From Pantheon to Indian Gallery
Art and Sovereignty on the Early Nineteenth-Century Cultural Frontier
Bibliographic Data
| ID | 5845773 |
|---|---|
| Authors | Elizabeth Hutchinson (0000-0002-3374-5469, corresponding author) |
| Year | 2013 |
| Volume | 47 |
| Issue | 2 |
| Pages | 313-337 |
| Publication date | 2013-04-17 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of American Studies (JOURNAL) |
| Journal identifiers | ISSN: 0021-8758 • E-ISSN: 1469-5154 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s002187581300008x |
| OpenAlex | W1993110690 |
| Language | EN |
| Citations received | 2 |
| References cited | 21 |
Between 1821 and 1842, Charles Bird King painted a series of portraits of Native American diplomats for Thomas L. McKenney, founding Superintendent of Indian Affairs. These pictures were hung in a gallery in McKenney's office in the War Department in Washington, DC, and were later copied by lithographers for inclusion in McKenney and James Hall's History of the Indian Tribes of the United States (1836-44). Significantly, the production and circulation of these portraits straddles a period of tremendous change in the diplomatic interactions between the United States and Native tribes. This essay analyzes a selection of these images for their complex messages about the sovereignty of Indian people and their appropriate interactions with European American culture. Paying particular attention to pictures of leaders of southern nations, including the Cherokee, Creek, and Seminole, I discuss the sitters' strategies of self-fashioning within the context of long-standing cultural exchange in the region. In addition, I offer a reading of the meaning of the Indian gallery as a whole that challenges the conventional wisdom that it is an archive produced exclusively to impose US control on the subjects included, arguing instead for the inclusion of portrait-making within this history of interaction
Aesthetics · Archaeology · Art · Art history · Cherokee · Context (archaeology · Frontier · Period (music · Political science · Politics · Portrait · Sovereignty · Historical Studies of British Isles · History · Indigenous Health, Education, and Rights · Latin American history and culture · Law
The white man's Indian
The Middle Ground
The Middle Ground
“The Dress of His Nation”
Painting Indians and Building Empires in North America, 1710–1840
From Palace to Longhouse
A Measure of Perfection
Thomas L. McKenney
Cherokee Renascence in the New Republic
Thomas L. McKenney
A measure of perfection
The West as America
Dressing for Success on the Mohawk Frontier
Masculinity and Self-Performance in the Life of Black Hawk
Print the Legend
The Indian Legacy of Charles Bird King
The Paintings of Charles Bird King (1785-1862)
| Unique citing works | 2 |
|---|---|
| Citations per year | 0,4 |
| Citation span | 2021 - 2025 (5) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 2 |