Career Throssel began to photograph shortly after arriving on the Crow Reservation, but it was not until 1905 that "Throssel submitted his first set of photographs, twenty-nine in number, for copyright."Albright, 26 This same year Throssel met ethnographer and photographer Edward S. Curtis. Curtis ’ influence on Throssel was apparent in Throssel ’ s 1907 set of copyrighted images. In this series Throssel employed vivid lighting with sometimes-staged arrangements, lending towards a much more sentimental view of Crow life. Throssel was also well known for his photographs of “ Crow couples, families and children, which are especially striking as the love and warmth expressed by the families are so contrary to how we normally see Native men, women, and children depicted in early photography ” Alison, Jane. Native Nations: journeys in American Photography. London: Barbican Art Gallery in association with Booth-Clibborn Eds., 1998. Print.(Alison 235). Even though Throssel was part of the early cliché style of depicting Native Peoples his approach also lent itself towards photographs of subjects caught in the moment. The Indian subjects of his photographs expressed a sense of familiarity that cannot be found in the work of non-Indian photographers. In less than a decade, Throssel built a personal collection of nearly 1,000 photographs, including 180 portraits of Crow people, 99 portraits of other American Indians, 186 tipi scenes, 63 Crow sacred and secular ceremonial images, and 352 images of daily life among the Crows of MontanaMarien, Mary Warner. "Shooting back: The life and work of one of the earliest Native American photographers." Christian Science Monitor 89.192 (1997): B2. Academic Search Premier. EBSCO. Web. 19 April 2010. In 1917, after a successful career as an artist, Throssel was twice elected Yellowstone County's representative to the Montana Legislature. Throssel ’ s interest in politics continued until his death in 1933.
Career Throssel began to photograph shortly after arriving on the Crow Reservation, but it was not until 1905 that "Throssel submitted his first set of photographs, twenty-nine in number, for copyright."Albright, 26 This same year Throssel met ethnographer and photographer Edward S. Curtis. Curtis ' influence on Throssel was apparent in Throssel ' s 1907 set of copyrighted images. In this series Throssel employed vivid lighting with sometimes-staged arrangements, lending towards a much more sentimental view of Crow life. Throssel was also well known for his photographs of " Crow couples, families and children, which are especially striking as the love and warmth expressed by the families are so contrary to how we normally see Native men, women, and children depicted in early photography " Alison, Jane. Native Nations: journeys in American Photography. London: Barbican Art Gallery in association with Booth-Clibborn Eds., 1998. Print.(Alison 235). Even though Throssel was part of the early cliché style of depicting Native Peoples his approach also lent itself towards photographs of subjects caught in the moment. The Indian subjects of his photographs expressed a sense of familiarity that cannot be found in the work of non-Indian photographers. In less than a decade, Throssel built a personal collection of nearly 1,000 photographs, including 180 portraits of Crow people, 99 portraits of other American Indians, 186 tipi scenes, 63 Crow sacred and secular ceremonial images, and 352 images of daily life among the Crows of MontanaMarien, Mary Warner. "Shooting back: The life and work of one of the earliest Native American photographers." Christian Science Monitor 89.192 (1997): B2. Academic Search Premier. EBSCO. Web. 19 April 2010. In 1917, after a successful career as an artist, Throssel was twice elected Yellowstone County's representative to the Montana Legislature. Throssel ' s interest in politics continued until his death in 1933.
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