United States, ca. 1920s. Two oil on canvas compositions depicting Native Americans on horseback that were inspired by famous statues created at the turn of the 20th century. The first painting depicts a subject made famous by Cyrus Edwin Dallin's sculpture entitled, "Appeal to the Great Spirit" (1908) which is located in front of Boston's Museum of Fine Arts. It depicts a Native American sitting upon his horse and facing the sky with his arms extended in a spiritual gesture to the Great Spirit. That piece was part of the artist's series of four statues, including The Epic of the Indian, The Medicine Man, and the Signal of Peace. Size of Dallin inspired painting: 18.125" L x 12.125" W (46 cm x 30.8 cm) Size of Fraser inspired painting: 14" L x 18" W (35.6 cm x 45.7 cm)
Next is another oil on canvas, this one inspired by James Earle Fraser's (American, 1876-1953) iconic sculpture entitled, "The End of the Trail" (1894) depicting a Native American male slumped over his horse approaching the shore of the Pacific Ocean - a touching commentary on the ill effects of Manifest Destiny on Native American nations restricted to government reservations. According to the Metropolitan Museum of Art's essay about Fraser's sculpture, this image was inspired by Fraser's experiences growing up in Dakota Territory. In his memoirs he wrote, "as a boy, I remembered an old Dakota trapper saying, 'The Indians will someday be pushed into the Pacific Ocean.'" According to the Met, the artist later said that, "the idea occurred to me of making an Indian which represented his race reaching the end of the trail, at the edge of the Pacific." Fraser's sculpture was so popular that he created a monumental plaster version for the Panama-Pacific International Exposition in San Francisco of 1915.
Provenance: private Fayetteville, Arkansas, USA collection; ex-Dr. David Harner collection, Springdale, Arkansas, USA, acquired between the 1950s and 1960s
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#162193
Condition
Both present with cracquelure across the canvases, slight darkening, a few minor stains, and nail holes with surrounding pigment loss around the peripheries. Versos of canvases have darkened. "Top No. 1" handwritten on verso of Fraser inspired painting. "Top No. 3" handwritten on verso of Dallin inspired painting. Canvases are delicate and should not be stretched but could be attached to another canvas if desired.