106 15 4153 https://omeka.wilkes.edu/omeka/files/original/ba881c1323364127974b432dd3f4a34e.pdf 970ea89088208db3290d585fbc0f542a PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 June 24 Keith Jacobshagen Creator An entity primarily responsible for making the resource Keith Jacobshagen Date A point or period of time associated with an event in the lifecycle of the resource 1990 June 24 - July 29 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This exhibition is a survey of recent (circa 1990) paintings by Keith Jacobshagen Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived Babcock Galleries https://omeka.wilkes.edu/omeka/files/original/4e5d16a184a25be6c9f65d4e57e8030d.pdf 166f715ae2fc427a5a812ef4ef4e5555 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 Septemeber 9 Selections from the Permanent Collection Date A point or period of time associated with an event in the lifecycle of the resource 1990 September 9 - October 14 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This show is a survey of the permanent collection of the Sordoni Gallery circa 1990 Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/0184eac94bfdab20d4242853dce8fe24.pdf 8f94275d8f554c493b4932ba0c09b822 PDF Text Text ������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 October 21 Wilkes University Art Faculty Biennial Creator An entity primarily responsible for making the resource William Sterling Jean C. Adams Sharon Bowar Herbert Simon Mark Cohen Richard Fuller Michael Stanford Date A point or period of time associated with an event in the lifecycle of the resource 1990 October 21 - November 25 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The Wilkes University Art Faculty Biennial is a showcase of work from the arts faculty circa 1990 Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/04a9b56ed0fca825aa42575c45fca6b2.pdf 92746e3b27efbd9cfacfed65cac5d5ad PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 December 2 River Works Creator An entity primarily responsible for making the resource N/A N/A N/A Date A point or period of time associated with an event in the lifecycle of the resource 1990 December 2 - 1991 January 6 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource River Works is a multi-media exhibiton focused on the plight and beauty of the Lackawanna RIver and its tributaries Type The nature or genre of the resource Exhibition program Subject The topic of the resource river Lackawanna River https://omeka.wilkes.edu/omeka/files/original/21f5ffedc6f1ce640a1ca49c7cd02534.pdf 06f09fa248325907c94ce9ae1fce0929 PDF Text Text ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1991 January 20 Balance and Assembly Creator An entity primarily responsible for making the resource Shawn Dulaney Lee Levine Date A point or period of time associated with an event in the lifecycle of the resource 1991 January 20 - February 24 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Balance and Assembly is a joint show between artists Shawn Dulaney and Lee Levine. Type The nature or genre of the resource Exhibition program Subject The topic of the resource painting ceramic ceramics Shawn Dulaney Lee Levine artist https://omeka.wilkes.edu/omeka/files/original/5fca9a0341b50b4624c32205a7808261.pdf c936aaf71c6f01ed917e7c7a1189e32d PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1991 April 16 Official Image: New Deal Photography Date A point or period of time associated with an event in the lifecycle of the resource 1991 April 16 - May 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Official Images: New Deal Photography introduces exciting documentary photographs recorded during the 1930s by government photographers. Type The nature or genre of the resource Exhibition program Subject The topic of the resource photography photographs documentary photography documentary New Deal https://omeka.wilkes.edu/omeka/files/original/601d43e29231b8ea8f7c0232bfc5f507.pdf 1dcc48b8127218b12f9ab53c672770e7 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1991 May 17 Collector's Choice Date A point or period of time associated with an event in the lifecycle of the resource 1991 May 17 - June 23 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Invitation Subject The topic of the resource collection collector https://omeka.wilkes.edu/omeka/files/original/d04c15f03d2a7fa4bfebe384cb90fb06.pdf c6622411a51f1223ab9d4a3cb0d531bd PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1991 August 30 Metamorphosis of a Butterfly Date A point or period of time associated with an event in the lifecycle of the resource 1991 August 30 - September 29 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Invitation https://omeka.wilkes.edu/omeka/files/original/707e1f5952b02a4f2fd3df563bfcdab2.pdf 9552d9406bc04d7560cca0636194a5f0 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1991 August 23 The Maslow Collection: Context and Content, A Year of Collecting 1991 Creator An entity primarily responsible for making the resource Robert Schweitzer Date A point or period of time associated with an event in the lifecycle of the resource 1991 August 23 - October 3 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The Maslow Collection: Context and Content A Year of Collecting-1991 is an exhibition about the recent (circa 1991) acquisitions of the Maslow Collection. Type The nature or genre of the resource Poster Subject The topic of the resource Maslow Collection collection collector https://omeka.wilkes.edu/omeka/files/original/4781520502c97c3efaa63457d31c9611.pdf 992858039bf9f891b1d2106d69aa60bf PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1991 October 6 Spirit of Mauch Chunk: Six Artists of Jim Thorpe Creator An entity primarily responsible for making the resource Joseph M. Dunn Joel LeBow Edward H. Meneeley Shozo Nagano Harold Nothstein David W. Price Edward J. Morgan Aleta Connell Date A point or period of time associated with an event in the lifecycle of the resource 1991 October 6 - November 3 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Spirit of Mauch Chunk: Six Artists of Jim Thorpe is an exhibition highlighting the work of several, specifically six, artist from Jim Thorpe. Type The nature or genre of the resource Postcard Subject The topic of the resource Mauch Chunk Jim Thorpe https://omeka.wilkes.edu/omeka/files/original/7ab8b93c58afbd6e0628fbafd7985698.pdf d013dc04478ee196cd2ee112c3387cd4 PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1991 November 10 Current American Printmake: SAGA Creator An entity primarily responsible for making the resource Linda Adato Michael Arike Kathleen Caraccio Susan Caster-Carter Michael DiCebro Gail Cohen Edelman Liz Exler Kathleen Gallagher Stanley Kaplan Shi-Ping Liao Martin Lenine Richard Pantell Merle Perlmutter ShellyThorstensen Emily Trueblood Steven Yamin Date A point or period of time associated with an event in the lifecycle of the resource 1991 November 10- December 8 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Current American Printmaking: SAGA is a survey of the state of American printmaking at the end of 1991 Type The nature or genre of the resource Exhibition program Subject The topic of the resource printmaking rints SAGA American printmkaing https://omeka.wilkes.edu/omeka/files/original/a8b214e3ea3ef31933610d31ff2d81d5.pdf ca03644965e1418b06eb10d2d03dd05d PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1992 March 1 Nature as Muse: Contemporary Works Based on Landscapes Date A point or period of time associated with an event in the lifecycle of the resource 1992 March 1 - 29 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Nature as Muse 1992 focuses on work that utilizes nature as a focal point for the exhibited work. Type The nature or genre of the resource Postcard Subject The topic of the resource nature muse https://omeka.wilkes.edu/omeka/files/original/d87a555ea023e2b0e570a79c1d36d2b1.pdf f533b47cb6dc469a11c22aa124d97d7c PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1992 June 21 Scavnicky: Portrait of a Anthracite Family Creator An entity primarily responsible for making the resource Nelson Morris Judith O'Toole Daniel K. Perry Annie Bohlin Date A point or period of time associated with an event in the lifecycle of the resource 1992 June 11 - July 26 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Scavnicky: Portrait of a Anthracite Family is a comprehensive series about the life of an anthracit coal miner and his family. Type The nature or genre of the resource Postcard Subject The topic of the resource anthracite coal anthracite coal coal mining Nelson Morris Rust Belt https://omeka.wilkes.edu/omeka/files/original/e9b63917c2a1757b6a07d327306b022e.pdf 0e16d37ad3ec8868c8c40062e5c37340 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1992 August 23 Wilkes University Art Faculty Biennial Creator An entity primarily responsible for making the resource Sharon Bowar Richard Fuller William Sterling Jean Adams Mark Cohen Kevin O'Toole Michael Standford Date A point or period of time associated with an event in the lifecycle of the resource 1992 August 23 - September 17 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The Wilkes University Art Faculty Biennial is a showcase of work from the arts faculty circa 1992 Type The nature or genre of the resource Postcard Subject The topic of the resource Wilkes University faculty https://omeka.wilkes.edu/omeka/files/original/89485338525222d0c21eb087758a27fc.pdf 4a8a40b3ebded51c084ecfa9be0538df PDF Text Text ���������������������������������� https://omeka.wilkes.edu/omeka/files/original/05930834e2fa2713a812bf0a0b334afb.pdf 31d072e2d7fe7b75105beb928a0c3d54 PDF Text Text II i '2 .■5 e 1 i ■ ■ ■ I I Virgin Landscapes, Native Cultures: The Artist-Explorer in North America Sordoni Art Gallery Wilkes University SORD GA N8214.5 U6S83 1992 �I Virgin Landscapes, Native Cultures: The Artist-Explorer in North America An exhibition organized by the Sordoni Art Gallery, Wilkes University, in recognition of the Quincentenary of the voyage of Columbus I1 I I ■- Dr. William H. Sterling, Guest Curator October 11 through November 29, 1992 Support provided by Pennsylvania Council on the Arts Northeastern Bank Anonymous Friends E.S. FARLEY LioHALY ” WILKES UNIVERSITY WILKES-BARRE, PA �I LH 5 | 3 TABLE OF CONTENTS s ■ Lenders to the Exhibition Copyright 1992 by the Sordoni Art Gallery, Wilkes University’, Wilkes-Barre, Pennsylvania All rights reserved Acknowledgments iv v The Artist-Explorer in North America ISBN 0-942945-03-4 Introduction Wilkes University Christopher N. Breiseth, President J. Michael Lennon, Vice President for Academic Affairs 1 Discovering America (1492-1800) Into the Wilderness (1800-1850) 3 13 From Exploration to Tourism (1850-1875) Sordoni Art Gallery Judith H. O’Toole, Director Nancy L. Krueger, Assistant Director Kathy L. Scott, Secretary Mary Jo Moses, Gallery Intern Biographical Notes 51 Bibliographic Note 54 Checklist of the Exhibition Front cover: Exhibition No. 12 Inside cover: see p. vi 55 35 ■ �ACKNOWLEDGMENTS How can you buy or sell the sky, the warmth ofthe land? The idea is strange to us. If we do not own thefreshness of the air and the sparkle of the water, how can you buy them? lenders to the exhibition American Philosophical Society' Art Gallery of Windsor The Butler Institute of American Art Everhart Museum The Heckscher Museum Joslyn Art Museum Kennedy Galleries, Inc. Missouri Historical Society Museum of Nebraska Art National Museum of American Art, Smithsonian Institution The New York Historical Society The Rockwell Museum Sheldon Memorial Art Gallery', University of Nebraska - Lincoln Sordoni Art Gallery, Wilkes University Sordoni Family Collection The Thomas Gilcrease Museum W est Point Museum Yale (Jniversity Art Gallery 1 his yas the response of Chief Sealth of the Duamish Tribe to President Franklin Pierce’s inquiry of 1854 regarding the purchase of a large tract of Indian land. Obviously, the two men had vastly different concepts of man’s relationship to his environment. Virgin Landscapes, Native Cultures is about the encounter between two continents and the inhabit­ ants of each, although admittedly through Anglo-European eyes — the artists represented here were Westerners who recorded as faithfully as they could the “native cultures” and “virgin landscapes” they encountered in North America. Planning for this exhibition began several years ago, although the original concept has gone through several permutations since then, and our small staff has worked diligently to bring it into being. We are grateful to Dr. William H. Sterling, Associate Professor of Art at Wilkes University, who served as the exhibition’s curator, providing a selection of objects and an essay which are both enlightening and sensitive to the subject. His careful research is revealed in the following text which, refreshingly, manages to be both lively and scholarly. We are indebted to those listed on the title page who provided support and others including Andrew J. Sordoni, III; Vai and Gus Genetti; the Cultural Events Committee, Wilkes University under the chairmanship of Robert Heaman; and anonymous friends. The gallery staff, new to a project of this ambition, tackled their responsibilities with diligence, professionalism, and, when needed, good humor. Nancy L. Krueger handled all the correspondence with lenders and coordinated all the varied details that go into assembling an exhibition and catalog of this scope. Kathy L. Scott lent her expert typing skills to the transformation of the manuscript from pen to computer printout. I am grateful to both of them for taking the exhibition’s concept and making it a reality'. Annie Bohlin approached the design of this publication with her usual intellectual curiosity and created a perceptive and appropriate document to accompany and survive the exhibition. Dr. Rena Coen, Professor Emerita of St. Cloud University, and Kenneth Haltman of Yale University assisted in the location of works by some of the more obscure artists and suggested valuable source material. Beth Carrol-Horrocks of the American Philosophical Society made access to that collection available to Dr. Sterling. Mary L. W’atkins of the E. S. Farley Library at Wilkes University kept pace with the steady stream of requests for inter-library loans. Also deserving of our thanks are staff members at the lending institutions, in particular: Barbara Rothermel, Everhart Museum; Marsha Gallagher, Joslyn Art Museum; Clyde Singer, The Butler Institute of American Art; John McKirahan, Museum of Nebraska Art, University of Nebraska at Kearney; William H. Trcuttner, Abigail Terrones and Kimberly Cody, National Museum of American Art; Cathy N lastin. Art Gallery of Windsor; David N leschutt and Pat Dursi. West Point Museum; William Fl. Titus, The Heckscher Museum, and Lillian Brenwasser, Kennedy Galleries, Inc. Finally, as always, we thank the institutions and private lenders listed in this catalog whose generosity made this exhibition possible. Judith Hansen O'Toole Director it �THE ARTIST-EXPLORER IN NORTH AMERICA I4 INTRODUCTION i~ This exhibition surveys the era during which the pictorial exploration of North America evolved from the reportorial to the expressive. It was also an era which saw other momentous developments: the transcontinental settlement by Euroamericans and the attendant uprooting of the native cultures; the creation of a national1 sense of destiny and history; and the emergence of a cultivated indigenous art community. The artist was never the point man in any campaign of geographical exploration. He recorded mostly what others had already discovered. Nevertheless, the term "artist-explorer" is useful as an indication of the difference between those artists who worked at home, using only their imaginations or the reports of travelers, and those artists who followed the pathfinders into the field to bring back eye-witness images. Some of the artists and themes appearing in this exhibition, particularly those of the American West and the American Indians, have been featured in many other recent exhibitions. These themes naturally occur in the current project, because they overlap so broadly our primary­ subject of the artist-explorer in North America. If your favorite western painter is missing in this show, keep in mind that many portrayals of the West were by the stay-at-homes, and many more were the work of artists whose travels came after those of the vanguard. In this exhibition, we are focusing on artists who, driven by a quest for fame or fortune, inspiration or knowledge, undertook arduous, and often dangerous, journeys into uncharted terrain. i.