Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Artwork analysis paper
Artwork analysis paper
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Artwork analysis paper
The art work of Howling Wolf, Treaty signing at Medicine Creek Lodge and John Taylor, Treaty Signing at Medicine Creek Lodge as you can tell from the titles are both from the identical occasion. Both art works are from the same event but is portrayed by two cultures and their point of views (Sayre, Pg. 40). The drawer John Taylor was a journalist, and Howling Wolf was a Native American artist (Sayre, Pg. 40). These art works are concerning what occurred on October 1867 when Cheyenne, Arapaho, Comanche, Kiowa and the United States government signed a peace treaty (Sayre, Pg. 40). The treaty was signed at Medicine Lodge Creek on Arkansas River in Kansas (Sayre, Pg. 40). John Taylor’s art was created off of sketches that was completed shortly after the events (Sayre, Pg. 40). While Howling Wolf art work was created many years later while Howling was in incarcerated (Sayre, Pg. 40). Wolf and Taylor images have similar art components while they also have different features. Representational art work is resembling the natural world and abstract art shows objects in a basic style (Sayre, Pg. 26). While Taylor uses naturalism in his art work, Wolf uses symbols to show the Native American culture. Wolf’s art is two dimensional because it is flat. Wolf also uses many colors to represent the culture of Native Americans. The colors shown in the artist image is both primary and secondary colors, and is sketched on plain paper. Taylor’s image of the signing of the treaty shows the colors of black and white. Taylor used the highlight method which is going from lighter to darker color. The artist work is also three dimensional. Also, Wolf’s art work exhibited many women (Sayre, Pg. 41) and displays the attendance being majority Native Americas. In Taylor’s image there are no women presented (Sayre, Pg. 41), and indicates at the event there are more United States government there then Native
The dispute over whether Native American mascots should be used as a team symbol dates back to the 1970’s (Price 2). People differ on the basic issue, but there is a more important underlying principle. It is called freedom. Determining whether or not someone is harmed by a practice can reveal whether that practice can or should be morally justified. Wherein lies the truth about exercising the use of American Indian mascots? The reality is that they cannot be morally justified. The certainty is not ascertainable by way of any comparison to other similar phenomena. No such comparison can be made as none exits. Then, are not the only relevant voices those of the Indians themselves? If so, the truth regarding this imagery can only be discovered by conferring with the groups that are depicted. Only those portrayed should have a voice. Or at the very least, be heard louder and more clearly than those who are not mirrored in the representations.
Although the text and painting have different backgrounds, they are both similar a different in many ways. Both the text and the painting challenge the relationship between land uses, background of ancestors, and power. The painting and essay display similar expressions of darkness to light. The mountains represent the downfall of Native Americans fore fathers being forced westward out of their land (Seattle, 55).
Visceral. Raw. Controversial. Powerful. The works which Kara Walker creates have elicited strong and diametric responses from members of the art community. She manipulates the style of antebellum era silhouettes, intended to create simple, idealistic images, and instead creates commentaries on race, gender, and power within the specific history of the United States. She has also been accused of reconfirming the negative stereotypes of black people, especially black women, that the viewer and that the white, male dominated art world may hold. This perspective implies that both her subjects and her artworks are passive when confronted with their viewers. Personally, I believe that more than anything, Walker’s work deals in power -- specifically, the slim examples of power black individuals have over their
...d Native Americas in a negative light, such as Carl Wimer’s Abduction of Daniel Boone’s Daughter, George Caleb Bingham’s Concealed Enemy, and Horatio Greenough’s The Rescue. These two paintings and statue in particular should be included because they depict the views of people in that era. The view of Native Americans was that of savagery. In the painting by Wimer the woman is depicted a fair skinned maiden, due to the white dress who is being brutishly taken away. The statue by Greenough, which depicts a man protecting his family from a savage Native American, was outside of the United States Capital for nearly a hundred years before it was taken down. These views of indigenous people during the 19th century have lasting impacts on our country. It is our job to tell the real story of what happened to the Native Americans as victims of our view of manifest destiny.
The stress of this caused their once coveted friendship to wither and morph into an ill hatred. The English began a campaign of the demonization of Native Americans. The image of Native Americans was described in Red, White, & Black as friendly traders who shared a mutually beneficial relationship with one another. Evidently, a very different image started to appear when land disputes arose. The new illustration the English painted was that Native American people were “comparable to beasts” and “wild and savage people, that live like heards of deare in a forrest”. It was sudden change of heart between the two societies that supports Waterhouse’s claims of the changing relationship of the English and Native
Macfarlane, James. "'Chief Of All The Sioux': An Assessment Of Sitting Bull And Lakota Unity, 1868-1876." American Nineteenth Century History 11.3 (2010): 299-320. Academic Search Premier. Web. 21 Feb. 2014.
