George Catlin

He spent time studying Raphael.

He spent time in Naples and in Northern Europe, upwards in, in Switzerland, and, and then eventually met George Catlin, or ran into the work of George Catlin, the American artist, um, of the early 19th century, when he was spending time in London.

And that really was a significant moment for him because George Catlin lectured in London and talked about working amongst First Peoples in the American West, depicting them.

And, um, we have to remember they were people of their time.

At that time, people thought the First Nations people were, quote unquote, "dying out," um, which of course was not the case.

But, um, George Catlin encouraged the likes of Kane to depict them, learn about them, study them, because they were supposedly a dying race.

[theme music] And so that really inspired Paul Kane, and it was upon his return back to Canada and Toronto that he then began to make plans to actually travel west.

He also spent time in and around Manitoulin Island with the Ojibwe.

Mystery and magic lay all about them.

it is a far cry from the stories of the north along the banks of the mississippi from that land of long winters through the country of the mound builders to the sunnier southland yet from north to south around the glimmering indian fires grouped eager men and women and children listening to the story-tellers but quite different are the tales of the southland of the cherokees biloxes and chidimachas they are stories of wild turkeys of persimmons and raccoons and of the spirits which dwell in the mountain places where none dare go stories also are they of brer rabbit and the tar wolf which came from indian slaves working in the fields in early days through the negro slaves working beside them to the children of the white men it is a loss to american literature that so much of the legendary history of these indian tribes has gone beyond hope of recovery exquisite in color poetical in feeling these legends of sun moon and stars of snow ice lightning thunders the winds the life of the forest birds and animals about them and the longing to understand the why and the how of life all which we have only in fragments longfellow's work shows the wonderful beauty of these northern legends nor has he done violence to any of them in making them poetical his picture of the departure of hiawatha the lone figure standing stately and solemn as the canoe drifted out towards the glowing sunset while from the shore in the shadow of the forest came the low indian chant mingling with the sighings of the pine trees is truly indian for the mystical and poetical is strong in the indian nature as in all the other volumes of this series no effort has been made to ornament or amplify these legends in the effort to make them literary or give them literary charm they must speak for themselves what editing has been done has been in simplifying them and freeing them from the verbose settings in which many were found for in this section of the country settled before it was realized that there was an indian literature the original work of noting down the myths was very imperfectly done thanks are due to the work of albert e jenks on the wild rice indians of the upper lakes to james mooney for the myths of the cherokees to george catlin for some of the upper mississippi legends to the well-known but almost inaccessible work of schoolcraft and to others k b j end of preface

Sherrod Brown.

For 30 years, Brown put his party first.

Her black hair is separated by a middle part and fastened at the nape of her neck in a hairpiece just visible by the slight hunch in her shoulders.

Clearly impressed by the way she outfitted herself for the portrait, the painter, George Catlin, worked painstakingly to capture every detail.

To remember this work, Catlin titled it simply, Wife of Keokuk.

Although everything she is wearing communicates her status, access to luxury European trade items, and her wealth evidenced by the time-consuming pieces of sock material culture like beadwork, silversmithing, and ribbon work, Catlin reduces her value to being the wife of a notable sock leader in the 19th century, someone worth remembering by her connection to the man who likely put her up for the portrait.