<r, I I !.l t HI ] >90 In 1494, Albrect Diirer, the great German artist of the Renaissance, crossed the Alps to visit Italy. This trip had nothing of the magnitude and risk which marked Columbus’s first voyage across the Atlantic. Still, in those days, Diirer's journey was a challenging venture. His motives were not altogether different from Columbus’s. Both men believed that their trips could bring them fame and fortune, as well as enlightenment. The wonders and wealth of the East beckoned Columbus. The art of antiquity and the Renaissance lured Diirer. Both the navigator and the artist hoped to return with treasures. For Diirer, that meant a deeper understanding of classical style and the newer discoveries by Italian artists. Diirer thus helped to establish a tradition which remained the primary object of artists' physical explorations well into the nineteenth century. Any similarity between their travels and those made by explorers of sea and land were mostly metaphorical. Indeed, prior to the nineteenth century, artists were not particularly interested in new lands or exotie peoples. Representations of Blacks and Asians by European artists, for example, were few and far between. Art was intensely Eurocentric in both style and subject matter. I'he Christian religion, classical mythology, history anti portraiture dominated subject matter. Genre, landscape, and still-life, as independent categories, began to flourish only in the seventeenth century and remained firmly tie voted to familiar ami near-at-hand images for two hundred years. Eventually, these lower ranking categories in the hierarchy of artistic subject matter would become rhe backbone of both objective naturalism and subjective expressionism, exemplified in the nineteenth century by rhe Realist and Romantic movements. * <>m|>Jt> . "t I'lllhljl iphl I 1 �. nril, demand for that kind of art developed howev er, there was no reason for an artisc 1 f some faraway wilderness or abongmal community. Even as philosophers and C1> travel oft to .< i .indseventeenth centuries began to posit connections, both literal and historians in the six ancient ,in(J bibllCal history. fcw artists (or th <"•'"*» ,n >”"■ ' .T“"p'e h“ sh°',n e d t" S concern was the tradition of art itself. An American wdderness, or its inhabitant, was X powerful stimulus than an old master landscape or an antique statue. Art tended to perpetUtCSKond1nlPdeminvoh ing Diirer seems to confirm this interpretation. In 1520, he had occasion to visit the Emperor's art collection. Among the newest acquisitions was a hoard of Mexican Indian artifacts. Diirer writes in lus diary that he was overwhelmed by these •wwdrous... [and] wonderful works of art. Aet so far as we know he didn’t sketch them or describe them in anv detail. As marvelous as he found them to be, they must have been curiosities which did not fit into his artistic world Artists became explorers, in the geographical sense, only when art itself begai began to embrace the real world in all its diversity. Somewhere between the categories of art and curiosity, there began to flourish, in the Renaissance, a body of natural history illustration (i.e„ careful studies of flora, fauna, and geology) requiring the skills, if not the imagination, of an artist. Some very significant artists took part in this development, most notably Leonardo da Vincg whose field trip to the Alps made him a forerunner of the artist-explorer. The New World offered naturalists a wealth of new species to examine and record. At first, most of the natural history illustrators remained in Europe and worked from imported specimens. In the late sixteenth century, naturalists and colonizers of the new territories began to take along artists to make both naturalistic and idealized portrayals of sites ripe for settlement. Some of die earliest scenes of America were, in a sense, real estate promotions. Hovering over all these pragmatic programs of exploration and representation, however, were the more subjective concerns of moral philosophy: where did America belong in the greater scheme of things: what aesthetic value did its wilderness have; were its natives subhuman or civilized? Artists, like their patrons, would work such concerns into their interpretations, consciously and unconsciously, over the next three centuries. One must also remember that ocean and wilderness travel before the age of mechanized and comfortable transportation was full of hardship, not to mention risk to life and limb. As a class, professional artists tended to be as ill-disposed to arduous travel as they were to military service. Check the household list of “great” European artists, and you will find that, before the nineteenth century, virtually none of them ever left their home continent. Only with the rise ot Romanticism and the wanderlust it engendered did a significant number of artists begin, physically, to seek inspiration in faraway places or alien cultures. Romanticism made the artist into a hero of culture, whose personal odyssey could take place within the imagination or atop a real mountain. V\ ith this kind of encouragement, artistic exploration of both kinds came into its own in the nineteenth century. DISCOVERING AMERICA (1492-1800) No artist accompanied Columbus on his voyages to America, and no professional artists that we know of sailed to these shores much before the seventeenth century. The earliest visual representations of the New World by the Old were based either on descriptions brought back by explorers or on pure fantasy. Virtually all such representations were the work of obscure illustrators. America was not a subject of much interest to artists. The continent had come within Europe’s purview accidentally and was regarded mostly as a geographical impediment and a philosophical inconvenience. The earliest images of America, appearing in 1493 to preface tracts on Columbus’s maiden voyage, are wholly imaginary generic landscapes. In 1505, the Master of Viseu, an anonymous Portuguese painter, portrayed an American Indian in the role of one of the magi in an Adoration ofthe Magi altarpiece (Viseu Muscu, Portugal). The American replaced the more conventional black African here as a representative of remote peoples in the trio of magi. 1 lad the Master of Viseu been to the New World? No one knows, but his Indian seems to be based more upon descriptions than direct encounter. Only his deep bronze complexion and feathered headdress identify him as a native American (these features became standard symbols of the Indian in European art for the next three centuries). Even when Indians were brought to Europe, it is doubtful that many artists had an opportunity to see them in the flesh. Symbolic images were adequate for the kinds of scenes in which America usually appeared, such as the cosmological allegories so popular in the sixteenth and seventeenth centuries. An Indian, a parrot, ora palm tree inserted into a conventional European landscape was enough to signal the New World. Authenticity' in visual representation was far less critical in the sixteenth century than it was in the nineteenth. The European landscape, itself, was seldom portrayed with topographical accuracy in the Renaissance. In the 1540s, when the Dutch artist Jan Mostaert painted West Indian Scene (Frans Hals Museum, Haarlem), probably no one was upset that the whole thing was entirely imaginary. More extraordinary is the fact that Mostaert was perhaps the only noteworthy sixteenth century artist to portray an extensive American scene at all. The meager excitement generated in artists and their patrons by the New World, as a subject for art, was apparently widespread. Even when artists began to make the journey themselves, what they reported seems not to have inspired many others to follow. It was a rough and hostile environment. Painting as “travelogue” only became popular in the eighteenth century, when tourism began to flourish. By that time, well-traveled patrons were less inclined to accept surrogates for their favorite scenes. The earliest extensive visual reports of America done on site did not appear until Jacques Le Moyne visited Florida in 1564 and John White settled in Virginia in 1585. Both men were trained cartographers and skilled draftsmen, and both had been sent out on royal commissions to promote colonization. Le Moyne accompanied Rene de Laudonniere’s expedition, while White traveled with Sir Walter Raleigh to become the governor of the ill-fated Roanoke colony. The drawings and paintings produced by Le Moyne and White presented for the first time a straightforward and detailed picture of Indian life. Although conventional artistic devices such 3 �i -,,i nines crept in, these portrayals seem to be laigeh accurate. A few years later both these engravings; W hite’s original pictures are m rhe Bnnsh Museum . Comparable pictorial studies of the Spanish ami Portuguese colonies to the south had not vet been done, despite the fact that American exploration began in those latitudes. The reasons for this are not clear. Perhaps Spain's somewhat secret, ve posture concerning her goldbearin- territories discouraged publicity. I he English and the 1; rench, in contrast, were eager to stimulate colonization in rhe North. The book illustrated with White’s pictures described Vir-inia as a "pastoral paradise” (Thomas Hanot, BneJ and 1 rue report of the new found land of Xirfnia. 1590). If White’s images fall short of accuracy in any significant way, it would be that thev accentuate the positive. His purpose, after all, was to attract immigrants. The most accomplished artists in America before the late eighteenth century were a pair of Dutchmen. Frans Post and Albert Eckhout. They did go to the south, but not to the Iberiancontrolled territories, and their purpose was less promotional than scientific. Post and Eckhout had been hired, in 1638. by Count Johan Maurits of Nassau-Siegen, governor of the Dutch colony in Brazil, to record the natural history of the region. Post painted numerous landscapes in the spacious Baroque naturalism prevailing in the Dutch school at that time. Eckhout concentrated on the native peoples, producing a series of life-sized, full-length portraits of unprecedented authenticity, only faintly glamorized by their Van Dykian compositions. He captured, with equanimity, both their innocence and their cannibalistic habits. Count Maurits was rather ahead of his rime in bringing artists along on his expedition to record this material in its natural setting. (Eckhout’s paintings belong to the Royal Danish Museum, Copenhagen; one of Post’s Brazilian landscapes may be seen in the Metropolitan Museum of Art in New York) As settlement increased in America, artists found more traditional reasons to undertake the journey themselves. Established colonial towns created a demand for portraits, altarpieces and interior decorations. The artists who came to meet this demand were not explorers in any sense; they were cultural emissaries, bringing an element of Old World refinement to settled communities. The first professional European artist to emigrate to North America was probably the Swedish portraitist. Gustavus Hesselius, who settled in Delaware in 1711 and later established himself in Philadelphia. Hesselius, and others like him, set a standard for nativeborn colonial artists, but the colonies were still the boondocks as far as cultivated Europeans v ere concerned. None of the great names in art history boarded a transatlantic ship until several generations after Hesselius. The first was Jean-Antoine Houdon, who came over fora brief visit in - So to sculpt Washington, Jefferson, Franklin and several other luminaries. About a century ‘dter. anfjt er great Frenchman, Edgar Degas, traveled to New Orleans to visit his Americanborn mother s relatives. A few portraits and local genre scenes resulted from this trip. Maternal cjoncctions attracted Degas equally great countryman, Paul Gauguin, just a few years later. ’ J^n \mot er" asana tit e ofAmerica in the fullest sense, having descended from Incas. He / ■jLt'P!-r^nnect'on "Eh his exotic heritage, perhaps, but his stay, in Martinique, •r,.',/ .11 ‘ 1 jerate escape from the confinements of European culture took him to tour&Hr'S a COl?ny °f Tahiti’ which> by that time, was already on the South Seas for four Xs\n ay0“"SChl .d 'dnd l0ng b-ef0re he became an artisc’ Gauguin had lived in Peru nevershovt-d nn?n ^questionably influenced his artistic personality but almost roster of ore tv r-nri^l?mat“r’ The Only othcr famous European artist to join this short America(18301 ml-y- 1 ^'*ntuF VISEors was Camille Pissarro. Pissarro was actually born in to Paris, w here he r<-n^u ,jarenti’on the island of St. Thomas. In his early twenties, he migrated considered e.xnlorers 1 )C reSt b*s l°ng life. None of these illustrious men could be At the level off i"C ?K concerncd with here. insalubrious, and u nc< i rh * <|U buroPe s condescending attitude toward America as a raw, American landscane was u i^i W| Pcrs'sted into the nineteenth century. What is more, the ' L "dS Sald t0 be less interesting than Europe’ s own. That was due partly to 4 Hoftium oppich no&u incendendi ratio. XXXI Bry, Theodor de [America] Frankfurt, 1590 Part II, Plate 31 Illustrated by Jacques LeMoyne Enemy Town Burnt in a Night Raid Photo courtesy of Rare Books and Manuscripts Division, New York Public Library. Astor, Lennox and T'ilden Foundation the fact that it was a landscape “lacking history.’- notwithstanding the presence of a native civilization. Even the Europeans' fascination with the exotica of Indians and the “Wild West” amounted to a kind of vicarious thrill-seeking, amply fulfilled by novels, fanciful illustrations, and touring troupes (Buffalo Bill’s Wild West Show was a sellout everywhere it went). Indian society was seen as prehistoric and inscrutable. From the earliest days of exploration, the Indians drew ambivalent responses from Europeans. Two stereotypes came to prevail: the primitive savage, without law or religion (Hobbes’s brute); and the noble innocent, uncorrupted by luxury (Rousseau’s “natural man”). One dwelt in a hostile wilderness; the other, in a gentle Arcadia. In art, Indians of either stereotype tended to be represented with the ideal postures and proportions of classical figures. This isn’t particularly surprising, since classical 5 �3 idealism was still the rule in figurative art between the fifteenth and early nineteenth centuries. Indeed, this classical treatment was strikingly substantiated by the fact that many In ians encountered by the Europeans were, indeed, impressive physical specimens with strong rows, aquiline noses, dignified bearing - and, like the great antique statues, often nude. Among the earliest paintings of lndians in this exhibition - the small watercolor sketches by George Heriotlcat. nos. 20. 