Despite the fact that these agreements were a clear violation of existing British law, they were used later to justify the American takeover of the region. The Shawnee also claimed these lands but, of course, were never consulted. With the Iroquois selling the Shawnee lands north of the Ohio, and the Cherokee selling the Shawnee lands south, where could they go? Not surprisingly, the Shawnee stayed and fought the Americans for 40 years. Both the Cherokee and Iroquois were fully aware of the problem they were creating. After he had signed, a Cherokee chief reputedly took Daniel Boone aside to say, "We have sold you much fine land, but I am afraid you will have trouble if you try to live there."
The document proves that Native Americans were still around, along with their traditions and cultures by bringing insight on the life of Joe Black Fox, a sort of westernized Indian. The image, as spoken of before, also shows that Natives were in fact accepting American/western culture as well, as proved by the western style clothing sported by Black Fox in the photograph. This was the Native American reality: Although not completely, Native Americans were beginning to take parts of American culture and blending them with their well preserved Native traditions. Black Fox also traveled with Buffalo Bill for some time, proving that there were Natives who could remain faithful to their heritage while being a part of Western culture as
The art of the Americas was changed dramatically with the arrival of the Spanish and many aspects of European art and influence can be seen in the art of colonial America. However, there are still many significant examples of indigenous influence in colonial art. Whether one looks at the early works that were seen when the Spanish first arrived or the work that came in the late 1700s, the influence of the indigenous natives had a long ranging influence on various aspects of the art including materials, subjects, and details within the paintings, sculptures and architecture.
On September 19, 1865 a land cession treaty was signed at Canville Trading Post. The Great and Little Osage Indians had enough land to do what they needed to for their occupation, but had no money to live on because previous funds from other treaties had ended. The Osage ceded 871,791.11 aces and the total amount for the sale of the land was $776,931.58.7 The Osage tribe was compensated for the cession and sale of the land by the United States. The US “agreed to pay the sum of three hundred thousand dollars, which sum shall be placed to the credit of said tribe of Indians in the Treasury of the United States, and interest thereon at the rate of five per centum per annum shall be paid to said tribes semi-annually, in money, clothing, provisions, or such articles of utility as the Secretary of the Interior may, from time to time,
“The fact that we were unconsciously part of a plan to weaken and cross out the Indianness in you, to pattern your land with our grain and beets and corn and alfalfa now clearly hits me. It is like a blow to the gut to learn that the years spent on the reservation, the times wading in the Wind River, were not the free years of childhood, but the manipulations of a power hungry to exonerate itself, to free itself, to purge the treaties of any real meaning or responsibility. They stole from me my innocence, leaving me a co-conspirator, an enemy to the children I grew with ton the prairie, drove us apart when we could have and should have forged an alliance for our own survival. The force of this unremitting design has killed many of my friends and acquaintances and left me forever with a feeling of unintentional complicity and sadness.” (Wind River, Wunder)
At first glance, John Taylor and Howling Wolf’s visual representations of the treaty signing at Medicine Creek Lodge appear very different from one another. It is more than apparent that the two artists have very different interpretations of the same event. This paper will visually analyze both works of art by comparing and contrasting the compositional balance, medium, and use of color, as well as how the artists narrated their views using different visual elements.
The Medicine Lodge Treaty of 1867 called for two reservations to be set aside in Indian Territoryone for the Comanche and Kiowa and another for the Southern Cheyenne and Arapaho. According to the treaty, the government would provide the tribes with a variety of basic services and training, housing, food and supplies, including guns and ammunition for hunting. The goods would be allotted to the tribes each year for a thirty-year period and the Indian tribes would be allowed to continue to "hunt on any lands south of the Arkansas River so long as the buffalo may range thereon." In exchange, the Indians agreed to stop their attacks and raids. Ten chiefs endorsed the treaty and many tribal members moved voluntarily to the reservations.
During the late 1800s, many important events happened in the United States. In 1864, the Sand Creek Massacre started when Colonel John Chivington brought 700 men to the Cheyenne land in the Central Plains in order to kill Native Americans (Cayton 263). The Cheyenne tried to surrender, but Chivington and his men kept fighting, killing 150 to 500 men, women, and children (Cayton 263). After the Sand Creek Massacre, many Cheyenne people moved to reservations because of their fear (Cayton 263). In 1865, the Civil War ended and in 1868, Grant took office as the President (Taylor). In the 1870s, the government offered to buy the Black Hills in the Fort Laramie Treaty (“Battle”). Two of the Sioux chiefs, Sitting Bull and Crazy Horse, refused to sign the trea...
-- William Clark, Superintendent of Indian Affairs negotiated treaties (agreements) with the Kansa and Osage Indians