Three Decoy Ducks c. 1937

Harriette Gale painted these three decoy ducks on paper, but we can’t tell when exactly. At first glance, it seems straightforward: three ducks, neatly arranged. But the world of decoy ducks is more than meets the eye; the geography and ecology of the eastern seaboard, specifically its bodies of water and migratory flyways, have influenced many elements of its culture. These decoys, handmade objects crafted to lure waterfowl, represent a deeply ingrained practice for hunting. Harriette Gale, born in 1855, lived during a time when hunting for sustenance and sport was common. Paintings like this, although decorative, raise questions about how humans relate to the natural world. Understanding the institutional and social implications of art requires rigorous historical research. We would need to consider the traditions of hunting in the US, the social status of hunters, and the relationship between art and rural life. This work serves as a reminder that art is always a product of its time, shaped by the context in which it was made and interpreted.