21). dating between 1799 and 1804 - conform to this tradition. Heriot was a British official who traveled through eastern Canada in preparation for his c l'ne!’ as postrnaster-general of the colony. Although he was not a professional artist, he had stu le with the noted English draftsman and watercolorist Paul Sandby, and had obviously absor re the artistic fashions ot his day. In these two scenes, from a series on Indian ceremonies, erl0t v. .is faithful to native costume and choreography’ as well as to European composition an 1=,U/C types. 1 he classical poses and proportions of the Indians, arranged in a frieze across tie foreground stage, and the briskly sketched landscape, divided into closed and open sPace ’ comply with the compositional tradition of Poussin. That Heriot’s explorations took piac mostly in tamed countryside is suggested by the row of well-dressed colonists in the Ceremoni ■ adp bailee, obsen mg the reenactment of a presumably obsolete practice. . Respite the conventions in 1 leriot’s portrayals of Indian life, they conveyed a suggest o authenticity rarely seen since John White. Authenticity, as an artistic objective, was ■ man , t ic province of the natural history painters, and we may include 1 leriot in then ia 6 as a part-time ethnographer. A small number of other exploring artists in eighteenth ccnturv North America were full-time naturalists. The English animal painter, Mark Catcsby. traveled through the east and south in the early part of the century, and the native-born botanical artist William Bartram covered similar territory before the Revolution. They were followed in the early nineteenth century by the more famous John James Audubon, who crisscrossed the American frontier during the first four decades. For the most part, these artists, like their predecessors in the naturalist field, maintained a narrow focus, isolating individual species on blank or generically natural backgrounds. Their subjects were effectively detached from their greater environment and from human narrative. William Bartram is the earliest artist in this exhibition to have been born in America. Almost all of his works conform to the format just described. The Canna Indira (cat. no. 2, p. 8) exhibited here is one of the few in which Bartram provided a bit of scenery to give a sense of place to his featured specimen. Simple as it is, this economically drawn expanse of hillside suggests a particular kind of environment, and seems to confirm that the artist set foot there himself and was not merely observing a specimen delivered to his studio. In his travels, Bartram did gather plantings for his father’s extensive gardens near Philadelphia (the elder Bartram had been appointed botanist of North America by George 111), but his drawings circulated much farther and were admired by English and Continental naturalists. Long after his explorational tours ended, Bartram’s book of Travels (1791) added narrative interest to his scientific work, and was 7 �• 4 ‘v te, *■ - : ' /flvnxiu-t.rivL ~ s> :7!i i (jlwfj Jc'ttia./. .J �great cataracts, vastness of scale, extremes of light and dark, and the like. Late eighteenth century landscapists increasingly embraced this concept. In the last decade of the century, a young Irish writer named Isaac Weld traveled through the United States in order to evaluate the new country’s promise for emigration. It failed to live up to his expectations, but he conceded, in his Travels (1797), that Niagara was “justly ranked amongst the greatest national curiosities of the known world.” Weld went on to describe his journey through the Blue Ridge Mountains, noting that Thomas Jefferson had proclaimed that the area where the Potomac and Shenandoah Rivers cut through was one of the most "stupendous scenes in nature, and worth a voyage across the Atlantic.” While agreeing that it was a “wild and romantic” place and "deserving of attention." Weld was far from accepting that it was worth an ocean crossing. "To find numberless scenes more stupendous, it would be needless to go farther than Wales," he concluded. Most of his European contemporaries still shared this sentiment at the turn of the century. pictorial parameters of naturalist n< ’. partlcularly ln the ,ater works. T his expansion of the vanguard and took ven ser' 1 P,.lntll?gwas not Audubon’s alone, but he certainly stood in the its own sZ? firstT P-*). landscape, for training to insure that rheirrC • t™. ™ny army topographers received professional The earliest work in th ShihT''-'v $ Up t0 the ^mands of accurate reconnaissance. aBritishofficerondun inCnn.1 \ ^gc/ra Falls From Below (cm. no. 18) by Thomas Davies, The Falls were still rather rem 330 ‘ e"A ork from the 1760s through the Revolutionary War. they had rarely been represent'd0 '"r W^en Davies is thought to have painted them, and Father Louis Hennepin’s ^rSt ^nown sketch was made in 1698 to illustrate topographicalrecordformilitan-3' 'CS s,waterco’or impresses us as something more than a obviously tried to convev rhe purposcs- 1 hough his approach was basically documentary, he rendering which included two r/i'ma an^ majesty of this natural wonder in his panoramic met the criteria of the sublime wh; a^r apparentb’ absorbed in its grandeur. The Falls clearly J"'l“‘'y"ltotheOrigtnOfQurTj f ,,C’^un^ burke had outlined in his essay, A Philosophic capable of arousing awe or terror tllC1757). Any natural phenomenon as considered sublime: violent storms, craggy mountains, 11 10 �INTO THE WIEDERNE T 'i “To the pencil our country affords an inexhaus effect, cannot be surpassed in any part of the old world Murray in an 1809 issue of The Port Folio, perhaps in r travelers like Isaac Weld. When Murray spoke of "piett aesthetic alternative to the more dramatic sublime. Tl hail recently articulated the picturesque principle (7 Picturesque Travel; On Shetc/iin^ Landscape, 1791), assc awesome than the sublime, but more irregular than the I of beauty anil pleasure through interesting variations accompanied his article with an engraving of “Btitterm vania, a rustic scene clearly of a different order than Xi If America’s sublime landscapes were few and f still little known), her picturesque ones were extensive, settlers saw the wilderness only as an obstacle or an i cleared away. Aesthetic attachments developed only as vantage point of a comfortable settlement. Ironically, its pleasure in America's wilderness, and most of the ea America were transplanted Englishmen, such as Williat Joshua Shaw, all of whom arrived between 1790 anti 182 explorers, for though many of them traveled extensive! Two important developments in the early nine interest in rhe American landscape and its representatic magnet for travelers and immigrants, curiosity about th markedly. The wilderness, first regarded as a symbol began to be seen as an endless resource, something to I second development was the rise of Romanticism as tl Europe and America. The Romantic spirit embodied id, which were to have a profound influence on society’s became the mirror of both the transcendent creator ; landscape, then, offered enlightenment and self-discov From the Renaissance to the late eighteenth ccr rested upon its historical associations, predominantly tl: landscape without history was primitive and, for all int European lack of interest in America’s w ilderness rcsid sublime sights, but also in its ahistorical rawness. Art present. (Its only ruins, found in Central America, we Barbara Novak has described how this interpretation cam wilderness, ever new in its virginity, also stretched back i America’s “lack of history” was precisely the beginning The association of Nature with the creating Spirit was �INTO THE WILDERNESS (1800-1850) To the pencil our country affords an inexhaustible abundance, which for picturesque effect, cannot be surpassed in any part of the old world,” wrote the Philadelphia artist George Murray in an 1809 issue of'The Port Folio, perhaps in reaction to the Eurocentrist opinions of travelers like Isaac Weld. W hen Murray spoke of “picturesque effect,” he alluded to a specific aesthetic alternative to the more dramatic sublime. The English aesthetician William Gilpin had recently articulated the picturesque principle {Three Essays: On Picturesque Beauty On Picturesque Travel; On Sketching Landscape, 1791), asserting that wild terrain which was’less au esome than the sublime, but more irregular than the formal garden, could produce sensations of beauty and pleasure through interesting variations of pattern and composition. Murray accompanied his article with an engraving of “Buttermilk Falls” in Luzerne County, Pennsyl­ vania, a rustic scene clearly of a different order than Niagara Falls. If America s sublime landscapes were few and far between (the more sublime west was still little known), her picturesque ones were extensive. As Roderick Nash has shown, the early settlers saw the wilderness only as an obstacle or an economic resource, to be consumed or cleared away. Aesthetic attachments developed only as it was tamed and lost, or seen from the vantage point of a comfortable settlement. Ironically, it was the E uropean visitor who first found pleasure in America’s wilderness, and most of the early professional landscape painters in America were transplanted Englishmen, such as William and Thomas Birch, Francis Guy, and Joshua Shaw, all of whom arrived between 1790 and 1820. None of these artists could be called explorers, for though many of them traveled extensively, they never penetrated the frontier. Two important developments in the early nineteenth century stimulated intensified interest in the American landscape and its representation. As the new United States became a magnet for travelers and immigrants, curiosity about the country and its appearance increased markedly. The wilderness, first regarded as a symbol of backwardness by the young nation, began to be seen as an endless resource, something to be trumpeted rather than hidden. The second development was the rise of Romanticism as the most powerful new cultural force in Europe and America. The Romantic spirit embodied ideals of personal freedom and discovery, which were to have a profound influence on society’s perception of the landscape. Nature became the mirror of both the transcendent creator and the individual human soul. The landscape, then, offered enlightenment and self-discovery. From the Renaissance to the late eighteenth century, the significance of landscape had rested upon its historical associations, predominantly those of antiquity or the middle ages. A landscape without history was primitive and, for all intents, artistically unworthy. 1 he early European lack of interest in America’s wilderness resided not only in its perceived paucity of sublime sights, but also in its ahistorical rawness. America seemed to have no past, only a present. (Its only ruins, found in Central America, were as cryptic as its native inhabitants.) Barbara Novak has described how this interpretation came to be inverted by Romanticism; 1 he wilderness, ever new in its virginity, also stretched back into primordial time, she m rites. \ irgin America’s “lack of history” was precisely the beginning of all history, the still-flow cling Ellen. The association of Nature with the creating Spirit was also a central feature ol the Romantic 13 �I Stunderof the I ludson Rix er School, as well as American landscape painting h, P ' to the nineteenth century, most ambmous American-born artists, such as West and C.' .« vent abroad for study or patronage, Dole may have absorbed something of the Engli J . I tradition dliring his adolescence, but once in America he hardly looked back. Like an, limner, he picked up technical tidbits from local hacks, but his particular talent and sensibd f were perfectly fitted for rhe new Romantic age. I o be self-taught was not necessarily a liah’r ' from the Romantic point of view. If anything, it might lead to a fresher vision. Cole’s vi would be consumed by landscape — landscape picturesque and sublime, real and imagin i” Ohio was no longer a frontier region when Cole arrived, but its scenery contained \V ilderness to flavor his readings of Cooper, Wordsworth, and other Romantic writers Aft^h" move to .New York in 1825, the artist encountered more inspiring wildernesses in drat sparsely settled Catskills and Adirondacks. Although not in the frontier, many sections oH mountains were still virgin, and Cole mined from them a repertoire of dramatic motifs continued to appear in American landscape painting for generations to come (cat no 17 ' aq Cole's approach to landscape reflected Archibald Alison’s views (Essays oft/ie\a'ti°' Principles ofTaste, 1790), which stressed the psychological association of beauty, imaginati morality, as well as the more contemporary writings of his friend, William Cullen B '°n’ described paintings of the unspoiled wilderness as “acts of religion.” Cole, himself art'™ I i most ardently the new conception of landscape and America’s adequacy to provide ir« this famous Essay on American Scenery (1835), he writes: a®e’ n “There are those who through ignorance or prejudice strive to maintain that American scenery possesses little that is interesting or truly beautiful__ that it is rude without picturesqueness and mountainous without sublimity — that being destitute of those vestiges of antiquity, whose associations so strongly affect the mind, it may not be compared with European scenery....yet the most distinctive, and perhaps the most impressive, characteristic of American scenery is its wildness....there are those who regret that with the improvements of civilization the sublimity of the wilderness should pass away: or the scene of solitude from which the hand of nature has never been lifted, affect the mind with of m-in hCeP COnued em°tlOn than aUS,K Which the hand of man hM touch^ Amid them t|)e cons “ »' G<x> ■l>0 cream, - they are Iris M'orks. and rhe mind is case into rhe itcmplation of eternal things.” ' oiivii.riou that iheaim'rofhh 0''° s W0|-k to allegorical landscape, reflecting his ynnl'l be met through ' I)'UI'I||’K — first in rhe traditional hierarchy of subject matter 1,1,1 y" f'-XW <///.