Historical Markers
George Catlin [Fine Arts] Historical Marker
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George Catlin [Fine Arts]

Poconos / Endless Mountains


Marker Location:
River and South Sts., Wilkes-Barre

Dedication Date:
October 13, 1947

Behind the Marker

A portrait of George Catlin, in frontier attire, with paint brush and palette in hand. His painting of the black foot warrior Iron Horn and of The Woman Who Strikes Many, which can be seen behind him.
George Catlin, by William Fisk, 1849.

Born in Wilkes-Barre Pennsylvania, to Polly Sutton and lawyer Putnam Catlin, "who entered that beautiful and famed valley soon after the close of the revolutionary war,"  George Catlin "whiled away" the early part of his life "with books reluctantly held in one hand, and a rifle or fishing-pole firmly and affectionately grasped in the other." At his father's request, he studied law at the Litchfield Academy in Connecticut, his parents' home state, and briefly practiced, before quitting in disgust at the age of twenty five. He then moved to Philadelphia where, "without teacher or advisor," he won recognition as an exceptionally skilful painter. In 1824, the markerPennsylvania Academy of the Fine Arts elected him a member on the strength of his portraits (mostly miniatures). Three years later he moved to New York, became a member of the National Academy of Art and Design, married Clara Gregory of Albany, and painted more portraits, including the one of Governor DeWitt Clinton that may be viewed in New York's City Hall.

Catlin, however, was still dissatisfied, for, as he later wrote, "my mind was continually reaching for some branch of enterprise of the art, on which to devote a whole life-time of enthusiasm." When a contingent of Indians visited Philadelphia, Catlin found his calling: "Black and blue cloth and civilization are destined, not only to veil, but to obliterate the grace and beauty of Nature." "Man, in the simplicity and loftiness of his nature, unrestrained and unfettered by the disguises of art, is surely the most beautiful model for the painter - and the country from which he hails is unquestionably the best study of school of the arts in the world: such I am sure, for the models I have seen, is the wilderness of North America. And the history and customs of such a people, preserved by pictorial illustrations, are themes worthy the life-time of one man, and nothing short of the loss of my life, shall prevent me from visiting their country, and becoming their historians."
Red dominates this oil on canvas of a chieftain, wearing a cloth necklace, paint on face, and feathers on top of head.
The White Cloud, Head Chief of the Iowas, by George Catlin c.1844/1845.

In 1832, ignoring "those whose anxieties were ready to fabricate every difficulty and danger that could be imagined," he set out for the "vast and pathless wilds which are familiarly denominated the great ‘Far West,'" determined to devote his life "to the production of a literal and graphic delineating of the living manners, customs, and character of an interesting race of people, who are rapidly passing away from the face of the earth - lending a hand to a dying, nation, who have no historians or biographers of their own to portray with fidelity their native looks and history; thus snatching from a hasty oblivion what could be saved for the benefit of posterity, and perpetuating it, as a fair and just monument, to the memory of a truly lofty and noble race."
An oil on canvas Bird's eye view of the Mandan Indian Village, 1837-1839.
Bird's-eye View of the Mandan Village, 1800 Miles above St. Louis, by George...

Over the next nine years, Catlin traveled 1,800 miles up the Missouri River, visited the southern plains and Great Lakes region, and painted more than 300 portraits and 200 scenes of everyday Indian life. His images of the Mandan people, who became extinct from smallpox shortly after his portraits, would give value to his life's work. At the conclusion of his travels, he published his invaluable Letters and Notes on the Manners, Customs, and Conditions of the North American Indians in 1841, - still in print - in which he sympathetically, sometimes eloquently, and in great detail recorded the vanishing life of the Indians as a worthy counterpart to his bountiful and beautiful illustrations. Some of his most valuable images and writings describe the Mandan Indians of the Dakotas, who no longer existed as a separate tribe by the time his account of them appeared.

In his travels out west, Catlin followed in the footsteps of other Pennsylvanians who helped shape the nation's image of Native Americans. Like the German colonial painter Gustavus Hesselius, who painted the Delaware Indians Tishcohan and Lapowinsa on commission from the Penn proprietor, his works conveyed the nobility of Native Americans and their culture. Ironically, just as the Penn proprietors ordered these portraits at about the time the infamous marker"Walking Purchase" of 1737 was dispossessing the Delawares of much of their land, Catlin's works also captured a way of life just before it was extinguished.

Other Pennsylvania images generated during the frontier wars of the late eighteenth century, depicted Indians as cannibals and barbarians rather than noble savages. One of several prints - one of the first political cartoons in British North America - defended the markerPaxton Boys' 1763 massacre of peaceful Christianized Conestoga Indians, by showing an Indian riding to meet Benjamin Franklin on the back of a scalped frontier settler. During the American Revolution, another cartoon showed King George joining Indians and an Anglican bishop feasting on the bodies of American frontiersmen.
This cartoon, circulated after the 1763 Conestoga massacre, criticizes the Quakers for their support of Native Americans at the expense of German and Scots-Irish backcountry settlers. Here, a "broad brim'd" Quaker and Native American each ride as a burden on the backs of "Hibernians."
"The German Bleeds and bears ye fur, 1764." Inset: A Narrative of...

Despite his lavishly illustrated 1841 book and numerous showings at private galleries, Catlin failed to obtain congressional support for his life's dream: a gallery containing his complete drawings along with other artwork and artifacts pertaining to Native Americans. He hoped it would be located in Washington D.C. Unappreciated in the United States, Catlin traveled to England and France in the 1840s, where he struggled to keep afloat by exhibiting and selling paintings and publishing Notes of Eight Years' Travels and Residence in Europe, with His North American Indian Collection (1848).

Financial setbacks landed him in debtors' prison in London, and only the purchase of all his original paintings–except some he hid–by Philadelphia industrialist Joseph Harrison freed him from his creditors' demands. Residing in England in the 1850s and 1860s, he took three trips to South America, published illustrated children's books of his travels, wrote a history of the Mandans, authored a self-help book, and postulated the theory that the Western Hemisphere took shape through a great geological catastrophe. In the 1860s, he also produced a set of 600 "cartoons" based on his original drawings.

Catlin returned to the United States in 1871, showed his cartoons in New York and at the Smithsonian, and petitioned Congress once more - this time to purchase his original works from their owners and finally establish his dreamed of Indian gallery. Seven years after Catlin's death in 1872, Mrs. Joseph Harrison donated her husband's collection of Catlin's work to the Smithsonian, where combined with Catlin's own donation, they comprised the Indian gallery of which Catlin had dreamed. The National Gallery of Art assembled the cartoon collection. Today, it is housed in the National Museum of the American Indian. Like the Indians he loved and whose life he shared for almost a decade, Catlin "nurtured . . . a burning sense of injury and injustice" thanks to what he sarcastically termed "the glorious influences of refined and moral cultivation."
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