Three Mandan Warriors Armed for War 1861 - 1869

Editor: We’re looking at “Three Mandan Warriors Armed for War,” a watercolor by George Catlin, created sometime between 1861 and 1869. It strikes me as surprisingly… delicate, considering the subject. I'm curious, what aspects of this work capture your attention the most? Curator: Delicate is a fascinating word choice, almost… oxymoronic, isn’t it? I find myself drawn to the *absence* of drama, wouldn't you agree? Catlin had a real talent for capturing the individuality of his subjects, and you can feel the weight of that responsibility in every brushstroke. It's almost a form of visual anthropology, wouldn’t you say? The figures aren't romanticized; they are simply presented. Do you see the slight tension in their postures, like actors waiting for the scene to begin? Editor: Absolutely, they almost seem frozen in time, between moments. I do feel a weightiness of history there. Why do you think he chose to portray them this way? Curator: I like that "frozen" idea – perfectly still, yet charged with latent energy. I feel he's allowing us to pause and contemplate these individuals as more than just "warriors." But more like men with histories, families, worries perhaps similar to yours and mine? Think of it as a quiet rebellion against the prevailing narrative that often reduced Indigenous peoples to stereotypes, agree? Editor: That makes so much sense! It's about reclaiming their humanity through stillness, very interesting. Curator: Precisely. The power isn’t in the action, but in the being. Maybe he thought if we could simply see them, truly *see* them, some change would be made. What do you make of the plain background? Editor: It’s interesting, by removing the backdrop it almost puts the emphasis on them and their state of readiness, yet we, the audience, are made to question *what* are they ready for. Thanks! Curator: My pleasure, it makes you think! The artist has asked some profound questions and has asked you, the audience, to work with them to find out.