//,•( IK39 I()|ls ',;iri(,n.s serial works, such as T/m Course ofEmpire (l^b) " i'1'. ' '.cere increasingly imiirin.n'P ? ■ i* ^oin!lnt'c infinitude of time and space in landscapes II nit tlicjr focus upon the 11> ? " S exl’l<l|:llions became more cerebral than geograp ’> h "i itiote, of scientists and ■irtisi'n'’ ( mid evolution paralleled the more phssM 14 If the wilderness symbolized God and creation tor R echo, the physical evolution of the world for their scientific cc only eight years younger than Cole, and his vision of Nature• Darwin, the scientist, replaced symbolism and allegory with explorers of rhe first half of the nineteenth century tended in spirit. This is not to say that the moral and historical ideas .them, but, on the whole, it was the direct observation of pla< After the Louisiana Purchase (1803), the governnie new territory. The Lewis and Clark Expedition and severs and inventoried part of this vast region, but no artists aceomp; when Major Stephen Long was assigned to bring back pictc data. Long's partv. protected by a complement of soldiers, and two artists: Samuel Seymour and Titian Peale. Seyn Indians, Peale, the flora and fauna. Seymour, who goes dow artist to depict the Rocky Mountains (cat. no. 32, p. 12), rt probable an English immigrant whose previous commissioi �brace these new ideas was 1 homas Cole, a young sin Ohio in 1820. Cole has been popularly hailed well as American landscape painting in general ; American-born artists, such as West and Copley iy have absorbed something of the English art merica he hardly looked back. Like any country al hacks, but his particular talent and sensibility To be self-taught was not necessarily a liability it might lead to a fresher vision. Cole’s vision ; picturesque and sublime, real and imagined, n Cole arrived, but its scenery contained enough rdsworth, and other Romantic writers. After his tered more inspiring wildernesses in the still lough not in the frontier, many sections of these tm them a repertoire of dramatic motifs which iting for generations to come (cat. no. 17, p. 48). jchibald Alison’s views (Essays ofthe Nature and lological association of beauty, imagination, and ings of his friend, William Cullen Bryant, who as “acts of religion.” Cole, himself, articulated nd America’s adequacy to provide its image. In writes: ;h ignorance or prejudice can scenery possesses ly beautiful — :squeness and ity — that being destitute whose associations so lay not be compared the most distinctive, >ive, characteristic of ess....there are those ovements of civilization >s should pass away: which the hand of affect the mind with lan aught which the hand em the consequent :ator - they are his I is cast into the ;s.” work to allegorical landscape, reflecting h' in the traditional hierarchy of subject m rial works, such as The Course ofEmpire ticinfinitude oftime and space in an , j_ itions became more cerebral than geof £cal and evolution paralleled the more p ! I ■- ■- If the wilderness symbolized God and creation for Romantic poets, it preserved, like an echo, the physical evolution of the world for their scientific contemporaries. Charles Darwin was only eight years younger than Cole, and his vision of Nature was equally unorthodox. However. Darwin, the scientist, replaced symbolism and allegory with evidence and analysis. The artist­ explorers of the first half of the nineteenth century tended to be more Darwinian than Colian in spirit. This is not to say that the moral and historical ideas so important to Cole did not touch .them, but, on the whole, it was the direct observation of places and people that drove them on. After the Louisiana Purchase (1803), the government set out to explore and survey its new territory. The Lewis and Clark Expedition and several subsequent expeditions mapped and inventoried part of this vast region, but no artists accompanied these explorations until 1819, when Major Stephen Long was assigned to bring back pictorial as well as written and physical data. Long’s party, protected by' a complement of soldiers, consisted of naturalists, surveyors, and two artists: Samuel Seymour and Titian Peale. Seymour was to record landscapes and Indians, Peale, the flora and fauna. Seymour, who goes down in history' as the first professional artist to depict the Rocky Mountains (cat. no. 32, p. 12), remains a shadowy figure. He was probably an English immigrant whose previous commissions must not have taken him much 15 �. ' ? j’Afe.h beyond Philadelphia, nor into any prominence. He may have been lured into acceptingMajor Long’s risky low-paying appointment in order to boost a stalled career. W het ter re deeper motives is unknown. rm™ into an Titian Ramsay Peale, II, on the other hand, appears to us in vivid detail. ,j‘s[ illustrious artistic family, he, at age twenty, already enjoyed a growing reputation as a na The previous year he had made a field trip to Georgia and Florida, which prepare um more demanding journey to the West. Peale was a born explorer, coupling an ent adventure with an innate curiosity about the physical world, which latter quants y je(| from his famous father, Charles Willson Peale. On the Long Expedition, he often acc01^j the lead parties, hunted buffalo with Indians, and became an expert archer. I e rcrun\ire ,UK| more than a hundred drawings and paintings rendered in the field with meticu oU* ^jscape sensitivity (cat. no. 27, p.15). Many of his specimen subjects appear a§?linst.-,‘n jnCjian backgrounds, as in Yellow headed Blackbird (cat. no. 28, p. 49) with its distant yew o /)/Y/i^xcod village. I he native Americans come into sharper focus in one small painting, uin • cts [0 on die river 1‘lalle (cat. no. 26). I lere, Peale strays from his assigned natural historypea]e record with documentary clarity a particular scene of Indian life as he fount it. ... .injafour participated in two later extensive expeditions: a two year exploration of Co offl u 16 year trip around the world as a senior nai (1838-42, usually known as the Wilkes E Wilkes). There is no record that his coll wilderness journey. Samuel Seymour ha portraying some of the earliest views of Pl; apparently failed to send off his career. \ record. Perhaps this was due, in part, to th was still runningahead of public interest.! did not accomplish what Thomas Cole's n with James Fenimore Cooper's first Leat Mohicans (1826). These literary bombsh �y have been lured into accepting Major |t a stalled career. W hether he had anv Blears to us in vivid detail. Born into an ■yed a growing reputation as a naturalist, ■nd Florida, which prepared him for the ■n explorer, coupling an enthusiasm for ■vorld, which latter quality he inherited Bong Expedition, he often accompanied Ime an expert archer. He returned with ■ in the field with meticulous care and I'n subjects appear against landscape b. 49) with its distant view of an Indian In one small painting, Indian breast tatorb [his assigned natural history subjects to Indian life as he found it. 1 itian Pea c [ear exploration of Colombia; and a four year trip around the world as a senior naturalist with the United States Exploring Expedition 118.38-42, usually known as the Wilkes Expedition, after its leader, naval Lieutenant Charles Wilkes). J here is no record that his colleague on the Long Expedition ever made another wilderness journey. Samuel Seymour had also returned with a respectable set of watercolors, portraying some ofthe earliest views of Plains landscapes and Indian gatherings, but these works apparently failed to send off his career. Within three years, his name had faded from historical record. Perhaps this was due, in part, to the fact that, in 1820, scientific interest in the wilderness was still running ahead ofpublic interest. Seymour’s competent but unexciting little watercolors did not accomplish what Thomas (Joie’s more extraordinary canvases did a few years later, along '■ ith James h cnimorc < looper’s first Leatherstocking rale, 77/r Pioneers (1823) and The 1 .nsrofthe .Mohicans (1826). These literary bombshells by (Joie’s friend and neighbor quickly reached a 17 �J flr'i/t (■/ ■ /jir{ 31 . o/wact& /tac^fA'/(.ma 30 "as a Swiss teenager, artistically nmr- • er' d*^erentc’rcumstances. PeterRindisbacher an arduous emigration to the wilds ofr°CI0U|S^llC mostIy se,f-crained. In 1821, he had endured h'ghhghts of the journey in close!, ^ntral Canada with his homesteading family by recording throughout his short life. His nJr i , erved documentary drawings. He continued this habit or the landscape, and his rrrisrh-. .t l.lriosirV focused more on Indian life than on the settlers l’aJnc>ngs in the frontier comm ?Itl0ns seem to have been modest. The popularity of his ric“. crthcless induced him to scel-UniCICS " lei^e flc lived, first in Canada, then in Wisconsin, parallclingCo]e’s.ljnios ' Vtl rnoresoPh*sticatedcareerin the burgeoning citv of St. Louis, "ork always remained rooted i C<,|nCc,n^orary move from Oh io to New York Citv. Rindisbacher’s ons were based on direct in the settled Rast. I |c \ o m'1’111'.’ :llld Prov*ded an authentic glimpse ofa world known to no’ 29, p, J7jf ,Jn(| ||(. (|c • ,,c '^d to have painted the earliest scene ofa tipi interior (cat. 111 nm women and children more often than most of rhe other 18 painters of Indians. His views of a Chippewa family tra documentary' approach (cat. nos. 30, 31). Rindisbacher’s death in 1834, at the age of twei become a more illustrious career. .Although his techniqu those of a provincial painter, the potential for wider recogn already been established. When several of his paintir magazine shortly before his death, an anonymous writer "first artist" of "untamed wilderness....[giving] to the wi which he was bred.” To what extent he appreciated that depictions of that wilderness is not clear, but he could hard was changing daily and an entire Indian culture was changi the middle of the century, there were still opportunities which had been little adulterated by the white man. and the 1830s sought to do just this. There is no record that George Catlin encountere to the latter's adopted ci tv between 1830 and 1834, but he had already sensed the growing public interest in Indian si �.■ I I i I i (' //,///, u/ C i.y L/ ll ci/ftr 31 q Iftil/ Jntier. es, the first true "frontier nees. PeterRindisbacher n 1821, he had endured ding family by recording He continued this habit 1 life than on the settlers t. 'The popularity of his ida, then in Wisconsin, geoningeityof St. Louis, ork City. Rindisbacher’s >ns were based on direct ipse of a world known to ;ne of a tipi interior (cat. than most of the other n painters of Indians. His views of a Chippewa family traveling in different seasons typify his documentary approach (cat. nos. 30, 31). Rindisbacher’s death in 1834, at the age of twenty eight, cut short what might have become a more illustrious career. Although his technique and style had not advanced beyond those of a provincial painter, the potential for wider recognition, based on his subject matter, had already been established. When several of his paintings were reproduced in a Baltimore magazine shortly before his death, an anonymous writer observed that Rindisbacher was the “first artist” of “untamed wilderness....[giving] to the world themes as fresh as the soil upon which he was bred.” To what extent he appreciated that his work might also be among the last depictions of that wilderness is not clear, but he could hardly have been unaware that the frontier was changing daily and an entire Indian culture was changing with it. Fora very brief time before the middle of the century, there were still opportunities to observe native American societies which had been little adulterated by the white man, and a trio of important artist-explorers in the 1830s sought to do just this. There is no record that George Catlin encountered Peter Rindisbacher during his visits to the latter’s adopted city between 1830 and 1834, but he must have known of his work. Catlin had already sensed the growing public interest in Indian subjects. 11 owe ver, his route to a career 19 �lifterent from, and much more ambitious than, Rindisbacherk lv,^ on that insight was v er ^^m the site of this exhibition. His father, a mode^ Catlin was born only a sho t d < wi|kes.Barre from Connecticut, and hoped his son would successful law ver, hd not , jngpreoccupauon. with pam mgcutshorth.s legal career, follow him into the law. < J hia in 1821 to establish himself as an artist. Like Cole and however, and he movedt01' ht yct polished enough to gain acceptance in exhibitions Rindisbachcr. he was ^thin a few years. Catlin recognized, with n2 at the Pennsylvania • aiture was the most reliable way of surviving as an artist, but it other voting pamteis. tna f fortune. Most of the great reputations were made in the was not the surest roau ti . painting. It must have become clear to him that, already fiskicr, 1W demand ng by stQrm CrkicaI response t0 his WOfk was > A his thirties, he was n , dlsU|tingly hostile. William Dunlap, the leading art critic of his emims.ast^and m prodai d Cadin ^competent.” If he was lacking and a llioma. hc|castl)it deficient m ambition and initiative. Forcseeingadead‘7r/^ Mek portraitist, Gatlin resolved to make his mark outside of the art establishment d sown imique form of history painting, subject to his own standards something - ' ?-■" 7" I - w is beginning to do at just about the same time. (Cole and Catlin had both moved ‘ <<w YorkCitv around 1825, but there is no record of them exchanging ideas.) " ' ' On sex oral occasions, Catlin had been intrigued by Indians he had encountered m the ...... < ... j citics where he had lived, and he had even done a portrait of one of them. Now the ", - - < ■ -A him that the native Americans were on the verge of losing their natural culture, and \\herOugh pictorial record, taken from life, would preserve their ways. Aside from the few ■ces; Indian subjects by Seymour and Peale, which Catlin had certainly seen in the Pealc Museum in Philadelphia, he probably knew of no other authentic portrayals of the Indians in native habitats. Here was an opportunity not only to make a name for himself as an artist, but to contribute something of significance to history' and science. "City” portrayals of Indians were not exactly rare by the 1820s. Gustavus Hesselius had done several studio portraits around 1735, and Benjamin West had imagined Penn’s legendarytreatv with the Indians some thirty five years later, but no one had ever attempted a comprehen­ sive record of Indian civilization. The pictorial stereotypes of the preceding two centuries continued to prevail, along with the Hobbesian and Rousseauian conceptual stereotypes, even though white men and red men had interacted over those years with steadily increasing frequency. The people having the most intimate contact with unassimilated Indians were usually not artists or writers, but traders, trappers and prospectors. Catlin understood this, and knew that his project would require a deep penetration of the unsettled frontier. M ith a considerable investment of time, energy, and money, he would have to retrace the steps, more or less, of Seymour and Peale. Catlin was a man of his time, and he felt the winds of Romanticism as surely as Cole did. He wrote in his Letters and Notes (1841), “My enthusiastic admiration of man in the honest and elegant simplicity of nature....together with the desire to study’ my art independently of the embarrassments which the ridiculous fashions of civilized society have thrown in its way, has led me t° the wilderness for a while, as the true school of the arts.”’ Whatever the scientific value is un ertaking, it was audacious to the point of foolhardiness, and confirmed Catlin as hot i -irrTn31?01^^ a"adv^oturer. Yet, as Brian Dippie has noted in his recent study of Catlin scarcer, men of otTT3 wou d ?ot 8e dle exclusive domain of moon-eyed dreamers....it would atyac' type” n SenSe edlcated to achieving success, artist-entrepreneurs, and Catlin was o 1 (of Lewis'and ((■lark L°uis in 1830> he made contact with Governor Wdliam hnwledecahl,. *. re), who was then Superintendent of Indian Affairs and pro .1 «edBoal,lt as anyone about the tribes west of the Mississippi. Clark greeted rhe arusts 29 plans with favor and provided him with tangib a comparatively modest trip up river to Wiscor Fort Leavenworth. This excursion prepared journey two years later. Catlin’s 1832 expedition took him. p; thousand miles up the Missouri to Fort Unioi encountered communities of Blackfoot, Crov tively free of the white man’s influence. Catli his return journey, he spent nearly a month w extinguished by an epidemic a few years later, ground since Seymour and Peale, and none h Traveling in the frontier only during t in the winter in order to finish his paintings and his 1832 trip, he had produced enough paintii was to be the prototype for the much grander t took the opportunity to tag along with the first tribes of the southwest. This trip was shorter fiercely hot summer. Fever hit the large party four hundred and fifty five soldiers died. Catl in Oklahoma, he decided to make the five hu his mustang. Catlin’s final journey into the Great legendary Pipestone Quarry in southwester, obtained the red stone from which they made t to the Indians, few white men had ever visite, to call upon all of their wits to avoid disaster at entrance to the mythic site. Catlin not only p: character. The red mineral which he was the honor. (An intuitive geologist, just as he was a, usually astute.) The product of Catlin’s four exploratii Gallery, consisting of four hundred and eig' thousands of artifacts. Whatever fame or fortu former, none of the latter), Catlin could take [ a symbiosis of art and science akin to Charles ) history. The critical reception of his paintings in 1837 than it had been a decade earlier, ar public, at large, also responded enthusiastical the artistic form. Despite this success, Catlin for the proposed Smithsonian Institution was Historical opinion has varied over tl studies on the artist. Catlin was clearly an incc for expedience in his rush toward success. At i and worthy of positive judgment by the likes < been ambivalent about his goals. His mission because it was sincere, even passionate. I ultimately failed, because, in fact, itwassubor himself, in the Letters and Notes, that his projc his machinations to win fame as an artistcent< the artistic. Thomas Cole, by contrast, neve �I ■■S' ambittous than, Rindi , mion. His father, a ‘SbJch*r’s. rent, and hoped his anting cut short his le ^ W°uld □self as an artist. Like m 7^’ o gain acceptance ir. C.olc ar>d Catlin recognized, w^ y of surviving as an arti J " anY ‘’comparatively modest trip up river to Wislonsh"followed by’a si^tdpTonX M^uri to XXZ" i.» ammhim “lly ■nd logisti““’ f» - t reputations were made’i?’