Smithsonian American Art Museum Described by Catlin as "a brave, wrapped in his robe, and his hair reaching to the ground; his spear in his hand, and bow and quiver slung" cjr

3194

Indian Boy

50926

Indian Tropp

mk217

90370

Las cataratas de San Antonio

1871(1871) Medium oil on cardboard Dimensions 46 x 63.5 cm (18.1 x 25 in) cjr

41432

Minnetarree Village Seen Miles above the Mandans on the Bank of the Knife River

mk162 c.1855-1870 Oil on paper 17x24

30684

Niagara Falls

mk68 Oil on canvas Washington, Smithsonian Americn Art Museum 1827-1828 USA

50984

Notch-EE-Nin-Ga son of white cloud

mk217

45358

Pigeon-s Egg Head auf dem Weg nach Washington und bei Seiner Ruckkehr

mk181 1837-39 Ol auf Leinwand,auf Aluminium aufgezogen 73.6x60.9cm

88493

portrait of Osceola

Oil on canvas 1838 78.4 x 65.6 cm. cjr

41433

Primitive Sailing by the Winnebago indians

mk162 upper Mississippi c.1855-1870 Oil on paper 18x24

41434

Rainmaking,Mandan

mk162 c.1855-1870 Oil on paper 18x24

50923

Sha-KO-KA, Mandan Girl

mk217

38341

Sha-ko-ka,Mint,a Pretty Girl

mk136 Oil on canvas 1832

38340

Stu-mick-o-sucks,Buffalo Bull-s Back Fat,Head Chief,Blood Tribe

mk136 Oil on canvas 1832

3198

The Dakota Chief : One Horn

1832

52532

The Last Race, Mandan O-Kee-Pa Ceremony

1832 Oil on canvas mounted on aluminium, 59 x 71 cm

58338

The White Cloud

The White Cloud, Head Chief of the Iowas

50924

Wah-ro-Nee-Sah,Oto Chief

mk217

3199

War Dance

41435

Wild Horses at Play

mk162 c.1855-1870 Oil on paper 18x25

82577

William Clark painting

Oil on canvas portrait of William Clark (of the Lewis and Clark Expedition) as governor of the Missouri Territory; original size without frame 72.4x59.7 cm. cjr

50983

Win-pan-to-mee,The white weasel

mk217

George Catlin

1796-1872 George Catlin Galleries Catlin was born in Wilkes-Barre, Pennsylvania. Following a brief career as a lawyer, he produced two major collections of paintings of American Indians and published a series of books chronicling his travels among the native peoples of North, Central and South America. Claiming his interest in America??s 'vanishing race' was sparked by a visiting American Indian delegation in Philadelphia, he set out to record the appearance and customs of America??s native people. Catlin began his journey in 1830 when he accompanied General 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 and 1836, eventually visiting fifty tribes. Two years later he ascended the Missouri River over 3000 km to Ft Union, where he spent several weeks among indigenous people still relatively untouched by European civilization. He visited eighteen tribes, including the Pawnee, Omaha, and Ponca in the south and the Mandan, Cheyenne, Crow, Assiniboine, and Blackfeet to the north. There, at the edge of the frontier, he produced the most vivid and penetrating portraits of his career. Later trips along the Arkansas, Red and Mississippi rivers as well as visits to Florida and the Great Lakes resulted in over 500 paintings and a substantial collection of artifacts. When Catlin returned east in 1838, he assembled these paintings and numerous artifacts into his Indian Gallery and began delivering public lectures which 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??to great effect. Visitors identified each painting by the number on the frame as listed in Catlin??s catalogue. Soon afterwards 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 Congress rejected his initial petition to purchase the works, so in 1839 Catlin took his collection across the Atlantic for a tour of European capitals. Catlin the showman and entrepreneur initially attracted crowds to his Indian Gallery in London, Brussels, and Paris. The French critic Charles Baudelaire remarked on Catlin??s paintings, ??M. Catlin has captured the proud, free character and noble expression of these splendid fellows in a masterly way.?? Catlin??s dream was to sell his Indian Gallery to the U.S. government so that his life??s work would be preserved intact. His continued attempts to persuade various officials in Washington, D.C. failed. He was forced to sell the original Indian Gallery, now 607 paintings, due to personal debts in 1852. Industrialist Joseph Harrison took possession of 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. 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 1841 Catlin published Manners, Customs, and Condition of the North American Indians, in two volumes, with about 300 engravings. Three years later he published 25 plates, entitled Catlin??s North American Indian Portfolio, and, in 1848, Eight Years?? Travels and Residence in Europe. From 1852 to 1857 he traveled through South and Central America and later returned for further exploration in the Far West. The record of these later years is contained in Last Rambles amongst the Indians of the Rocky Mountains and the Andes (1868) and My Life among the Indians (ed. by N. G. Humphreys, 1909). 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.?? Harrison??s widow donated the original Indian Gallery??more than 500 works??to the Smithsonian in 1879. The nearly complete surviving set of Catlin??s first Indian Gallery painted in the 1830s is now part of the Smithsonian American Art Museum's collection. Some 700 sketches are in the American Museum of Natural History, New York City. 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. Previous recorded white visitors include the Groselliers and Radisson, Father Louis Hennepin, Baron LaHonton and others. Lewis and Clark noted the pipestone quarry in their journals in 1805. Fur trader Philander Prescott had written another account of the area in 1831.

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