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From Pantheon to Indian Gallery: Art and Sovereignty on the Early Nineteenth-Century Cultural Frontier

Published online by Cambridge University Press:  17 April 2013

ELIZABETH HUTCHINSON
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Abstract

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.

Type
Art Across Frontiers Forum
Information
Journal of American Studies , Volume 47 , Issue 2: Special Collection: Art Across Frontiers , May 2013 , pp. 313 - 337
Copyright
Copyright © Cambridge University Press 2013

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References

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