?1 'ecome clear to him that alm response to his work ,y nlap, the leading art critic OS icompetent.” If he was lacl ’ id initiative. Foreseeing a dead8 outside of the art establishment o his own standards, something oOle and Catlin had both moved exchanging ideas.) lians he had encountered in the ortrait of one of them. Now the losing their natural culture, and ; their ways. Aside from the few had certainly' seen in the Peale ntic portray'als of the Indians in e a name for himself as an artist, nee. :1820s. Gustavus Hesselius had had imagined Penn’s legendary id ever attempted a comprehenof the preceding two centuries in conceptual stereotypes, even years with steadily increasing ith unassimilated Indians were ors. Catlin understood this, and the unsettled frontier. With a I have to retrace the steps, more imanticism as surely as Cole did. iration of man in the hones .a^d jy my art independently t^ have thrown in its way has ed ’’ Whatever the scie^ficva^ ss, and con^n\efdcCX’s career, is recent study o m attract :yed dreamer* CaVin was of the :preneurs, and Catm — i Clark - — William ict with Governor ■ - -obably as Affairs and proL? Indian ‘ d the artist s I I Catlin’s 1832 expedition took him, partly by steamboat, partly by canoe, almost two thousand miles up the Missouri to Fort Union, in extreme western North Dakota There he encountered communities of Blackfoot, Crow, and Assiniboin Indians, which were still rela­ tively free of the white man s influence. Catlin was elated to find their culture still intact On his return journey, he spent nearly a month with the hospitable Mandans, who were virtually extinguished by an epidemic a few years later. No artist had gone so far west or covered so much ground since Seymour and Peale, and none had ever depicted so much Indian life. Traveling in the frontier only during the warmer months, he would usually return cast in the winter in order to finish his paintings and maintain contacts with the art world A year after his 1832 trip, he had produced enough paintings to assemble his first “Indian Gallery,” which was to be the prototype for the much grander traveling exhibition he was planning. In 1834, he took the opportunity to tag along with the first United States military expedition to contact the tribes of the southwest. This trip was shorter but more grueling, made on horseback during a fiercely hot summer. Fever hit the large party before it reached the Rockies, and a third of the four hundred and fifty five soldiers died. Catlin fell ill, too, but after recovering at Fort Gibson in Oklahoma, he decided to make the five hundred mile journey back to St. Louis alone with his mustang. Catlin’s final journey into the Great Plains occurred in 1836. His objective was the legendary Pipestone Quarry' in southwestern Minnesota, where the Sioux and other tribes obtained the red stone from which they made their pipes. Because of its isolation and its sanctity to the Indians, few white men had ever visited the quarry'. Catlin and his two companions had to call upon all of their wits to avoid disaster at the hands of a band of guardian Sioux and to gain entrance to the mythic site. Catlin not only painted the quarry', he also examined its geological character. The red mineral which he was the first to describe was later named Catlinite in his honor. (An intuitive geologist, just as he was an intuitive ethnologist, Catlin’s observations were usually astute.) The product of Catlin’s four explorations into the West was the immense touring Indian Gallery, consisting of four hundred and eighty five oil paintings, a full-size Crow tipi, and thousands of artifacts. Whatever fame or fortune it might bring him (there would be some of the former, none of the latter), Catlin could take pride in its artistic and documentary value. It was a symbiosis of art and science akin to Charles Willson Peale s museum of portraiture and natural history. The critical reception of his paintings in the New York art community was more positive in 1837 than it had been a decade earlier, and the Europeans were no less affirmative. '1 he public, at large, also responded enthusiastically, though more to the exotic subject matter than the artistic form. Despite this success, Catlin’s ardent campaign to sell the Gallery to Congress for the proposed Smithsonian Institution was a failure. Historical opinion has varied over the years, as William Treuttner has shown in his studies on the artist. Catlin was clearly an inconsistent painter and sometimes sacrificed quality for expedience in his rush toward success. At its best, the work could be impress^ c an mot ing, and worthy of positive judgment bv the likes of Delacroix and Baudelaire, at in seems to avc been ambivalent about his goals. His mission to preserve Indian culture for posterity succeeded because it was sincere, even passionate. His mission to be remem ere as a oreat a i ultimately failed, because, in fact, it was subordinated co his anthropo» ogica impuse. , himself, in the Letters and Notes, that his project was more anthropological than artistic and all his machinations to win fame as an artist centered on the scientific value of his '^™e”ha" the artistic. Thomas Cole, by contrast, never allowed his obsession wit a eg , I ■ 1 ■: i ■: sippi- Clark greeted - 21 �15 artistic perspective. Even though Catlin’s anthropological mission succeeded, the product was not flawless. Documentary’ assessment of his work has undergone much revision over the years. Catlin astutely realized that his largely unprecedented images had to compete with those public pictorial and literary stereotypes we have already mentioned. Fie appended to his Letters tint Sotes the authenticating endorsements of numerous experts in high places, such as Governor lark. 4 hey terified that the artist had, indeed, visited the Indians on their home turf and hat recorded them accurately’. Not all of his contemporaries agreed with that estimate. Alfred Jaco r i nr h‘m a humbug,” whose representations of the frontier were accepted only because t e pu ic was more naive than travelers like Miller himself. Modern scholars have turnc up n,U"!erous maccuracies and omissions, but these have not been serious enough to cast any destruction'™^ rema'nS a vaIuable and compelling picture of Indian culture before its near- narur-1li?t|l'in Snep.Ortage Was ^hstically objective on the whole, in the tradition of artistS Z i CaleL His greatest achievement, the Indian portraits, reveals a mastery of zatifn (1 n I?"8’ with CconomY and flair and without unnecessary glamour or ideah encountered (cat. nos. 12, p. 45; 14, 15), and he rendered them with freshness and a sense of drama, not only pictorially, but literarily (in the Letter and Notes}, as well. As an artist-explorer, Catlin rivaled Titian Peale in indefatigability and miles traversed. After his four trips to the West, Catlin took his Indian Gallery on tour to Europe, where he resided, off and on, for the next thirty-two years. In the 1850s, he traveled to South America, portraying some of the native tribes there, then sailed up the Pacific coast to Washington and penetrated the Rockies from the west (he had never made it into the mountains on his earlier trips). All of this speaks for a certain restlessness of spirit, not to mention endurance of body. The second artist to trek into the deeper wilderness of the West in the 1830s made only one great journey, but it exceeded slightly in distance, and considerably in duration, any of the four Catlin made. Karl Bodmer was also a more polished and consistent artist than Catlin, although his work is less well-known to the general public. Bodmer was a twenty-three-searold Swiss artist, already well-trained, when he was selected by Prince Maximilian of Wied to accompany him on a trip through the North American wilderness. Maximilian, born into the ruling house of a small Prussian principality, had earned considerable respect as a naturalist in the mold of the great Alexander von Humboldt. For his scientific exploration in America, he 23 22 �11 observe with penetration and record with precision. Bodmer w, required an artist whocou>d and portraitist as well as a meticulous miniaturist. Fo the right man. a sensmt k throlIgl the eastern United States making almost a year, the armt an 1 These included contacts with other scientists’ preparations tor theirear » thcm T'itian Peale. While viewing the paintings from the Long naturalists, and explorers ' „ wkh astonishmen[ that factual representations of the Indians Expedition,Maximiha States (this was a ycar before Catlin assembled his first seemed to be so rare ^eEumpeans traversed the same territory all rhe way up to Fort Union. Unlike their nmdecessor thev extended their journey into the deeper wilderness of Montana, and into the moredangerous winter season. Maximilian wanted to explore the Rockies as well as the Plains, and thev reached the farthest outpost of the American Fur Company, F ort McKenzie, i n August. Hostilities between neighboring Indian tribes deterred the party from further advance. AlthouCTh there was always risk in traveling through the wilderness, most of the tribes east of Fort Union were on amicable terms with the white man in the 1830s. Rindisbacher, Catlin and, later, Alfred Jacob Miller never encountered any actual combat during their travels. Maximilian and Bodmer, however, did witness a bloody battle between the Blackfeet and the Assiniboin outside Fort McKenzie. Frontier wisdom warned that whites could easily be caught up in such a war, so the travelers turned back to spend the winter months at Fort Clark, a small outpost in North Dakota. It was one of the harshest winters on record; their quarters were primitive, and their provisions meager, but they managed to accumulate extensive data on the friendly Mandans, whom Catlin had visited the previous year. Although Bodmer had to thaw out his frozen colors almost ever)’ morning, he executed an impressive body of work during those hostile months. We don’t know precisely why Bodmer had sought to join Maximilian’s wilderness expedition. Perhaps itwas the opportunity forayoung artist to make a reputation; or the promise of an expenses-paid vsanderjahre of a kind increasingly popular with the Romantic generation. But Bodmer s crisp, objective style suggests a less restless temperament than Catlin’s, and one can imagine that it was a stem Swiss resolve, as well as a disciplined absorption in his work, that kept him going through that brutal winter. Whatever the case, Bodmer never went on another expedition. After his return to Europe, he moved to France and settled down in the pastoral solace of Barbizon. There is no question that Bodmer was a disciplined technician (Catlin, on average, probably produced half a dozen paintings to every one of Bodmer’s). He typically spent two or ree a\s on a watercolor portrait, and this carefulness has endeared him to historians and arri?r° P/StS' >, .wb,at did the subiec'ts, themselves, think about these likenesses by a white Some T ^nCe \IaX,n]ll'an wrote (as did Catlin concerning his own portraits) that reactions varied, areas whlSl Portrayals a« “bad medicine,” particularly in the more remote Mandan who had'h laia"cs 01 anY kind had rarely been encountered. On the other hand, the Bodmer well camo r on£er contact with the whites and who got to know both Catlin and themselves o’ortraved°; aPkreClate S>°d hkenesses, and were often extremely proud to have they could trv working in rh'^p3'' ^"° ^andans even asked to borrow Bodmer’s materials so (John Ewers has reomrinn 7 ?ropeanma"nerthemselves. Hegracefullyaccommodated them oftheirdecorated robes sll T.6*7 orts 'n °fa Vanishing Frontier). Bodmer’s portraya s which commemorated thc°" C e7worked with two kinds of images: stick figures, in scenes symbols and decorations m/T S eXpl°its (usuallY Panted by men); and abstract geometric , Only one person 17 Y by WOmen) <caL no’ 7>’ Buffalo Bull's Back Fat not a M t0.haVe been Porcrayeci by both Catlin and Bodmer. That was ’ Ot a Mandan> odd|y enough, but a Blackfoot chief. Comparison of the i J jTF'W ■ F' ? F t YXk'y O c & r- F* if -fr" I *■ 7 two portraits reveals a distinct similarity of likeness, despite the difference in vantage points, thus confirming the probable accuracy of all the portraits done by the two artists. Catlin’s oil paintings were done, or at least started, in the field, and show his customary bravura technique and richness of color. Bodmer’s crisp field sketches were worked up into more refined engravings after his return to Europe. His powerful portrait of Pe/iriska-Ruhpa (Paso Ravens) in the Costume ofthe Dog Dance (cat. no. 10, p. 26) typifies the kind of detailed attention to attire and paraphernalia required by the artist’s naturalist patron. Bodmer and Catlin both endowed their human subjects with great dignity and vitality, as well. Comparison of their landscapes shows that they were equally impressed by the topographical wonders they encountered. Neither painter felt any need for dramatic exaggera tion (cat. nos. 6, p. 28; 12, p. 45). Catlin, more than Bodmer, however, preferred a sweeping panorama, usually from a high vantage point. The Swiss was more inclined to take a lower and eloser position, allowing hills and rock formations to loom above us. In some current interpre­ tations of landscape painting, Catlin’s view reveals an implicit sense of human dominance, 25 ��3 I I s iSB MH tI • ■ ' ■ ! J reflecting the spirit of Manifest Destiny.” Bodmer’s, by contrast, suggests the av. csomeness and mystery- ofnature, aspects of the sublime which often characterized Romantic onc-ptions of an scape in Europe. This quality is evident in Bodmer's Assiniboin MedicineSign Zr. nY’ P’ *; a.haunnnJ close-up of a talisman erected by the Indians near Fort Union to windsu eptTaHeVin^is“ou^iXe."^ t0 B°dmer’S " set themselves the longer task of ---- ing the before that colored editions were verv limir i d hich meant the artist-explorers after! 830 hlr|c, C ,.c.cause oftile broad interest in nicn supers, most of ’ie beginning, in fact, tjlat r. , .?leo published. Maximilian had intended from expedition. Bodmer’s personal i/V P!cturcs would accompany his written account of their rOr" "t,lcr Painting opportunities ? VCI?cnt ln the production of the portfolio took him away first ‘,'11’*,,c(''r'’tllnPr)r>tform in Maximilian’0 p IC "aS be’ng well-paid for it. Bodmer's images ■ ■■>». as well as in a separate Published some of his nicrures. although he was more in the habit of <’ --, rlc |->V I °b™kXp„hs' s illustrated bv printed line drawings he had adapted from his paintings. nma,im| Alfred Jacob Miller, the third artist in this trio of significant frontier exp lo c T far fewer printed versions of his paintings than either Catlin or o mcr. i <-. “ ,’oi[in„ his many painted copies of his originals but never seems to hate accn intc vs c • f ” re­ work through publication. His temperament appears to have icon more t c. technical neurial. A native of Baltimore. Miller had studied m Europe and dplayed a^techni^ sophistication closer to Bodmer’s than to Catlin s. 1 hs mom cs or acu. 3 Drummond Stewart’s offer to accompany him on a trek into the Ro k Mountain.