Three Selish Indians 1855 - 1869

Curator: This is "Three Selish Indians," painted by George Catlin sometime between 1855 and 1869. It's done in watercolor, and, well, what's your take? Editor: They look a little lost, don't they? Sort of…suspended in this hazy light. It's both calm and a bit unsettling. Like a dream you can't quite grasp. Curator: The application of watercolor allows for very delicate renderings, softening details in ways that capture atmospheric perspective. The choice speaks to nineteenth-century sensibilities in portraiture while revealing an anthropological interest in the indigenous peoples of North America. Editor: I love the casualness of their garments. Like, they aren't dressing up for the portrait, but presenting an honest picture of their daily wear. It speaks volumes. The tasseled staff held by the central figure gives a suggestion of status too, I wonder its history. Curator: Catlin, although a controversial figure, meticulously documented the material culture of the Native Americans he encountered, influencing subsequent artistic representations. He shows an unblinking rendering of clothes made for a rugged environment, a matter of life and death in harsh conditions. It's about utility. Editor: So true. And the background. The blending in with the sky creates the sense they are deeply connected with the land. As if the earth extends upwards to envelop and protect them. I find myself wondering about Catlin's intentions here. Is he attempting to celebrate his subjects, or just make scientific observations? Curator: This is complex, considering the politics surrounding indigenous representation and power structures of the time. Were these likenesses contributing to greater understanding, or were they a form of control, part of an appropriative visual project? Consider what it means for these subjects, of the Selish community, to be placed under that artistic and cultural gaze. Editor: Oof, hadn't considered that in those exact terms before. Now, viewing with new eyes, what stands out most to me is resilience—despite the disquieting nature of cultural extraction—and then pride and the subjects' connection to each other. I appreciate being provoked to deeper perspectives, though. Curator: Well, hopefully, that offers a little insight into Catlin's process, the cultural contexts surrounding "Three Selish Indians," and encourages thoughtful questions moving forward.