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The Master Prints of E D W A R D S . C U R T I S : Portraits of Native America
O c t o b e r 2 6 - J a n u a r y 5 , 2 0 0 3
CURLEY
PH 76.41
Native American life. The exhibition was public showed little interest in Curtis after
sold immediately after its showing and that. He suffered a nervous breakdown,
not seen again until 1977, discovered in was divorced, and his original plates were
the basement of a museum outside Boston. sold for scrap. When he died in 1952, his
Like these prints, Curtis was almost obituary failed to even mention that he
forgotten. Here’s what happened… was a photographer.
Over a period of 25 years, backed by Thankfully, in the 1970s, on the
J.P. Morgan and his family, Curtis created back shelves of a book shop and in that
Edward S. Curtis (1868–1952), Curley–A Crow, 1905, platinum print, Peabody Essex Museum, Salem, Mass., PH 76.47
3501 Camp Bowie Boulevard • Fort Worth, Texas 76107-2695 • 817.738.1933 • www.cartermuseum.org
The Master Prints of E D W A R D S . C U R T I S : Portraits of Native America
O c t o b e r 2 6 - J a n u a r y 5 , 2 0 0 3
PH 76.86
no footprints. He was the great Apache containing over 1,400 photographs.
warrior, and for years he fought against the At times, Curtis did take liberties with
United States and Mexican governments. such things as the Indians’ clothing,
He fought for land, supplies and which some experts say detracts from his
the future of his people. After repeated accomplishments and makes his work
negotiations, captures, releases and less authentic.
escapes, Geronimo was taken prisoner for But what is not challenged is the fact
the final time in 1886. He was taken that Curtis was the first to treat his Indian
prisoner, but his spirit was never defeated. subjects with a great deal of respect in
You can see this in his portrait taken his photography. He saw things others could
by Edward S. Curtis in 1905. An Oasis in the Bad Lands, 1905 not—or refused to—see. He sought to
Curtis made it his life-long pursuit Portraits of Native America features 65 master represent a higher truth. He was creating art.
prints selected for exhibit by Curtis in 1906.
to photograph all the Indian tribes of the The magnificent 14-by-17-inch platinum prints
And as a result, Curtis is now regarded
American West. Based on the powerful include this image of Red Hawk, Chief of a small as this country’s greatest photographer
images he displayed at an exhibition in band of Sioux on his way to an Indian council. of Native American life. Often, as is clearly
Boston, he received financial backing from the case with Geronimo, he was able
J.P. Morgan himself. In the end, Curtis to capture something no one else could.
Edward S. Curtis (1868–1952), Geronimo, 1905, platinum print, Peabody Essex Museum, Salem, Mass., PH 76.89
3501 Camp Bowie Boulevard • Fort Worth, Texas 76107-2695 • 817.738.1933 • www.cartermuseum.org
The Master Prints of E D W A R D S . C U R T I S : Portraits of Native America
O c t o b e r 2 6 - J a n u a r y 5 , 2 0 0 3
PH 76.108
The North American Indian is now is authentic because it captures the
considered to be the most extensive and true spirit of the people and their way of
respected work of its kind. life. Curtis’ portraits of Geronimo, Curley,
To gain support for his work, Curtis Two Bear, Chootlem Mox Moxine and
put together an exhibition of prints that many others go beyond preconceptions
went on display in Boston in 1906. After and stereotypes. He created a collection
the show, the prints were purchased and that is unsurpassed. It is art in its
stored in the basement of a New England truest sense.
Edward S. Curtis (1868–1952), The Boy and Short Man–Gros Ventre, 1900, platinum print, Peabody Essex Museum, Salem, Mass., PH 76.105
3501 Camp Bowie Boulevard • Fort Worth, Texas 76107-2695 • 817.738.1933 • www.cartermuseum.org
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Casting a Spell: Winslow Homer, Artist and Angler is co-organized by the Amon Carter Museum and the Fine Arts Museums of San Francisco. The presentation of the exhibition in Fort Worth is made possible in part by generous grants from Casting a Spell: Winslow Homer, Artist and Angler is co-organized by the Amon Carter Museum and the Fine Arts Museums of San Francisco. The presentation of the exhibition in Fort Worth is made possible in part by generous grants from Casting a Spell: Winslow Homer, Artist and Angler is co-organized by the Amon Carter Museum and the Fine Arts Museums of San Francisco. The presentation of the exhibition in Fort Worth is made possible in part by generous grants from
The Eugene McDermott Foundation, Dallas, Texas, and The Garvey Texas Foundation, Fort Worth. The exhibition catalogue is generously supported by Burgess and Elizabeth Jamieson. The Eugene McDermott Foundation, Dallas, Texas, and The Garvey Texas Foundation, Fort Worth. The exhibition catalogue is generously supported by Burgess and Elizabeth Jamieson. The Eugene McDermott Foundation, Dallas, Texas, and The Garvey Texas Foundation, Fort Worth. The exhibition catalogue is generously supported by Burgess and Elizabeth Jamieson.
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