^ unclear. Stewart, an adventurous Scottish aristocrat and W aterloo \ etcran. ’ countrv. Miller had on his fifth expedition to the annual trappers rendezsous, c cep i . skillful artists in that a studio in New Orleans at the time and may have been one of the ■ hat shv and city when Stewart passed through in preparation for his expedition. 1 he �refined artist was an unlikely companion for the '’W^bu^ and tumble frontier. Miller, for his part, was a cumpc n but [() his carecr. have felt that this sort of Romantic odyssey cotdd add the frontier m Stewart’s small party embarked from St. Louis the pLaramie and uptheOre^ springof 1837. His itinerary took them alongthe I latte R 1837and Bodmer in 18^- 1 f ffi. „.UK further ... .he solid. dun du. taken by Mmm ,he £ group reached the South Pass on the Continental D. beautiful region, b * the Wind River Mountains. Miller was the irst artist P encountered. He P less interested in the landscape than the Indians a u likenesses and actiu gjve steady Bow of drawings and watercolors which < caPtu^ groups. The variety of his genre subjects exceeds tha o of his scenes show i ^[jller his work a greater narrative flavor overall (eat. nos. -o, _4 nveen men and w orn _ between trappers and Indians, including interracia ’y0 civilization. revealthe was as conscious as Catlin was of the fragility o . more inchnc . heirvirg'n snowflakes in the sun" he wrote in his Rough Draught he^ depict them assimilationofthe Indians than eitherCathnorBodmer, wn state. While Miller's then Catlin’s and Boi echoes Rembrandt ai Captain Stew have been more diffe on deliberate advent anee and flirtations w we see the captain att his white stallion. Il Bridger, to wear in th was also captured by celebrating the past y far and wide. Millerc artist to present any e civilization. Like Bodmei �■long into thorough ■portraitist and mav ■his career. ■ the frontier, in the ■ and up the Oregon ■frnerin 1833. The ■J the wilderness of [region, but he was fed. He produced a p activities of both Is and tends to give Is show interactions nd women. Miller melting away like dined to reveal the hem in their virgin ... army veteran set out WUl1U accompanied byaovert endur---anu nitrations with death.___________ In Miller ’s drawing. Pursuit of G/ishdisplays of"manly j]d~J/nCSSl)n we see the captain attired in his trademark white buckskins ga opmgt iro n friend Jim his white stallion. He even brought along a full suit of armor for hisTront cr>™n Bridger, to wear in the rendezvous parade, like a knight out o some i •summerfest was also captured by Miller). The annual rendezvous a n^^three celebrating the past year’s hunt and attracting hundreds PP ..swell as the onlv far and wide. Miller could claim to be the only artist who ever documented m as uel artist to present any extended record of the mountain men be orc Like Mill« never even. on anorher wiUe.oess expedid.n, He se.ded ■ 31 �pcacefukontentiota \ .,rjdua1K dxMndl^ : deepened RmnamK ,ua‘ tn>m the nature neater spirit otexpiv ,>sophisticated arsts I 9ltO/r sz /tlrrH**' �■ T away from the naturalist tradition of artists like Catlin, Bodmer andp0?’0^ P'aintin~ a '^P greater spirit of expressiveness, closer to Cole’s, which would fire rh" C’ 1 hev ^raided a of sophisticated artist-explorers. e che v>sion of a new generation 5 ! i f ■t i 33 �X’.' I I ♦ i FROM E X- Settlement ant middle of the ninetee Mississippi exacerbate more dangerous than e survey topographer, Bi topographer, met the ! conspicuous as a resnh contribution to the trad and painting with Rolx in 1829 and must have during the Seminole VS began to paint more ass well by this time. With his polish which had the look of Henry Schoolcraft's bo< authoritative interprete reflects his background mainstream European composition and figur: references to paintings dimension \\ hich strike executed a decade earli tastes of the American [ cons incingly the real ai Romantic ideal numerous trips into rhe to Hawaii, riicallegoi Historical Center) refl dreamers than on-the-t Pacific shore with the s s i m i lar composition oft Historical Society). a W picture was a patently i e also brought to his f By this time, so tation. When Stanley p c >e paintings were large t tan Catlin s. In spite < ''I'ccessful than his cm 34 �FROM EXPLORATION TO TOURISM (18S0-187S) iims, wpvgrapher Benjamin Kern, killed by Indians in 1848. His bmrher Rioha™“"a topographer, met the same fate five years later. The presence of the Army became more ennspicnous as a result of these hostilities. In fact, an army man made the next significam contribution to the trad.non of the artist-explorer. Seth Eastman studied drawing at West Point and painting with Robert Weir. He was first posted to Fort Crawford on the upper Mississippi in 18’9 and must have been there when Catlin passed through in 1830. After a stint in Florida during the Seminole War, Eastman was reassigned to the Midwest in 1841. It was then that he began to paint more assiduously, focusing on the life and customs of the Indians, which he knew well by this time. \\ ith his polished style and more leisurely pace, Eastman produced easel paintings which had the look, of salon pieces more than field studies. The engravings he executed for Henry Schoolcraft’s book on the Indians quickly made a hit and established his reputation as an authoritative interpreter of Indian culture. The basically objective approach to detail in his work reflects his background as a topographic draftsman, but his respect for the classical traditions of mainstream European art is unexpected. He sought to monumentalize his subjects through composition and figural poses, as we see in the Indian Burial (cat. no. 19, p. 47). Its clear references to paintings of the Descent from the Cross by Rubens and Caravaggio add a mythic intension which strikes us as more artificial than Bodmer’s similar subject of a funerary scaffold, executed a decade earlier (cat. no. 9). Eastman’s conception satisfied the increasingly elevated tables of the American public. An authentic Indian fighter, he was uniquely qualified to bridge convincingly the real and romantic worlds. Romantic idealism also characterized the work of John Mix Stanley, an artist who mac e ’ oierous trips into the frontier during the 1840s and 1850s, and eventually tracejed all t re was to I lawaii. The allegorical tone of his well-known paintingZ.^o/77/f//-/?z/n?(18o7, Buffalo Bill ill tontal Center) reflected a perspective which was more characteristic of stay at tome creamers than on-thc-trail observers. The picture shows a group of Indians assem c on t ie ’ '-ific Lore with rhe sun setting in the background. Stanley was apparent y in uence irnikircompositionof’thc same theme, painted in 1847 by 1 ompkins. atteson ic , , 1 L .torn al Society), a New York artist who, unlike Stanley, never went w est. couis, picture was a patently imaginary scene, too, and it reflected the romanticizing pi ............. .... . ' -'-ii. V> hen Stanley pm together an Indian (tailcry <>f l'ls ° Virion and expression : - !-■ .intin---, were larger and more dramatic, il not me lot Ira mat n, tn <01111 were no more ( "Im s. In spitcoftliis, Stanley's efforts to sell the collei non to - h '"'cssfnl than his competitor's. Unhappily in 18f>5, most o up �& I . ,,. ir luUi been on loan fora number of years. (Gatlin’s Gallery was t() Smithsonian.""■ , ,(1U| jr remains there today.) Smithsonian alter Ins de. ■ sllbjects< Stanley was also a fine landscapist. Itl ,hi, Better known l< • wc scc in .sWr/torfcar. no. 33, p. 50), probahi-. p ,inr l’"C?J'';S^Sfe«»S.c.o»- ScspeJ....... , to die Washington Territory *;..... , “J ,lltcl h,s Ib.soiui" 1 . , , composition, the idiosyncratic details of, ,,p. ing P«r.e»l..e «O ., pain[ing. sKvera Expedition . ....... “S5fe Xi ’*•>* Pl°"ed T trans“nt,n““l W* Ml in tl,i, '-'nr-xt St ink's naturally gave more attention to the topographic realities of the scene. When the Golden Spike was driven into the final rail in 1869 it was also driven into the he irt of the wilderness. The next generation of artists exploring the W est sometimes by train, dfeeovered that the virgin landscape was vanishing almost as rapidly as the native American. Ss with a profound wanderlust began to seek out alternative itineraries One of the greatest American landscape painters of the period, Frederic Edwin Church, turned his gaze southward rather than westward. We have already mentioned the early expedition of Count Maurits in Brazil the later journeys of Humboldt and Maximilian ofWied (both accompanied by artists), Titian Peale’s 1830 trip to Colombia, and Catlin’s excursion (or should we say. exile) through the southern continent in the 1850s. Frederic Church made his first trip to Colombia in 1853, and went there again in 1857. (In 1859, he went to the other extreme and joined an expedition into the Arctic.) A student of Thomas Cole, he was already famous for his Hudson River School works. Like his mentor, he sensed the epic implications of the landscape, but framed them in a more scientific context. He was an avid follower of Humboldt’s work, and took an especially keen interest in current geological theories (as did Catlin). Out of this grew his infatuation with volcanoes; his many views of Cotopaxi in Ecuador are among his best-known paintings. In the Andes (cat. no. 16, p. 34), a late work based on his earlier trips, reveals his complementary- interest in exotic flora and fauna, in their own way as suggestive of the primordial world as the volcano. The spiritual and the scientific continued to be intimately linked in the contemplation of the natural world. Humboldt, Darwin, and many other naturalists at this time sought the keys to Creation in the plants and rocks they studied. Landscape painters like Church embraced this same goal in their own way. All the artist-explorers we have examined had been touched, in one way or another, by the historical implications of their subjects. Whether it was geological history or human history, the artist was increasingly cognizant of time and the tension between change and eternity. This was graphically evident in Romanticism’s fascination with ruins. Alfred Jacob Miller was not alone in likening certain American landscape formations to ancient architectural ruins. Catlin and Bodmer had both painted the “white castles” along the Missouri. But real architectural ruins were virtually- non-existent in the wildernesses of North America. Indian civilization might be dying in the Plains and Rockies, but it would leave little physical evidence behind. Only in the ' cep southwest and in Mexico and Guatemala were there conspicuous architectural remnants of ancient cultures. i r i th0 firSt art*scs’an<^ arguably the most impressive, to seek out these ruins was an mulish architect named Frederick Catherwood. In 1839, with his American companion, the t . | , lf ir< |'|‘lc? (,glst John L. Stephens, he traveled to the home of the Mayas and Aztecs, th*' ‘• r .111 ^Cn part as 11 draftsman in previous archaeological expeditions in Egyptaiu n-disi <>• < h " le"‘ls "c^’c<iuipped for this independent undertaking. 1 le and Steph'-1’-' to ■■ ■•< -c u< lifr'C Cltles <)f C°Pan and Palenque on their first trip. 1'hex returned in 15^ V, *4 �Gallery was given to the andseapist. In this ,ilv ) , p. 50). probably paints d errib >ry. ’ ss a I, atic details of spvsiih tpcditioll oia ;S. aital svstcin. and n ;i> ■. ■ ities of tin: sceiic. i \s as also di... • .■ ■•■. -1 I’cst, I. th< Lies. < >t • .-i f-:C [med h>s g; lion of Count Maunts liccotn panic si t Id we sav, exile1 ' ,cnt there a . X- he Xo ’>< i; . ‘ V- -' ' ■■ . [sen I [ lercst o m cxous-flora.) Icano, l hesi-a- t[>n of tiu oata-.; I- kes-s to Cheat I . ; th I II II lostoixtahoe II I: , ml A . b ■ v-ngtasm^ - 1*41 IV vb- • ' 3 ■calism i- ' i!k lu-Hsdtsd.-’-5 ...ur a<iJ �irri«,ts either joined • I 'j’.inki'i- wilderness. Alberr I’ ,r metric and aestlcti-. ’ r'; ';Xp|or.irion m - • L'l'v cpri"n<,t wilderness I ■; ' ■' - i ' ■ C° r likely to traftxfofmtealiti into myth I '"o- ided the dominant i.r .•• iI( !'r'' mvasc* filled "ith .•■■ . ■_ j'hcir canvases frcmiemh m..-. ; ,cn j .flighted hn *irandil'>'p • lev. - -aitl.m . r \s Patrici?'1 re:/-.: • J J Ater i •■perfect keeping with the gargantuan vulg i W 'I these artists. Thex uls-.-.i. Ct. - ir cdrhenwn Rudkin.w hose essay cm m >untr inbeauty a a P itt \ , 1As6i. Just >.•>(.• ; .-.”d (>>le hat landscape paintin'/. Bic mi M- ran became virtual cliches r : Biersr the then popular DusseLD"'S-.-h and hr than American. Veri ' : different places end effects -rhere, of grandeur and :;...■. w . . :■ •• eicr cumulatively orat> ane . i.-ncc rr mcntofj mils of\atute. [hcl d:J ■ :: -c. 1 true impression." ( nderh ing these justiti. iti nb, of tin',/-j’ld ('rc.itian . .. . . (cat. no. 25 " hde :v.. re a./v!.. of pr;niordial - . . >I . as t national parks and tsre'C's/tii'n me', e- '. i'.ot s defined 5. terms ■_.•.._■ pca^s a ce.:racteri.-cJ I'ocn.mJ \.c... ... ...■ >\lirxi ■‘pesto:.;!” one. Most Vx.:. ’.an scenes . Unds<apeoai\ 'o^moten j'-.oi-.vk pastoral environment. Bierstadt's t/-: :<• ■ leers tilts iotmo’asn-h'K !>\ ;.i\:,;p,.s:'i/p.i ■ ■-'r d back. IA is pictu:/ ais ■ _■?. es man :ic coinbt.)/s p.jst ami p.c'c r:— -c< \ _ical U'lsk-cgi .und ;;l'd i,o';s t'c radiant s-c- Manifest Destine in fa , str.de. I he spscirot Iv.c'stadi’sjiii t'arecoul P ■liiu vi l>\ ! :n;cs I . \\ f sms some ruentv v pucimc, toecthci "moving panorama'’ of i uavsdc,.! along the trail and saw its wiklerne '■‘r’ ■"'Hcht to < apture the diama and m -b's. liptivc entertamnient. “ of indivuhial paintings, akin to a i ■■■■ •■■■■ .s i •■.agerv. I iiesc travelogues b< ' ' !!l h’lin than exhibits like the in "irl: cai Indians performing nativ ''ss Pinind. In contrast to Wilkins’s i �i A more artists either joined the various geological surveys or mm. , , , shrinking "ilderness Albert B.erstadtand Thomas Moran stun U,' 'e'r *w" r“ravs into the sheer metric and aesthetic extravagance of their work. Coming “' gmup f.)r thc ,ut.stic exploration in the American frontier, these two men assi.niI-r . Cnd <,fa of conception of wilderness landscape and orchestrated into their person 1' *-tUal1- evcr>' previous most likely to transform reality into myth, without obliterating rhe renli v'r'T th°Se cl‘-’™ents provided the dominant models. Bierstadt and Moran sought to cmn.r. d e and (;lll‘rch had on vast canvases tilled with an astonishing variety of topographical and 1W lmmcnsity of nature Their canvases frequently stretched ten feet and more across an Pr'coroloSical features, spotlighted his grandiloquent views within darkened proscenia ro’reinf er^adc occasionally spectator. As Patricia Trenton and Peter Hassrick have pointedJ outZ *mpaCt °n the ™is“Pi,'S *“ 'he g“Sa"n“n VUlS“ity °f ,hc ‘j Theyalso. however, echoed rhe more highmindedexpressio„s„faesth«ici.„s like W,„ Ruskm. whose essay on mountain beauty was a veritable recipe for their effects (l/,7 D • partV. 