Henry Inman, 1833 - No-Tin (Wind), a Chippewa Chief - stampa d'arte

(© - Museo d'arte della contea di Los Angeles - www.lacma.org)

Henry Inman’s portrait of No-Tin illuminates the integral place of American Indians in the nation’s history and art history. Painted after a lost original by Charles Bird King, Inman’s portrait of No-Tin is an early and defining example of American artists’ efforts, pre-photography, to depict Native Americans for national posterity. The portrait is also a testament to a critical moment in the history of Native Americans. Because Inman’s portrait survives, we know that No-Tin, which means Wind, was a Chippewa chief who came with his tribe’s delegation to Washington DC in the mid-1820s. Nothing is known of No-Tin’s own experiences during that visit, but he was one of scores of tribal leaders invited to the capitol by the U.S. government for negotiations, tours, and an audience with the President. The Chiefs would stay for several weeks, even months, for meetings and to experience Anglo American culture, all part of a federal diplomatic effort to pave the way for Indian removal and westward expansion. This mission was cultivated most influentially by Thomas L. McKenney, head of the Bureau of Indian Affairs, a division of the U.S. Department of War. McKenney had also made it his mission to collect and preserve Native American materials for a national collection. But it was the Indian delegations that inspired McKenney to add portraits to his collection and create a national Indian Gallery. In 1822, he commissioned King, a Washington DC portraitist, to capture their faces. The project was an attempt to produce visual documents that might represent and preserve the power he knew these Chiefs would soon lose. Read more

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La sezione 19th secolo il pezzo d'arte è stato dipinto dal maschio Pittore americano Enrico Inman in 1833. Inoltre, l'opera d'arte è inclusa nel file Museo d'arte della contea di Los Angeles art collection. The modern art masterpiece, which is in the dominio pubblico is provided with courtesy of Los Angeles County Museum of Art (www.lacma.org).Also, the artwork has the creditline: . In addition to that, the alignment is portrait and has a side ratio of 3 : 4, which means that the length is 25% shorter than the width.

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