The Death Whoop

1849–55 · Drawing

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Minneapolis Institute of Art

Minneapolis, USA

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Kontrolleret: for 10 dage siden
Uændret siden: 25. sep. 2026
Kilde: Museet

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Om værket

Death Whoop is an oil on canvas painting by American artist and career Army officer Seth Eastman. It depicts a Native American warrior holding up the scalp of a white person.

It was one of a collection of 17 Eastman paintings commissioned in 1870 by the United States Congress, the House Committee on Military Affairs. These were hung in the committee room and halls. Because people found it disturbing at a time of continued American Indian Wars, the painting was twice removed from public view in the 19th century. It was reinstalled in the Capitol in the 1930s.

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Under an earlier commission by Congress, Eastman had painted hundreds of illustrations for Henry Rowe Schoolcraft's major six-volume study, Indian Tribes of the United States, published 1851–1857. Eastman's many paintings and drawings of the Dakota and Ojibwe done during tours at Fort Snelling in the early 1830s and several years in the 1840s comprise an important state resource of Dakota culture.

Wikipedia CC BY-SA

Med museets ord

U.S. Army Captain Seth Eastman was a trained artist who served twice on the frontier at Minnesota’s Fort Snelling, from 1830 to 1832 and again from 1841 to 1848. His extensive firsthand, peaceful encounters with Native Americans gave him extraordinary opportunities to observe their customs and practices, which he documented in his art. He became known as the “pictorial historian of the Indian.”

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This watercolor belongs to a series that he made between 1849 and 1855 to illustrate Henry Rowe Schoolcraft’s massive survey, Historical and Statistical Information Respecting the History, Condition and Prospects of the Indian Tribes of the United States (Philadelphia: Lippincott, Grambo & Co., 1851-57). Mia’s 35 watercolors and drawings for the project represent an astounding array of subjects: muskrat hunting, fish spearing, pest control, rice gathering, maple sugaring, shelter, travel, medicine, mourning, dancing, civics, and topography. With such variety and Eastman’s well-informed clarity of depiction, they constitute an unparalleled visual account of native ways in our region.

Minneapolis Institute of Art