1856). Just as Church and Cole had adopted various heroic conventions of EureS landscape painting Bierstadt and Moran assembled stock compositions and effects Z became virtua cliches m their work. Bierstadt, a native German, was especially influenced by rhe then popular Dusseldorf School, and his Rocky Mountains sometimes appear more Alpine than American. Verisimilitude existed in details, but the whole was a fiction based on manv different places and effects of atmosphere. The “truth” of the whole lav in its overall sensation of grandeur and magic, which a traveler through the mountains might experience either cumulatively or at some chance moment of perfection. Moran said that while he “desired to tell truly of Nature, [he] did not wish to realize the scene literally, but to preserve and to convey its true impression." Underlying these justifications, of course, there were still the allegorical concerns of time and Creation which had preoccupied Cole. Moran’s small study of Tower Falls, Yellowstone cat. no. 25), while more documentary’ than his larger pastiches, nevertheless achieves an effect uf primordial sublimity. (Images such as these played their part in the establishment of the national parks and the preservation movement later in the century’.) The ancient landscape was not always defined in terms of great peaks and valleys. More often, in fact, a less rugged terrain characterized Eden and Arcadia. Leo Marx has differentiated the “primitive” landscape and the “pastoral” one. Most Arcadian scenes in the Claude Lorrain tradition suggest a primitive landscape only in remote mountainous backgrounds, while the nearer stages show a more gentle pastoral environment. Bierstadt’s On the Oregon Trail (cat. no. 3, p. 43; a copy of a larger work) alters this formula slightly by juxtaposing pastoral and primitive on the left and right, rather than front and back. This picture also gives man a greater role than is usual in Bierstadt syork. ere he combines past and present — geological creation and historical progress - in his sv eeping middleground, and allows the radiant sunset beyond to augur the golden uture. ere painted L-. James E. Wilkins some twenty years earlier (cat. no. 35, p. • Wilkins putting together a “moving panorama” of the Overland Trail during the Gold Rt sh VS i ^eled along the trail and saw its wilderness scenery in a more virgin sta‘e But he sought to capture the drama and magnitude of the Roc ties in Pntial prescn- ut bh; fora descriptive entertainment. (“Moving panoramas canvases of 1 ’ions of individual paintings, akin to a modern slide show, or CSL ,)nj werc more ' ontinuoir, imagery. I hese travelogues became very popu ar at nut . • .j U[1 (lis •’arnatic in form than exhibits like the Indian galleries, alt longi .“ ;)|S() |iai| public U'Hery with real Indians performing native dances.) Bierstadt, 1 , .’ecm overblown r'-T'.nsv, in mind. 1„ contrast to Wilkins’s reserved scene, his ostial epu ma ■ 3l> �today, but one cannot deny his canny showmanship or the ingenuity with which he struck so many conceptual and visceral chords relating to nature, nationalism, and divinity. The pastoral mode of wilderness painting ripened as the wilderness itself became less Sqi|ltOliS Md 'tS s,ol!tude ™ore alluring. The Hudson River painters and then the Luminists s™ e«ffy SaV°recd t o and S'lent m°0ds of nature- Worthington Whittredge was one of (his friendsPTriRSirf the Huds°n ^lver Sch°o1 who toured the far West in the 1860s and 1870s had soem rlnF;KenSet7nd Gifford.were others). An accomplished landscapist who Bienstadt) Whirr^H stl1 and traveling in Europe (where he had shared a studio with Mexico in’l 866 H • ace<)mPanied General John Pope’s inspection tour of Colorado and New in part, bv Bicrsridf^ C t'\Om()re1friPswcs,:scveral years later. He may have been motivated, inspiration free fmn ^slona success with western themes, but he also sought fresh mountainous areas W1 ,DllSseldorf influence. While he journeyed into some remote There was “grandeur in rheh Un German friend, found his inspiration on the plains. Ihr 1‘lntlf (t;lt no .. orizontal as well as the perpendicular,” he said. CattlfGnizingMong this:,ri"n was toTirianPe- > l?UC°llc skcCches he did of the prairie. One wonders how near St>*i'’ritally,ofcolirse thevarc*” S- j ?U'no'“6)’ Pa>nted halfacenturyearlieralongthesamcriver, or tin. < !f]ji r (J|K. ;| qu’V()r' j. . lni csaP‘*rt, yet the later work by no means lacks sound reportage, Whittredge had bctmnr 'f'S.t|l,li't ■ ' rat*os kave °nly been reversed. 'juierudc replaced I hisseklorf 'i *L 'K ln^llence °l the French Barbizon School, whose rustic W'Blakelo.), «ho |)H ' lai"a'»lhc t; sics of the seventies. His younger compatriot 'Ui\c\ to a cluse, shared in this transition. Blakelock could •It) hardly be called an artist-explorer in the li He made the first of his two trips to th apparently broke no fresh trails. (Thom traveled in country which was still quite travelers, or "Romantic wanderers." as Ka tions were as much psychological or dra paintings, even at their most romantic and of which he had some direct know ledge. B relationship with Nature—dreams and rev nu- d, p. 42), probable done long after his t Arcadian w ilderness. Here nostalgia has si ' anished landscape and a vanished cull Blakclock's younger contemporaries. Frei this same approach.) Blakclock's introspJ dow n. He found an internal wilderness external ones. I �■iity sr ith w hicli he -rr_.ek ■ ^■m, and dis inits. ^ftildcmess itse!: ijccLi"'.e: ■ ters and then the Liimimsts ■gton \\ hittredge was one of K^cst in the IShUs and l.S7’i-> ■complished !andsc..pi-.r .vh'. He had shared a studio with H.m tourofColorado and ,\u-.r He may has e been mor? ate J. Bs. but he also sought fresh Burney ed into some remote Bn's inspiration on rhe plains. ■ he said. Catth. ■iric. One wonders how near ft earlieralong the same rh er. fticans lacks sound reportage, len reversed. arbizon School. " hose rustic is. His younger compatriot transition. Blakelock could & •ft a *z ‘ '* r - dr ftT ” 35 He made rhe first ^ist-cxplorer of hU tP ■ ln tfle literal “T Sense that has been adopted for this exhibition, trips cto“ the West ijln 1869, three years after Whittredge, and apparently broke no fr t. two W0. tnps traveled in connm- -k S’ •(Thomas -Moran didn’t reach the West until 1871, but he rra’elers, or “kr . "• "aS St'H 9l|ite wild.) Blakelock represents a new breed of artistt’ons ver<- a- Jmannc "ar>derers, as Katherine Manthorne has called them, whose explorapaintings <-■ <-rmiJC,1 P^'^hological or dramalurgical as they were geographical. Bierstadt’s 'J‘ b li'-1,3,j tneir most romantic and imaginary, were still primarily about the wilderness, jjj.. , • d)rcct knowledge. Blakelock’s seem to have been more about his personal 4. p _p Jt.’ at,lre drcams and reveries rather than particular places. ]A'isLtindscape(cn. Acadian ’ done lf,n£ after his trips, imagines a bucolic Indian camp nestled into an ‘Wished h ' ' p-rc nostalgia has supplanted reality and allegory alike — nostalgia fora j n 'ap< an^ a vanished culture, but without ideology. (In their own ways, r,li's’am, ..‘-^temporaries, 1'rederic Remington and Charles Russell, represented douri jj pp,,,a‘-"-) Blakelock’s introspection ultimately ended in complete mental bieakn. 1 'r'-rn:d (in'/111" Ul i|ir(ttial wilderness which Romantics had sought as passionately as 41 �I ! II i: I In the beginning, the artist-explorer hud been more explorer than artist, and he had given precedence to documentary values o\ er artistic ones. As the wilderness and its inhabitants gained favor as a source of aesthetic and iconographic contemplation in the nineteenth century, artists of greater accomplishment had been draw n to visit them, anil artistic values came to rival and exceed the documentary ones. Men such as Pcale, Catlin, and Eastman were naturalists, ra tsmen, or topographers as much as they were “fine artists," but after them, artist-explorers ',° °ne k'n(^’ but not the other. 1 opographic specialists (w ho are not included in rnHpdrt 1-tlOn "eresou£htbx most ofthe later surveying expeditions, and most of them soon h HastonZenrf™eras- Photography invaded the fine and popular arts, as well, toward sketches ancTrh -1C B'erstadt> (or example, frequently used photographs in place of stereoscopic views. PAs\h7eraof NorthV"11*^5 C°l'ld bC ChcaP’'' William H Iwkcnn i r- . J.' . z^nlerican exploration rode to its end, cameramen like Painters such as BiersTad/wh" ^,ns Provide exact descriptions of the last frontiers, ittredge and Blakelock no longer had obligations of that kind. William H. Sterling, Ph.D. Associate Professor of Art ilkes L niversitv 42 i �■ than artist, and he had ■mess and its inhabitants the nineteenth century, istic values came to rival i.stman were naturalists, er them, artist-explorers (w ho are not ineluded in ,. and most of them soon ular arts, as well, toward I photographs in place of Id be cheaply fed with its end. cameramen like ions of the last frontiers, bligations of that kind. - - - �'x'" ' 5 / 44 45 �i ft <4 I - / 46 47 ���biographical notes JOHN JAMES AUDUBON (1785-1851) Born in Haiti to a French father and a Creole mother. Audubon was edu.-m-d • r with Jacques Louis David. In 1803, he returned to his father's estate in Mill G pC,: and btud>ed briefly collecting and drawing wildlife. After several business failures in Kentucky he moye^in i«rfs"'3' Md be«Jn devote himself to natural history painting. His monumental corpus on \„r'th • .'“t. "' Oceans to 1826 and 1838, entailed extensive field work throughout the East and Midnest. In 184? h'^’ P“bllshed bet"ecn mammals, which took him as far as the Yellowstone River. Audubon's artistry and oer's'nnsl|T" ls""llar,1PU'<'n fame both here and abroad. His innovative portrayal of specimens as “alive and movina" magnitude of his projects, established him as America's foremost artist-naturalist. ’ '"C WILLIAM BARTRAM (1739-1823) Bartram was born in Kingsessing. near Philadelphia, where his father was an eminent botanical gardener His early drawings attracted the attention of European naturalists, and he and his father were commissioned to collect specimens in Florida. In the 1770s, he took a more extensive field trip throughout the southeast, reaching as far as the Mississippi. After 1777, he managed the family gardens and never made another long exploration. Hi" book of Travels (1791), based on the earlier tours, was a popular work. His naturalist drawings were typical of the genre in the eighteenth century', and, like Audubon, he almost never departed from his specialty. ALBERT BIERSTADT (1830-1902) In 1832, Bierstadc’s family moved to Massachusetts from his native Solingen in Germany. He may hare been mostly self-taught as an artist. In 1853, he went to Dusseldorf to polish his skills, but did not enterthe academy. He shared a studio there with Worthington Whittridge, did much outdoor sketching, and traveled extensively in Germany and Italy. Returning to America in 1857. he joined Colonel Frederick Lander’s survey expedition intn the Wind River Mountains, and returned to New York City to begin his large canvases of the West. Popular and critical acclaim followed soon after. Bierstadt made many more trips west between 1863 and 1889. He was an effective promoter of his work and achieved great wealth at the height of his success. I lis later work became harder in style, formulaic, and less fashionable. His career declined rapidly in the 1880s. and he died in much reduced circumstance'. RALPH ALBERT BLAKELOCK (1847-1919) Blakelock was born in New York City, and ga\ e up medical studies to become an artist. He was mostly taught, experimentive with media (which led to the darkening of many of his painting'), and neurotic in He toured the West in 1869 and 1871, and used his impressions later on to create ev ocativ c. often v w narv. ... c 1 of a highly personal kind. His style was influenced by the French Barhizon painter-., but ii' M jn approach was closer to the newer Symbolists. Critical reaction was mixed, anil his urea >u ut ' J" i te''while incurable mental breakdown in 1899. Soon after, his work gained fresh and posmve notice, bur ' ■ ■ ■ he lay dying in a sanatorium, forgers were already at work copy ing his sty le to meet t w nev KARL BODMER (1809-1893) ()j Bodmer was born near Zurich and studied w ith his uncle. Johann Meyer, as wsu significant part opening a studio in Koblenz, Germane, he met Prince Maximilian of lul •l,‘l tlu ,7. j_ pjrjSi where he worked of his long career. In 1834. after his American expedition with the Prince. . is!,-t..,mmunity nfBarbizon or four years on the engiav ings made from his field sketches. In 1849. k mm ja 1 .n;t,n in ]lte and settled into a moderately successful career. 1 le turned to magazine am .1 FREDERICK C.VFHERWOODll^ Cathcrwood studied architecture ami exhibited watercolor'in •‘"Ks expedition to Egypt, Palestine, ami Arabia in 1831. He met the Ar Mh- and they made their first trip to Central America three years larer. . inning Robert iei,logist John 1 ■ 8-P ,,ude three nwre fournvv �South and Central America anti to California by way of rhe Pacific Coast. I n between these excursions he • time in New York City working on the publication of his field work. In 1854, returning to New York aft .Spent 'fluch home to England, he was lost at sea with the steamship Antic. Like Bodmer. Cathcrwood achiever'P back significance by mating his estimable artistic sensitivity to an extraordinary subject. ‘ cd historical •( ALFRED JACOB MILLER no Miller was born in Baltimore. There is conjecture I K(1810-1874) (ls10-187< In 1833, he visited Europe, taking courses at rhe Ecole des Re? "°levid'-'nce. that he st,, r , GEORGE CATLIN (1796-1872) Catlin was born in Wilkes-Barre. Pennsylvania, and spent much of bis childhood in Broo York. He opened a law practice in Montrose, Pennsylvania, bur soon gave it up for an art cir ■ °llncY> New Philadelphia in 18’1. Experiencing only modestsucccssasa mostly self-taught portraitist, Catlin det"^0'’ m°vin8 to his name asa painter of the Indians. His four expeditions between 1830 and 1836 covered vast stretch ™lncd torr>ake In 1837. he opened his touring "Indian Gallery" in New York, to public and critical acclaim H ■ ■ '.CS °. e Prairie. greater success in London (1840) and Paris (1845). Expenses exceeded revenues, however an jC^pdr.lence‘i even ultimately brought bankruptcy. Partly toescape creditors, he trav eled through South America an ? i Invcstrr>ents to California between 1852 and 1859. Catlin had dreamed of selling the entire Indian Galler ■ ” I lcPac'fic coast instead, he lost it in the bankruptcy. From 1860 to 1870. he lived in Brussels, trying to reconstruct’th° Cl ,gOVernment; his peripatetic ways. Catlin was an exceptionally prolific artist who also found time to publish ■ ° , , D’- Despite travels. 1 ° 1 scvcral books on his s "wk, and it was rd[e|y Like Thomas Cole beforehim.Moran moved vv^hh^faInn3f’l9^6) in 1844. and 'Thomas became an apprentice wood engraver' [ft 7 .■ancashi“-'- Thcv settled in Phi . , exhibitionsand traveled to England, in 1861, rosceTurners voA If frc‘l“cnted the Pen XJhPhi^ year, and some critics called him the "Turner of the West." FREDERIC EDWIN CHURCH (1826-1900) A native of Hartford. Church studied with Thomas Cole, who influenced him considerably. By his mid­ twenties. Church was already a successful New York artist, regarded by many as the successor of Cole, who had died in 1848. In his search for inspiring landscapes, he began to travel extensively through eastern North America. His work became less allegorical and more concerned with light and topography. He made his first trip to South America in 1853. He later traveled to Labrador. Europe, the Middle East, and Mexico. His taste for the exotic is seen in his villa, Olana. overlooking the Hudson River, as well as in his paintings. After the mid-sixties, his work often became excessively melodramatic, but he retained his reputation as one of America's greatest landscapists. < THOMAS COLE (1801-1848) Cole and his family immigrated from Lancashire in 1818. They settled eventually in Steubenville, Ohio, where Thomas designed patterns for his father’s wallpaper factory' and learned the rudiments of portraiture from an itinerant painter. In 1823. he began his serious career as an artist in Philadelphia, then moved on to New York City, determined to bea landscapist, up to that timea less popular special ty in American art. His style ofgrandeur and drama changed that, and his ascent in the art world was rapid. After a three year trip to Europe, he turned increasingly to allegorical landscapes, such as his series, The Course ofEmpire. In 1836, he settled in Catskill, New York, closer to the mounciins he loved. 