Indians dancing at the San Jose Mission, from 'Voyage Pittoresque et Historique au Bresil', engraved by Charles Etienne Pierre Motte, published in 1839
Tshusik, a Chippeway Woman, 1827, illustration from 'The Indian Tribes of North America, Vol.1', by Thomas L. McKenney and James Hall, pub. by John Grant
Notchimine or No Heart, an Iowa Chief, 1837, illustration from 'The Indian Tribes of North America, Vol.2', by Thomas L. McKenney and James Hall, pub. by John Grant
Camacani Tribesmen in Woodland in the Amazon Jungle, Brazil, from 'Le Costume Ancien et Moderne', Volume I, plate 53, by Jules Ferrario, published c.1820s-30s
Wa-Na-Ta or 'The Charger', Grand Chief of the Sioux or Dakota Indians, painted 1926, illustration from 'The Indian Tribes of North America, Vol.1', by Thomas L. McKenney and James Hall, pub. by John G
War Dance of the Sauks and Foxes, illustration from 'The Indian Tribes of North America, Vol.1', by Thomas L. McKenney and James Hall, pub. by John Grant
Shin-ga-ba W'Ossin or 'Image Stone', a Chippeway Chief, 1826, illustration from 'The Indian Tribes of North America, Vol.1', by Thomas L. McKenney and James Hall, pub. by John Grant
Se-quo-yah or George Guess, 1828, Illustration from 'The Indian Tribes of North America, Vol.1', by Thomas L. McKenney and James Hall, pub. by John Grant
Hayne Hudjuhini or the 'Eagle of Delight', illustration from 'The Indian Tribes of North America, Vol.1', by Thomas L. McKenney and James Hall, pub. by John Grant
Chon-Mon-I-Case or 'L'Ietan', an Oto Half-chief, 1821, Illustration from 'The Indian Tribes of North America, Vol.1', by Thomas L. McKenney and James Hall, Published by John Grant
Moa-Na-Hon-Ga or 'Great Walker', an Iowa Chief, 1824, illustration from 'The Indian Tribes of North America, Vol.1', by Thomas L. McKenney and James Hall, pub. by John Grant
Mou-Ka-Ush-Ka or 'The Trembling Earth', a Yankton Sioux Chief, Illustration from 'The Indian Tribes of North America' by Thomas L. McKenney and James Hall
Indians as brave and fearless fighters, splendidly adorned with colorful feathers. Nature-loving savages on a buffalo hunt, amid rolling hills and on banks of pristine rivers.
Often the depiction of Indians in art is chided as stereotypical. It should be remembered that many images of Indians and the Wild West were created before photography would have been able to depict the actual living conditions of Native Americans.
The artists sought to convey information to their contemporary audiences that was not available anywhere else. It was important to them to show images of Native Americans that did not pose a threat to Americans. Early American artists who drew Indians depicted Indians and their territories at a time when they were about to be driven from them. Although many political agreements were signed only under duress by Indians, they were readily shown willingly signing cession treaties, as in William Penn's painting "Treaty with the Indians in November 1683."
Other depictions, instead of fear of Indians, sought to evoke pity for a vanishing people - such as Joseph Wright of Derby's "Widow of an Indian Chief."
When Indians are romanticized as "noble savages," this is seen as an attempt to protect the Indian people so that they do not have to face war alone. Many portraits of Indians are supposed to show peaceful, conversational fellow human beings, who seem exotic, but who allow the gaze of the counterpart, return it and seem to look directly at the viewer. American George Catlin (1796-1872) called his portraits of Indians with tomahawks and colorful traditional painting a "collection of nature's dignitaries." He wrote:
"Art will yet mourn for these people when they have been driven from the earth. The artists of the future will then look in vain for another race whose costumes, weapons, colors, rituals, and hunting are so picturesque."
Indians and Wild West
Indians as brave and fearless fighters, splendidly adorned with colorful feathers. Nature-loving savages on a buffalo hunt, amid rolling hills and on banks of pristine rivers.
Often the depiction of Indians in art is chided as stereotypical. It should be remembered that many images of Indians and the Wild West were created before photography would have been able to depict the actual living conditions of Native Americans.
The artists sought to convey information to their contemporary audiences that was not available anywhere else. It was important to them to show images of Native Americans that did not pose a threat to Americans. Early American artists who drew Indians depicted Indians and their territories at a time when they were about to be driven from them. Although many political agreements were signed only under duress by Indians, they were readily shown willingly signing cession treaties, as in William Penn's painting "Treaty with the Indians in November 1683."
Other depictions, instead of fear of Indians, sought to evoke pity for a vanishing people - such as Joseph Wright of Derby's "Widow of an Indian Chief."
When Indians are romanticized as "noble savages," this is seen as an attempt to protect the Indian people so that they do not have to face war alone. Many portraits of Indians are supposed to show peaceful, conversational fellow human beings, who seem exotic, but who allow the gaze of the counterpart, return it and seem to look directly at the viewer. American George Catlin (1796-1872) called his portraits of Indians with tomahawks and colorful traditional painting a "collection of nature's dignitaries." He wrote:
"Art will yet mourn for these people when they have been driven from the earth. The artists of the future will then look in vain for another race whose costumes, weapons, colors, rituals, and hunting are so picturesque."
Frequently Asked Questions about Meisterdrucke
Personalizing your art print at Meisterdrucke is a simple and intuitive process that allows you to design an artwork exactly to your specifications: Choose a frame, determine the image size, decide on a printing medium, and add suitable glazing or a stretcher frame. We also offer customization options such as mats, fillets, and spacers. Our customer service is available to help you design your perfect artwork.
At Meisterdrucke, you have the fascinating option to visualize the artwork you configured directly in your own space. For a tailored preview, simply upload a photo of your room and let the artwork appear on it. If you visit us via a mobile device, be it a phone or tablet, our augmented reality feature brings the image to life and seamlessly projects it into your space. An experience that uniquely combines art and technology.
Choosing the medium is often a matter of personal taste. To give you a clearer idea, we have provided some images for each medium. For a holistic experience, we also offer you a sample set of all paper variants so you can make a decision not just visually but also haptically. You can take advantage of the sample set free of charge – only the shipping costs will apply. You can order the sample set directly.
Do not worry. At Meisterdrucke, we do not proceed mechanically. We manually review each order. If there are any inconsistencies or peculiarities in the configuration, we will immediately contact you. Of course, our courteous and patient support is always at your side to assist you with the configuration. Together with you, we adjust your image by phone or email so that the final result exactly meets your expectations.
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9586 Finkenstein am Faaker See
Austria
+43 4257 29415
support@meisterdrucke.com