Mandan Civil Chief, His Wife, and Child 1861 - 1869

Curator: Oh, wonderful choice! Editor: We are looking at George Catlin’s watercolor drawing, “Mandan Civil Chief, His Wife, and Child,” made sometime in the 1860s. I'm immediately struck by the artist's attention to detail in the figures' attire; it makes them so imposing, so noble! What's your take? Curator: You know, Catlin really dedicated himself to capturing what he saw as a disappearing world. I see this less as just a portrait, and more as an act of preservation, tinged with the romanticism of its era. Look at the sweeping plains behind them, and the almost dreamlike rendering of the sky! He places these figures within their domain, suggesting harmony. Do you think he achieves that, though? Editor: That’s interesting! It seems a bit staged for being natural. Curator: Precisely! There’s a tension, isn't there? A feeling that we are viewing these people, rather than seeing them. He tries to show us dignity but through a lens filtered by European artistic tradition. I think he does a beautiful job using realism in terms of the actual scene portrayed but still somewhat removed emotionally from those that are represented. The detail given to clothing items like feathers creates an appreciation for Indigenous craftsmanship that most at the time would likely be unwilling to take. Do you think his intentions align with our modern understandings? Editor: I can see that! Maybe he hoped it would encourage a newfound sense of respect from non-Indigenous folks? Curator: Perhaps. And whether he was entirely successful or not, pieces like this offer a glimpse—filtered, yes, but valuable nonetheless. We learned as much about our history and relationship with the First People by the context as we did with the subject. Editor: That really gives me a lot to think about, especially in terms of art and how to give it value without personalizing it in ways not true to their culture. Curator: Precisely. Keep that in mind, and you’ll be an exceptional Editor one day.