The Ely miner. [volume] (Ely, Minn.) 1895-1986, 1933-03-17

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NJ nH North American Indians. but they
IN M have also served to recall the serv-
NIESTD ices Of a group Of men whose work
LINK deserves better fate than the par
tNUP tial oblivion which has been theirs
avn These are the early painters of the
Indians TO whom we are indebted
for most Of our pictorial evidence
about the red man while he was still compare
lively untouched by the so-caIed 'eivilizing" in
fuences Of the white man.
Foremost among the names Of these artists
is that Of George CatIin and mention of him
is singularly appropriate at this time because
ii was just 100 years ago that CatIin had started
on his work Of recording the appearance social
life and customs of the tribes of the trans-M Mis-
sissippi West. Catlin was born in Wyoming
Pa, in 1876 and in accordance with his fathers
wishes studied for the profession of law. which
he began practicing in Philadelphia But, be-
ing fond Of excitement and adventure he found
it difficult to stick to his business and he de-
voted almost as much time to his avocation of
drawing and painting, in which be was self
taught. as he did to his vocation Of law
One day in 1880 a party of Indians from the
~Far West" who were on their way to coun-
Gil with the Great White Father in Washington
stopped over in Philadelphia. Catlin saw them
on the streets and was so delighted with their
fine forms and noble bearing that he determined
10 give up his law practice and devote his life
10 UdkiuS q cOueCLO0 OF paintings or INDIANS
which would show, after they gone, how
they looked and how they lived.
The result was his first journey TO the Indian
country in 1892 and for the next eight years he
devoted himself TO the work. He travelled many
thousands Of miles by canoe and on horseback
among tribes which were still as wild and un-
tanned as they had been in pre-Columbian DAYS
and he found plenty of excitement difficulty and
danger in his work. He made paintings every
xrh oe
ings Of the scenery of the West, Of herds of buff
falo, OF hunting life, Of Indian games cere-
monies. social customs-everything that would
illustrate the life and country of the wild tribes
Of the West. More than that he painted scenes
Of old trading posts and United States forts,
upon whose sites now stand important American
cities, so that even If he had not left an in
valuable record of the Indian, the historical
value OF this other phase of his work would be
great enough to place Americans under a heavy
debt of gratitude to him.
Catlin not only painted hundreds of pictures
but he made a big collection OF Indian objects
dress, weapons, scalps, objects used in games.
articles of clothing ornaments etc With all
of these he made tour of the East. exhibiting
his collections in the larger cities and every
where attracting large crowds Next he went TO
Europe and exhibited In France Belgium and
England. Louis Philippe. king OF France was
so much interested In his work that he pro-
posed TO buy the whole collection for the French
nation Then came the revolution which de-
throned Louis Philippe and the sale fell through.
The first edition OF his monumental work on
The North American Indians" was issued in
London in 1s41 and although many later editions
were issued this first edition now commands
exorbitant prices whenever II happens that set
OF the books Is offered for sale.
In his work among the Indians Catiin had 10
overcome native superstition and fear and more
than once his life was threatened by Indians
who thought that some dangerous magic lurked
IN his paint brushes and canvas The medicine
men OF the tribes we're especially hostile TO this
pale-faee who could make such accurate copies
OF the forms and features OF their people and
In several cases they frightened them with the
threat that those who were painted would die
or have some terrible misfortune.
Typical OF the difficulties which Catlin had 10
overcoms was the case of Hunkpapa chief for
Uncpaps- as Catlin spelled it, named Little Bear
BE was fine looking fellow with strong noble