Oil On Canvas, Real Flavor of Old Masters

All George Catlin 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Ah yaw ne tak oar ron, George Catlin
 Ah yaw ne tak oar ron   Ah-yaw-ne-tak-oar-ron
Ambush for Flamingoes, George Catlin
 Ambush for Flamingoes   c1857 Carnegie Museum of Art, Pittsburgh, PA
Black hawk,Sac Chief, George Catlin
 Black hawk,Sac Chief   mk217
Buffalo Bull : A Grand Pawnee Warrior, George Catlin
 Buffalo Bull : A Grand Pawnee Warrior   1832 National Museum of American Art, Washington D.C.
Buffalo Bull-s Back Fat Oberhauptling des Blutstammes, George Catlin
 Buffalo Bull-s Back Fat Oberhauptling des Blutstammes   mk181 1832 Ol auf Leinwand,auf Aluminium aufgezogen 73.7x60.9cm
Buffalo Bulls Fighting in Running Season-Upper Missouri, George Catlin
 Buffalo Bulls Fighting in Running Season-Upper Missouri   1837-39 National Museum of American Art, Washington D.C.
Buffalo Chase on the Upper Missouri, George Catlin
 Buffalo Chase on the Upper Missouri   mk77 Oil on canvas 25 3/4x32in
Buffalo Chase Over Prairie bark, George Catlin
 Buffalo Chase Over Prairie bark   mk178 1832/33 oil on linen 61x74cm
Buffalo Chase with Bows and Lances, George Catlin
 Buffalo Chase with Bows and Lances   mk136 Oil on canvas 1832-33
Catching wild horses, George Catlin
 Catching wild horses   mk217
Cloudy, George Catlin
 Cloudy   mk212 Oil on canvas 71.1x58.1cm
Comanche Indians Chasing Buffalo with Lances and Bows, George Catlin
 Comanche Indians Chasing Buffalo with Lances and Bows   1846-8 oil on canvas 49.8 x 70.1 cm (19 5/8 x 27 5/8 in) National Museum of American Art,Washington DC (mk63)
Comanche Indians Chasing Buffalo with Lances and Bows, George Catlin
 Comanche Indians Chasing Buffalo with Lances and Bows   mk68 Oil on canvas Washington, Smithsonian American Art Museum 1846-1848
Crow Chief, George Catlin
 Crow Chief   mk162 c.1850 oil o nboard 15x21
Five Points, George Catlin
 Five Points   1827(1827) Medium oil cyf
Fort Union 1832 Crow-Apsaalooke oil painting, George Catlin
 Fort Union 1832 Crow-Apsaalooke oil painting   George Catlin He-ra-te-a, a Brave, Fort Union 1832 Crow/Apsaalooke oil painting 29 x 24 in. Smithsonian American Art Museum Described by Catlin as "a brave, wrapped in his robe, and his hair reaching to the ground; his spear in his hand, and bow and quiver slung" cjr
Indian Boy, George Catlin
 Indian Boy  
Indian Tropp, George Catlin
 Indian Tropp   mk217
Las cataratas de San Antonio, George Catlin
 Las cataratas de San Antonio   1871(1871) Medium oil on cardboard Dimensions 46 x 63.5 cm (18.1 x 25 in) cjr
Minnetarree Village Seen Miles above the Mandans on the Bank of the Knife River, George Catlin
 Minnetarree Village Seen Miles above the Mandans on the Bank of the Knife River   mk162 c.1855-1870 Oil on paper 17x24
Niagara Falls, George Catlin
 Niagara Falls   mk68 Oil on canvas Washington, Smithsonian Americn Art Museum 1827-1828 USA
Notch-EE-Nin-Ga son of white cloud, George Catlin
 Notch-EE-Nin-Ga son of white cloud   mk217
Pigeon-s Egg Head auf dem  Weg nach Washington und bei Seiner Ruckkehr, George Catlin
 Pigeon-s Egg Head auf dem Weg nach Washington und bei Seiner Ruckkehr   mk181 1837-39 Ol auf Leinwand,auf Aluminium aufgezogen 73.6x60.9cm
portrait of Osceola, George Catlin
 portrait of Osceola   Oil on canvas 1838 78.4 x 65.6 cm. cjr
Primitive Sailing by the Winnebago indians, George Catlin
 Primitive Sailing by the Winnebago indians   mk162 upper Mississippi c.1855-1870 Oil on paper 18x24
Rainmaking,Mandan, George Catlin
 Rainmaking,Mandan   mk162 c.1855-1870 Oil on paper 18x24
Sha-KO-KA, Mandan Girl, George Catlin
 Sha-KO-KA, Mandan Girl   mk217
Sha-ko-ka,Mint,a Pretty Girl, George Catlin
 Sha-ko-ka,Mint,a Pretty Girl   mk136 Oil on canvas 1832
Stu-mick-o-sucks,Buffalo Bull-s Back Fat,Head Chief,Blood Tribe, George Catlin
 Stu-mick-o-sucks,Buffalo Bull-s Back Fat,Head Chief,Blood Tribe   mk136 Oil on canvas 1832
The Dakota Chief : One Horn, George Catlin
 The Dakota Chief : One Horn   1832
The Last Race, Mandan O-Kee-Pa Ceremony, George Catlin
 The Last Race, Mandan O-Kee-Pa Ceremony   1832 Oil on canvas mounted on aluminium, 59 x 71 cm
The White Cloud, George Catlin
 The White Cloud   The White Cloud, Head Chief of the Iowas
Wah-ro-Nee-Sah,Oto Chief, George Catlin
 Wah-ro-Nee-Sah,Oto Chief   mk217
War Dance, George Catlin
 War Dance  
Wild Horses at Play, George Catlin
 Wild Horses at Play   mk162 c.1855-1870 Oil on paper 18x25
William Clark painting, George Catlin
 William Clark painting   Oil on canvas portrait of William Clark (of the Lewis and Clark Expedition) as governor of the Missouri Territory; original size without frame 72.4x59.7 cm. cjr
Win-pan-to-mee,The white weasel, George Catlin
 Win-pan-to-mee,The white weasel   mk217

