Pipe Dance, Assiniboine
Sobre a pintura
“On a hard-trodden pavement in front of their village . . . the young men, who were to compose the dance, had gathered themselves around a small fire, and each one seated on a buffalo-robe spread upon the ground. In the centre and by the fire, was seated a dignitary, who seemed to be a chief . . . another grim-visaged fellow in another part of the group, commenced beating on a drum or tambourine, accompanied by his voice; when one of the young men seated, sprang instantly on his feet, and commenced singing in time with the taps of the drum, and leaping about on one foot and the other in the most violent manner imaginable.
Continuar a ler
In this way he went several times around the circle, bowing and brandishing his fists in the faces of each one who was seated, until at length he grasped one of them by the hands, and jerked him forcibly up upon his feet; who joined in the dance for a moment, leaving the one who had pulled him up, to continue his steps and his song in the centre of the ring; whilst he danced around in a similar manner, jerking up another . . . and so on . . . until all were upon their feet.” George Catlin made sketches of the dance at Fort Union in 1832. (Catlin, Letters and Notes, vol. 1, no. 8, 1841; reprint 1973)
Museu Smithsoniano de Arte Americana
Pormenores
Entretanto, na vida de George Catlin
A vida inteira1830–1836
Five journeys into the American West
St. Louis was his base for the five trips and the steamer Yellowstone of the American Fur Company his first transport; he visited 48 tribes in all (other accounts say about fifty). On trips along the Arkansas, Red and Mississippi rivers, in Florida and around the Great Lakes he painted more than 500 pictures and gathered a substantial collection of artifacts.
1836
First exhibition: about 500 works
Catlin’s first exhibition takes place in the United States, with about 500 works, but it makes little public stir.
1838
The Indian Gallery and public lectures
Back in the East, he gathers his paintings and Native artifacts into his own Indian Gallery and begins giving lectures on life among the Indians, touring Pittsburgh, Cincinnati and New York with the show. The paintings hang salon-style, in rows one above another, and visitors identify them by catalogue numbers.
May 1838
Congress declines to buy the Indian Gallery
The U.S. Congress rebuffs his offer to sell the collection: Catlin wanted his life’s work kept intact, but his later efforts to persuade officials in Washington failed as well.
after 1839
Gallery shows in London, Brussels and Paris
As a showman and entrepreneur, he draws public interest to the Indian Gallery with exhibitions in London, Brussels and Paris (including the Louvre). Charles Baudelaire praised him for bringing back to life the nobility and manliness of the chiefs.
