Tuesday, September 13, 2016

Protecting the Newcomers - Fort Defiance, Arizona by Seth Eastman 1808-1875


During the late 18C & through much of the 19C, army forts were constructed throughout the United States to defend the growing nation from a variety of threats, both perceived & real, both external & internal. Internal threats included those from the Native Americans who had been on the land for enons. 

Seth Eastman (American artist, 1808-1875) Fort Defiance, Arizona

Fort Defiance

Of Seth Eastman’s fort series, this is the only painting of an army post in the Southwest. Located at Canyon Bonito about seven miles north of Window Rock, Arizona, Fort Defiance was established in 1851 to create a military presence in Navajo Country. It was built on valuable grazing land that the federal government then prohibited the Navajo from using. As a result, the appropriately named fort experienced intense fighting, culminating in an unsuccessful 1860 attack by the Navajo. The next year, at the onset of the Civil War, the army abandoned Fort Defiance. Continued Navajo raids in the area led the army to send Kit Carson to impose order. His “solution” was brutal: thousands of starving Navajo were interned in Fort Sumner, New Mexico, and much of their livestock was destroyed. The Navajo Treaty of 1868 allowed those interned to return to a portion of their land, and Fort Defiance was reestablished as an Indian agency that year. It was during the development of the fort into an agency that Eastman depicted the site in his painting, but the evidence of the picture suggests that he never visited the post.

At the base of a butte, a small, rudimentary block of one-story log and sod buildings stands on a foreground plain. A dark gorge divides the butte, and a road emerges from it. In contrast to the lush, grassy grazing land that typified Fort Defiance, in the painting everything is barren and inhospitable. The land is the color of sandalwood, and there is little contrast in the sky. It is tempting to enumerate the buildings because they are the focus of the scene. Low barracks fill most of the small space, but one may discern kitchens, latrines, open tents, distant cattle, wagons, and about 30 human figures, including a group of soldiers drilling in the yard.

The scene is prosaic and matter-of-fact, and this is probably why it seems to embody the true sense of an outpost. Surprisingly, the feeling is similar to that captured by some 20th-century films–-the bleak setting of the Western genre, but without the Native American and army conflict. The decision to omit all battles from Eastman’s series of fort paintings explains this departure from the bitter reality of life at Fort Defiance.

From the office of the United States curatorwe learn that in 1870, the House Committee on Military Affairs commissioned artist Seth Eastman 17 to paint images of important fortifications in the United States. He completed the works between 1870 & amp; 1875. 

Born in 1808 in Brunswick, Maine, Eastman found expression for his artistic skills in a military career. After graduating from the US Military Academy at West Point, where officers-in-training were taught basic drawing & amp; drafting techniques, Eastman was posted to forts in Wisconsin & amp; Minnesota before returning to West Point as assistant teacher of drawing. 

While at Fort Snelling, Eastman married Wakaninajinwin (Stands Sacred), the 15-year-old daughter of Cloud Man, Dakota chief. Eastman left in 1832 for another military assignment soon after the birth of Their baby girl, Winona, & declared His marriage ended When He left. Winona was also known as Mary Nancy Eastman & was the mother of Charles Alexander Eastman, author of Indian Boyhood.

From 1833 to 1840, Eastman taught drawing at West Point. In 1835, he married his 2nd wife & was reassigned to Fort Snelling as a military commander & remained there with Mary & their 5 children for the next 7 years. During this time Eastman began recording the everyday way of life of the Dakota & the Ojibwa people. Eastman established himself as an accomplished landscape painter. Between 1836 & amp; 1840, 17 of his oils were exhibited at the National Academy of Design in New York City. 

Transferred to posts in Florida, & amp; Texas in the 1840s, Eastman became interesed in the Native Americans & made sketches of the people. This experience prepared him for the next 5 yeas in Washington, DC, where he was assigned to the commissioner of Indian Affairs & illustrated Henry Rowe Schoolcraft's important 6-volume Historical & amp; Statistical Information Respecting the History, Condition, & Prospects of the Indian Tribes of the United States. 

In 1867 Eastman returned to the Capitol, this time to paint a series of scenes of Native American life for the House Committee on Indian Affairs. Of his 17 paintings of forts, 8 are located in the Senate, while the others are displayed on the House side of the Capitol. Eastman was working on the painting West Point when he died in 1875.


Waterside with American Winslow Homer 1836-1910


Winslow Homer (American artist, 1836-1910) Mending the Nets

“Never put more than two waves in a picture; it's fussy.” Winslow Homer

Winslow Homer (1836-1910) By the Shore



Winslow Homer (1836-1910) At Long Branch New Jersey



Winslow Homer (1836-1910) Beach Scene



Winslow Homer (1836-1910) Children on the Beach



Winslow Homer (1836-1910) East Hampton Long Island



Winslow Homer (1836-1910) On the Beach at Long Branch New Jersey



Winslow Homer(1836-1910) Girl on the Beach



Winslow Homer (1836-1910) On the Beach at Marshfield



Homer Winslow (1836-1910) On the Beach



Winslow Homer (American painter, 1836-1910) The Gale



Winslow Homer (American painter, 1836-1910) Fishergirls on Shore Tynemouth



Winslow Homer (American painter, 1836-1910) Fisherman's Family



Winslow Homer (American painter, 1836-1910) Light on the Sea 1897


Winslow Homer (American painter, 1836-1910) On the Cliff



Winslow Homer (American painter, 1836-1910) Promenade on the Beach



Winslow Homer (American painter, 1836-1910) The Sand Dune 1871

Winslow Homer (American painter, 1836-1910) The Northeaster



Winslow Homer (American painter, 1836-1910) To the Rescue



Winslow Homer (American painter, 1836-1910) Two Girls on the Beach Tynemouth 1891



Winslow Homer (American painter, 1836-1910) Where Are the Boats?



Winslow Homer (American painter, 1836-1910) Fisherwives



Winslow Homer (American painter, 1836-1910) Girls with Lobster



Winslow Homer (American painter, 1836-1910) A Summer Night 1890



Winslow Homer (American painter, 1836-1910)  Beach Scene, Children in the Surf 1869



Winslow Homer (American painter, 1836-1910)  Dad's Homecoming



Winslow Homer (American painter, 1836-1910) Daughter of the Coast Guard



Winslow Homer (American painter, 1836-1910) Early Evening



Winslow Homer (American painter, 1836-1910) Children on the Beach



Winslow Homer (American painter, 1836-1910) Daughters of the Sea



Winslow Homer (American painter, 1836-1910) High Tide Eagle Head Manchester, Massachusetts 1870


Winslow Homer (American painter, 1836-1910) Detail East Hampton, Long Island



Winslow Homer (American artist, 1836-1910) Moonlight



Morning Madonna

Andrea del Brescianino or Dei Piccinelli (c 1487-1525) Detail Madonna and Child with the Infant St John the Baptist c. 1524

In this blog, I try to begin each day with a painting of the Madonna & Child. It centers me; connects me to the past; & encourages me to post some of the religious paintings which were a large part of the core of early Western art.  In the 4C, as the Christian population was rapidly growing & was now supported by the state, Christian art evolved & became grander to suit new, enlarged public spaces & the changing contemporary tastes of elite private clients.