7 1 dCa',yonofl,,eYdlos:sll>lllAl.M^^ TITIAN RAMSAY PEALE, II (1799 irrsv Titian was the sixteenth of seventeen children born to the e ' . m. Charles Willson Peale, (his namesake brother, 'Titian I, died the year before his bird'\d'’i''-’?a paintM and naturalist, established himself as an artist; and grow ing up in his father's natural history m„s,'‘ ™ny °f his siblinRS he He studied anatomy and entomology, was an avid hunter and collector and 1,..^ ’ bccamca naturalist as well, in the pathbreaking Long Expedition in 1821 ensured his place in history I Ik'"'V ™ C?ipert t,Lxi‘Lrmisr. His pan and around the world (rhe Wilkes Expedition) took him away from the eurito^ldn '^S'’U'h Am,:riw bankruptcy forced its closure m 1842. 'Titian became an examiner for the I■ S Parent (lift /TV musci"n' and candidacy to become first curator of the Smithsonian Museum ‘mice alter his unsuccessful PETER RINDISBAGHER (1806-1834) his family answered I ordThomas Dimgh^llfi,^ provincial success as a painter prompted him to seek wider notice in Sr. Louis, where he opened a studioin 1829. His untimely death from unknovy n causes at the age of twenty eight cut short that quest. Whatever future he might have nad, no one can dispute his importance as the first comprehensive painter of Indian life on the frontier. THOMAS DAVIES (ca. 1737-1812) Davies was a British army officer who served in North America from 1759 to 1790. Having studied drawing and painting as a cadet, possibly under the eminent watercolorist Paul Sandby, he was often assigned to do topographical studies. In 1760, he explored the Lake Ontario region, and about 1768, he published six views of American waterfalls. Although he was a professional soldier, Davies enjoyed considerable respect both as an artist and a naturalise After his retirement from the service, at the rank of lieutenant general, he continued to paint and to exhibit at the Royal Academy. He is best remembered today, however, for his carlv documentation ofthe Canadian wilderness. SAMUEL SEYMOUR (fl. 1797-1823) Biographical information ----;n on Seymour is scant. I Ic w as probably born in England, but was working as an engraver in Philadelphia by 1808. After a seemingly modest early career, he was selected for the Long Expedition in 1819. In 1822. Seymour’s name no longer appears in the Philadelphia census, although he was reportedly seen in New York City by an the following year. There is speculation that he returned to Englandand may have dropped out of the "acquaintance . ___ ic art profession. Seymour's existence in recorded history is thus predicated almost entirely on his brief role as an artist-explorer. SETH EASTMAN (1808-1875) assigned to Fon Crawford f™m Wesc Point in 1829 and made the army his career. He was first administrative stints in Washington *7?d Minnesota, Florida, and Texas, in addition to time he studied painting with rhe II,, i " D.c 3 so (au?ht drawing at West Point between 1833 and 1840, at which in 1848, when he wasin Washington Rl''crartlst R°bert Weir. His Indian paintings began to attract attention he spent the most time on the frontier Th' ° ls career involved the American Indian, and, of all the Indian painters, culture. Is exPenence added weight to his reputation as a faithful recorder of Indian Heriot„Jsami|j[an, ” 6 JOHN MIX STANLEY (1814-18/2) Born in Canandaigua. New YorkyStanleybeganhiscareerasasigji^MmtcriH^.^H^^^^ j [^jedto incorner. 1834. he<• settled Where he took lessons from a local portraitist- R\c?Rni f nv ir-pS to. all t e in DctmitWisconsin in 1839 to make on-the-spot sketches I h.s was both a tounng Ind..anC^ as Hawaii. Ambitious and energetic, like his predecessor jic also tried, invain.ro w a moving panorama, Stanley's Western Wilds or. the Indian andHt. (. •'.[ the government. In 1864,'he ended his traveling and returned GEORGE HERIOT (1766-1844) e'?nmalftbL??" England " ith Paul 'sanX^iiT^ torra'e|'l A "mnRP-isrmasrcr-generaloftheNmrl V ' ° woRTHixtmiN wnrrrK®® Born in Scotland, he had t0 Canada "hcr‘ he joined the postal service, Born in Springfield. Ohio, he began America aS a landw^t and ' olume w as\ " L|' a J°UI dle tcrritories. A mani of wid,'.rnerlcan ‘-"Ionics. This position afforded him an opportunity Britain in ISl/'T? e'Cd' ,h,)_E and published an ill,,eriot began amultivolumc//Zr/ozy<y'fi77Wr//7(<>ne 1SI6’ but cont|nued to travel, paint anj ' ,C "t his style contrasted markedly with the mure tram aoy-i Moran, and proved durable throughout his long career. 52 1 ........ 5.5 �JAMES b. " Academy. In 1844, he settled in St. Louis. The ,n [.-rwlishm-m. Wilkins «ud,^’"Xke a sketching tour of the Overland Trail via wagon train, in r i? Rush inspired him. in 1^4 ». to nu d in 1850, was a great success, and he continued to do ^SoXamoting P" dijrv uas also a valuable document of life on the Trail, fjgin-.rx landscapes based on ■ > BIBLIOGRAPHIC NOTE i In the preparation of this exhibition, rhe follow ing sources were of particular value and are recommended mrtunhc^eadmg.^ i. wi||iam H Gcrdts- nlasshc Art Across America (New York, 1990), which includes rnanv Ifale-knmvn artists. A brief, but useful, earlier survey is J. 1 Flexner’s Nineteenth Century America,, York, 1970). For biographical material on the artists, the standard biographical reference books and individual monographs were consulted. On the earliest artist-explorers. Hugh Honour s lac A<y Golden Land:European Images ofAmerica from the DiseoCerierthtxPKSe.r'Tin.viLondun. 19761 offers much fascinating material. Of similar value is Edward J. Nygren’s i:j.' •../lac r..- .k.-..4.w.. Landscape before AWtWashington. D.C., 1986). E. P. Richardson's general history, Pmr.tingin .l^nnziNew York. 19561, contains a chapter on early artist-explorers. On the themes of the American Indian and the vv estern frontier, there is an extensive literature. Providing broadcov erage vv ith some controv ersial interpretations is William H. T ruettner (ed.), The West as America: Reinterpretinglr:szs'f&F.-j-dir. !8N-ZP-V(Washington. D C.. 1991). Less broad, but equally revisionist, are the essays in Dis.’,-.ndiat:ds. lmter.t,d Pasts: TramfcmingVisimis ofth, American IJ«/(New Haven, 1992) by Jules David Prown, Nancy K. Anderson. William Cronon. Brian W. Dippie. Martha A. Sandweiss. Susan Prendergast Sehoelwer, and Howard R. Lamar. An earlier set of interesting essay s appears in John F. A IcDermotr (ed.), The Frontier Re-Examined (L'rbana. 1967). Patricia Trenton and Peter Hassrick’s TheRorhy Mountains: .1 Visionfor Artists in the Nineteenth Century (Norman. Oklahoma. 1955(provides extensive material on lesser-known as well as major artists in the far West. Two useful catalogues of narrower focus, from the Joslyn .An Museum's Center for Western Studies, are William II. Goetzmant’and JosephC Porter's Th, Westas RomanticHorizon [Omaha, 1981), with emphasis on Bodmer and Miller, and John C. Ev.crs.etjJ, Viczsofa Vanishing FnjmicrtOmaMi, 1984), centering on Bodmer. William H. Truettner’s, T: Natural Mir Of.:- r.\d: .1 Study MCatlin's Indian Gallery (Washington, D.C., 1979) is the definitive work on its subject. F...r a fascinating account of the saga surrounding the Indian collections of Catlin, Eastman, and Stanley, sec Brian W. Dippie's CatTm and H.is Cunt, ,,:[•■ raries: Th, Politics of Patronage (Lincoln. Nebraska, 1990). _ On North Americans in South .America, essential information appears in Katherine Emma Manthorne’s N_.nh Anu titan Artists ExploringLatin Amirica, 1839-1879 (Washington, D.C., 1989) and Dawn Ades -zAc Art in Latin Armrica: The Modem Era. 183.' - /WlNew Haven, 1989). Br. ader. more philosophical discussions of die themes of nature and landscape mav be found in Barbara Nmak >m::,r.ar.dC,dmr,:AK,riw^^ Boime's 77/rMagisterial G^vAAashingrcn. D.C.. 199D. and Roderick Nash's Wild,mess and rhe American Mind (N, ew Haven, 1967). , Among theu hangs by the ani>ts themselves or their associates, several are of particular interest: George ( ’? u''7‘f Lu.'tom:. and Condition ofthe North American Indians (London, 1841); Thomas \, Stencr-~ (1835.. in John McCuubrcy WA American Art. 1700- 1960(E^\c^A Cliffs, John James Audubon (1785-1851) Towhe Bunting; Fringilla Erythmphthalma Linn.. Blu.kberrv R„h„ t •/, Hand cohired lithograph. 27 1/2 x 20 inches 1 The C. B. Reif Collection of Natural 1 listory Prints. A\ ilkes I 'niversily n-4 2. William Bartram (1739-1823) Canna Indica, lab. VHI (Elements), 1784 Ink on paper, 21.0 cm x 26.9 cm (8 1/4 x 10 1/2 inches) American Philosophical Society 3. Albert Bierstadt (1830-1902) The Oregon Trail. 1869 Oil on canvas, 31 x 49 inches The Butler Institute of American Art. \ oungstown, Ohio 4. Ralph Albert Blakclock (1847-1919) Landscape, n.d. Oil on canvas, 16 x 24 inches Collection of Heckschcr Museum, Huntington, Neu York. August Heckscher Collection. 'i 1 5. 6. Karl Bodmer (1809-1893) Assiniboin .Medicine Sign, 1833 Watercolor on paper, 9 5/8 x 12 1/4 inches Joslyn Art Museum, Omaha, Nebraska. Gift of the Em iron Art Foundation. Karl Bodmer (1809-1893) Rock Formations on the I pper Missouri, 1833 Watercolor on paper, 7 7/8 x 12 3/8 inches Joslyn Art Museum, Omaha, Nebraska. Gift of the Enron Art Foundation. 7. Karl Bodmer (1809-1893) Ilidatsa Buffalo Robe, e. 1840 Watercolor on paper, 14x17 5/8 inches Joslyn Art Museum, Omaha, Nebraska, Gift of the Enron Art Foundation. 8. Karl Bodmer (1809-1893) Forest on the Lehigh, n.d. Hand-colored lithograph, 13 1/2 x 17 1/2 inches Imp. de Bougeard, Grave par Salathe . . Gilbert McClintock Collection, Eugene Shedden Farley Library, Wilkes I nnersity 9. Karl Bodmer (1809-1893) Tombeaux des Indians Sioux, n.d. Lithograph, 8 1/4 x 6 1/4 inches Bartram'S 10. Hand-colored aquatint and line engraving. 21 .1 16 x 13 1 «L1ys Imp. de Bougeard. Se. Rend Rolkt: Published bv Ackerman <x '■ Bordoni Family Collection 11. , Frederick Catherwood (1799-1854) . "•7/ ar Bolonchen, 1884 (from an ink drawing done in 1 Colored lithograph, 377 mm x 277 mm <14 3'4 x 10 •. *nc i<ale 1 'niversily Art Gallery. Gift of Henry Schnackenberg. 54 55 �25. Thomas Moran (1837-1426.1 The Towers of Tower Falls. 1872 Watercolor on paper. 10 1/2 x 7 7/8 inch.-. The Thomas Gilcrease Institute nt Mmrimn Ilk-..-. anj •, 20. Titian Ramsay Peale 11799-1>S5> Indian breast work on the riser P;,.:ie > Watercolor on paper, 21.5 cm \ lti.4 h. 18211 American Philosophical Soviets 27. Titian Ramsay Peak- (1794-1885 Sandhill Cranes. March. 1.82(1 Watercolor on paper, 23.2 cm x 18.6, cm,,J 1^x7 1/4 inchw) American Philosophical Society 28. Titian Ramsay Peak-(1744-1885) Yellow headed Blackbird. May. 1820 Watercolor on paper. 22.6 cm x 18 7 cm (4\7 1/4 inches) American Philosophical Society Sordoni Family Collection 29. 16. Frederic Edwin Church (1826-19(1(1) In the Andes, 1878 Oil on canvas. 15 x 22 inches The Butler Institute of American Art, Youngstown, Ohio Ikler Rintiishadier < I -Silt,- 183 I> Sirne in an Indian lent. e. 1824-34 Watercolor on paper. 7 1/2 x 8 incites Courtesy ot the We ’ Point Museum, 1 S. Military Academy .West Point, Men \ork 30. 17. Thomas Cole (1801-1848) Adirondack Landscape, e. 1825-40 Oil on cam as, 20 x 30 inches Collection of E\erhart Museum Peter Rindish.n her (1806-1831 t Chippewa M'ideof hn ellinit m the Spline and Slimmer,?. 1830 Watercolor on p iper, f. 1/1 . It) inches Courtesy of the V-v’ Point Museum. I .S. Milium Xctidciny, West Point. New \<irk 31. Thomas Davies (c. 1737-1812) Niagara Falls from Bclozv. c. 1766 Watercolor on paper, 13 1/2 x 20 5/8 inches. The New York Historical Society, New York; Abbott and Foster-Jarvis funds, 1954, 1954.3 Peter Rindish.n I. . r ■' I Ml 1831) ('heppewci\-M I M de of I in: lime in the Winter, c. 1830 Watercolor on pape:r. 6 1/4' lOimhvs Courtesy of the We i Point Museum, I S. Military Academy, \\cM p,,)nb 32. 19. Seth Eastman (1808-1875) Indian Burial, 1847 Oil on canvas. 33 .\ 25 inches The Thomas Gilcrease Institute of American History and Art, Tulsa, Oklahoma Samuel Seymour <11. 1747-1823) Viewut the Baof the Rm L-ie.. c. 1820 _ W atercolor, ink. and pencil on paper. 5x7 7/8 inches The Rockwell Museum. • arming, New 'I ork 33. 20. George Heriot (1766-1844) Calumet Dance. 1799 Watercolor on paper, 8 3/8 x 13 inches The Art Gallery of W indsor collection. Purchased by special subscription and with the assistance of The Canada Council, 1967. John Mix Stanley (1814-1872) Snake Rr.er. Idaho and II ■ ■hinelon Oil on cant as, 36 1/2 x 54 inches ( amrtesy of Kennedy *ialleries, Inc.. New i ork 34. Worthington Whittred.c 1 1820-PHO) Cuttle Gr,i.u:e IMbc the Platte, 1871 Oil on cant as. 24 I 4 x 32 inches Museum ot Nebraska Art 35. James Wilkins (1808-1888) Cat ered llagroi-s in the Rockies, 1854 Oil on cans us. 22 x 30 inches . f rom the < atlkctiorts of the Missouri Historical Society 12. George Catlin (1796-1872) l/n/rf/z ofthe Platte River, WO Miles Above St. Loins, 1832 Oil on enn\ as, 11 1/4 x 14 1/2 inches National Museum of American Art. Smithsonian Institute. Gift of Mrs. Joseph Harrison, Jr. 13. 14. George Catlin (1796-1872) Com. A Miniconjou Warrior. 1832 Oil on canvas, 29 x 24 inches Smithsonian Institution, Gift of Mrs. Joseph Harrison, Jr. National Museum of American Art, George Catlin (1796-1872) W ounded Buffalo Bull Surrounded by White Wolves, n.d. Hand-colored lithograph.il 1/4 x 17 1/4 inches Sordoni Art Gallery, W ilkes University, Gift of Dr. and Mrs. Robert L. Mayock and W. Graham Arader, Ill 15. 18. 21. 56 George Catlin (1796-1872) Buffalo Hunt, Cnderthe White WolfSkin . 1832-33 Hand-colored lithograph, 12 3/16 x 17 9/16 inches Catlin del.; on Slone by Mc( rahey: Day & Haghu lith. to the Queen George Heriot (1766-1844) Ceremonial Scalp Dance . c. 1804-05 W atercolor on paper. 8 1/4 x 12 3/4 inches The Art Gallery of W indsor collection. Purchased by special subscription and with the assistance of The Canada Council. 1967. 22. Alfred Jacob Miller (1810-1874) Pursuit of a Grisly [sicl Hear in the Black Hills Near Fort Larriniier [sic], n.d. Ink sepia with pencil on paper, 7 3/4 x 7 1/8 inches University of Nebraska - Lincoln. Sheldon Memorial Art Gallery. Gift of Olga N. Sheldon. 1973. 1 -3295. 23. Alfred Jacob Miller (1810-1874) Pursuit. 1837 Wash, ink and Chinese sxhite on paper, 17 1/4 x 22 inches Tire Rockwell Museum. Coming. Nets York 24. Alfred Jacob Miller (1810-1874) War-Ground, 1837 Wash. ink. and Chinese white on paper. 14 5/8 x 18 3/4 inches The Rockwell Museum, Corning, New York Photo credits: Curtis Salonick: 1, 8, 9, 10, 14. 15 Saltmarche, Toronto: 20,21 James O. Milmoe. 1991: 23, 24,32 . (||| ( VJineh Wk ��IMM lOOOlflS^20 HUKES COLLEGE LIBRARY �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1992 October 11 Virgin Landscapes, Native Cultures: The Artist Explorer in North America Creator An entity primarily responsible for making the resource John James Audubon William Bartram Albert Bierstadt Ralph Albert Blakelock KarlBodmer Frederick Catherwood GeorgeCatlin FredericEdwin Church Thomas Cole Thomas Davies Seth Eastman George Heriot Alfred JacobMiller Thomas Morgan TitianRamsa yPealeII Peter Rindisbacher Samuel Seymour John Mix Stanley Worthington Whittredge James F. Wilkins Dr. William H.Sterling Date A point or period of time associated with an event in the lifecycle of the resource 1992 October 11 - November 29 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This exhibition surveys the era during which the pictorial exploration of North America evolved from the reportorial to the expressive. Type The nature or genre of the resource N/A Subject The topic of the resource America North America landscape explorer artist Rights Information about rights held in and over the resource SAG