The village structure and welcoming society of the Mandan and Hidatsa fascinated European and American explorers who traveled the Northern Plains. These men documented their experiences in travel journals and artistic depictions that defied the popular image Western America. Although these paintings are masterpieces of American art, they often omit or subordinate the heart of Mandan and Hidatsa society: women. The placement and role of women in the art of George Catlin, Karl Bodmer, and Fredrick Wilson reflect the artists’ cultural perceptions, experiential perspectives, and agendas in their portrayal of the indigenous peoples.
George Catlin
The intersection of Anglo and indigenous entered George Catlin’s awareness when his mother was captured by Native Americans during the Wyoming (Pennsylvania) Massacre of 1778. After establishing a mildly successful painting career, Catlin planed a six-year expedition to paint and record the customs and cultures of Native Americans before they were “swept from their earth.” In 1832, he arrived at the Mandan villages along the Missouri River and spent months documenting ceremonies and culture. Catlin was primarily a portrait painting, and he created an acclaimed portrait collection of indigenous leaders including several images of Mandan leaders. Two images stand out for their complexity and the …show more content…
By combining these images, Catlin presents Mato-Tope as a tribal hero and imposing leader. His military and ceremonial accomplishments connect each figure and show Mato-Tope’s prominence. Mato-Tope’s wife literally supports his accomplishments by holding his buffalo robe and offers a feminine counterpoint to her husband’s masculine image. She and their son are used for balance rather than their individual identities or familial
George Catlin
The intersection of Anglo and indigenous entered George Catlin’s awareness when his mother was captured by Native Americans during the Wyoming (Pennsylvania) Massacre of 1778. After establishing a mildly successful painting career, Catlin planed a six-year expedition to paint and record the customs and cultures of Native Americans before they were “swept from their earth.” In 1832, he arrived at the Mandan villages along the Missouri River and spent months documenting ceremonies and culture. Catlin was primarily a portrait painting, and he created an acclaimed portrait collection of indigenous leaders including several images of Mandan leaders. Two images stand out for their complexity and the …show more content…
By combining these images, Catlin presents Mato-Tope as a tribal hero and imposing leader. His military and ceremonial accomplishments connect each figure and show Mato-Tope’s prominence. Mato-Tope’s wife literally supports his accomplishments by holding his buffalo robe and offers a feminine counterpoint to her husband’s masculine image. She and their son are used for balance rather than their individual identities or familial