George Catlin
1796-1872 George Catlin Galleries Catlin was born in Wilkes-Barre, Pennsylvania. Following a brief career as a lawyer, he produced two major collections of paintings of American Indians and published a series of books chronicling his travels among the native peoples of North, Central and South America. Claiming his interest in America??s 'vanishing race' was sparked by a visiting American Indian delegation in Philadelphia, he set out to record the appearance and customs of America??s native people. Catlin began his journey in 1830 when he accompanied General William Clark on a diplomatic mission up the Mississippi River into Native American territory. St. Louis became Catlin??s base of operations for five trips he took between 1830 and 1836, eventually visiting fifty tribes. Two years later he ascended the Missouri River over 3000 km to Ft Union, where he spent several weeks among indigenous people still relatively untouched by European civilization. He visited eighteen tribes, including the Pawnee, Omaha, and Ponca in the south and the Mandan, Cheyenne, Crow, Assiniboine, and Blackfeet to the north. There, at the edge of the frontier, he produced the most vivid and penetrating portraits of his career. Later trips along the Arkansas, Red and Mississippi rivers as well as visits to Florida and the Great Lakes resulted in over 500 paintings and a substantial collection of artifacts. When Catlin returned east in 1838, he assembled these paintings and numerous artifacts into his Indian Gallery and began delivering public lectures which drew on his personal recollections of life among the American Indians. Catlin traveled with his Indian Gallery to major cities such as Pittsburgh, Cincinnati, and New York. He hung his paintings ??salon style????side by side and one above another??to great effect. Visitors identified each painting by the number on the frame as listed in Catlin??s catalogue. Soon afterwards he began a lifelong effort to sell his collection to the U.S. government. The touring Indian Gallery did not attract the paying public Catlin needed to stay financially sound, and Congress rejected his initial petition to purchase the works, so in 1839 Catlin took his collection across the Atlantic for a tour of European capitals. Catlin the showman and entrepreneur initially attracted crowds to his Indian Gallery in London, Brussels, and Paris. The French critic Charles Baudelaire remarked on Catlin??s paintings, ??M. Catlin has captured the proud, free character and noble expression of these splendid fellows in a masterly way.?? Catlin??s dream was to sell his Indian Gallery to the U.S. government so that his life??s work would be preserved intact. His continued attempts to persuade various officials in Washington, D.C. failed. He was forced to sell the original Indian Gallery, now 607 paintings, due to personal debts in 1852. Industrialist Joseph Harrison took possession of the paintings and artifacts, which he stored in a factory in Philadelphia, as security. Catlin spent the last 20 years of his life trying to re-create his collection. This second collection of paintings is known as the "Cartoon Collection" since the works are based on the outlines he drew of the works from the 1830s. In 1841 Catlin published Manners, Customs, and Condition of the North American Indians, in two volumes, with about 300 engravings. Three years later he published 25 plates, entitled Catlin??s North American Indian Portfolio, and, in 1848, Eight Years?? Travels and Residence in Europe. From 1852 to 1857 he traveled through South and Central America and later returned for further exploration in the Far West. The record of these later years is contained in Last Rambles amongst the Indians of the Rocky Mountains and the Andes (1868) and My Life among the Indians (ed. by N. G. Humphreys, 1909). In 1872, Catlin traveled to Washington, D.C. at the invitation of Joseph Henry, the first secretary of the Smithsonian. Until his death later that year in Jersey City, New Jersey, Catlin worked in a studio in the Smithsonian ??Castle.?? Harrison??s widow donated the original Indian Gallery??more than 500 works??to the Smithsonian in 1879. The nearly complete surviving set of Catlin??s first Indian Gallery painted in the 1830s is now part of the Smithsonian American Art Museum's collection. Some 700 sketches are in the American Museum of Natural History, New York City. The accuracy of some of Catlin's observations has been questioned. He claimed to be the first white man to see the Minnesota pipestone quarries, and pipestone was named catlinite. Catlin exaggerated various features of the site, and his boastful account of his visit aroused his critics, who disputed his claim of being the first white man to investigate the quarry. Previous recorded white visitors include the Groselliers and Radisson, Father Louis Hennepin, Baron LaHonton and others. Lewis and Clark noted the pipestone quarry in their journals in 1805. Fur trader Philander Prescott had written another account of the area in 1831.

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