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dosarul colecționarului

George Catlin Cele mai populare picturi

The 25 artworks by George Catlin our visitors ask for most, ranked by popularity and presented one by one, with the specification and the price of each hand-painted reproduction.

Edition 2026 · 25 artworks Each artwork painted to order
Pânză de in · Certificat de autenticitate · Livrare în toată lumea George Catlin · 1796 – 1872

Sha-có-pay, The Six, Chief of the Plains Ojibwa

View the most popular artwork of George Catlin ranked #1: Sha-có-pay, The Six, Chief of the Plains Ojibwa
1832 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 73 x 60 cm

George Catlin's 'Sha-có-pay, The Six' captures a Plains Ojibwa chief in 1832. Witness the dignity and power of Native American culture through this iconic portrait – a window to a vanishing world.

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No. 1 of 908 artworks by George Catlin
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Múk-a-tah-mish-o-káh-kaik, Black Hawk, Prominent Sac Chief

View the most popular artwork of George Catlin ranked #2: Múk-a-tah-mish-o-káh-kaik, Black Hawk, Prominent Sac Chief
1832 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 73 x 60 cm

Witness the powerful portrait of Black Hawk by George Catlin! This iconic 1832 painting captures Native American dignity & resilience, offering a poignant glimpse into frontier life. Explore this masterpiece today!

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No. 2 of 908 artworks by George Catlin
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Há-tchoo-túc-knee, Snapping Turtle, a Half-breed

View the most popular artwork of George Catlin ranked #3: Há-tchoo-túc-knee, Snapping Turtle, a Half-breed
1834 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 73 x 60 cm

George Catlin's "Há-tchoo-túc-knee" captures a Native American man with striking detail and cultural significance. Explore this powerful portrait from 1834, showcasing Catlin’s pioneering work documenting Indigenous life.

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No. 3 of 908 artworks by George Catlin
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Né-hee-ó-ee-wóo-tis, Wolf on the Hill, Chief of the Tribe

View the most popular artwork of George Catlin ranked #4: Né-hee-ó-ee-wóo-tis, Wolf on the Hill, Chief of the Tribe
1832 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 73 x 60 cm

Discover 'Wolf on the Hill' by George Catlin, a striking 1832 portrait of a Plains Native American chief. Explore rich detail & symbolic significance!

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No. 4 of 908 artworks by George Catlin
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Bird

View the most popular artwork of George Catlin ranked #5: Bird
1839 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 61 x 73 cm

Experience George Catlin’s ‘Shin ga wás sa, Handsome Bird,’ a Romantic portrait of a Plains Indian warrior capturing the spirit of the American West. This iconic 1839 painting showcases meticulous detail and warm hues, offering a timeless glimpse into Native American culture – discover yours.

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No. 5 of 908 artworks by George Catlin
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View on the Missouri, Alluvial Banks Falling in, 600 Miles above St. Louis

View the most popular artwork of George Catlin ranked #6: View on the Missouri, Alluvial Banks Falling in, 600 Miles above St. Louis
1832 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 28 x 36 cm

View on the Missouri, Alluvial Banks Falling in, 600 Miles above St Louis

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No. 6 of 908 artworks by George Catlin
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Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe

View the most popular artwork of George Catlin ranked #7: Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe
1834 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 73 x 60 cm

Explore George Catlin's iconic portrait of Choctaw Chief Mó-sho-la-túb-bee, meticulously documented by the artist at Fort Gibson Territory in 1834. Witness a masterful blend of realism and symbolism reflecting Native American culture.

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No. 7 of 908 artworks by George Catlin
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Tuch-ee, A Celebrated War Chief of the Cherokees

View the most popular artwork of George Catlin ranked #8: Tuch-ee, A Celebrated War Chief of the Cherokees
1834 · Virginia Museum of Fine Arts, Richmond

Witness the dignity of Native American life through George Catlin's iconic portrait, 'Tuch-ee.' This 1834 oil painting captures a Cherokee War Chief with vibrant detail and regal attire – a historical masterpiece for art lovers.

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No. 8 of 908 artworks by George Catlin
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Mounted War Party Scouring a Thicket

View the most popular artwork of George Catlin ranked #9: Mounted War Party Scouring a Thicket
1848 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 50 x 69 cm

George Catlin’s Romantic masterpiece captures a heroic Plains Indian war party amidst the dramatic prairie landscape—a vivid portrayal of Native American culture during the 1840s. Explore this stunning reproduction and bring history into your home.

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No. 9 of 908 artworks by George Catlin
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Say-say-gon, Hail Storm, War Chief

View the most popular artwork of George Catlin ranked #10: Say-say-gon, Hail Storm, War Chief
1845 · original 74 x 61 cm

Experience the stern gaze of a Native American war chief in George Catlin's evocative 1845 oil painting; discover this powerful piece of frontier art today.

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No. 10 of 908 artworks by George Catlin
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Ru-ton-wee-me, Pigeon on the Wing

View the most popular artwork of George Catlin ranked #11: Ru-ton-wee-me, Pigeon on the Wing
1844 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 73 x 60 cm

George Catlin's 'Ru-ton-wee-me, Pigeon on the Wing' (1844) captures a Native American woman with striking intensity. Explore this Smithsonian masterpiece and delve into Catlin’s pioneering portraits.

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No. 11 of 908 artworks by George Catlin
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Hón-je-a-pút-o, Wife of Bear-catcher

View the most popular artwork of George Catlin ranked #12: Hón-je-a-pút-o, Wife of Bear-catcher
1832 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 73 x 60 cm

George Catlin's 'Hón-je-a-pút-o, Wife of Bear-catcher' captures a Native American woman with striking dignity and detail. Explore this iconic portrait reflecting frontier life and Catlin’s pioneering art.

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No. 12 of 908 artworks by George Catlin
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Ball-play of the Choctaw--Ball Up

View the most popular artwork of George Catlin ranked #13: Ball-play of the Choctaw--Ball Up
1850 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 65 x 81 cm

Explore George Catlin’s ‘Ball-play of the Choctaw--Ball Up’ (1850). A dynamic oil painting depicting Native American culture, realism & historical significance. Discover this captivating artwork.

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No. 13 of 908 artworks by George Catlin
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Os ce o lá, The Black Drink, a Warrior of Great Distinction

View the most popular artwork of George Catlin ranked #14: Os ce o lá, The Black Drink, a Warrior of Great Distinction
1838 · original 78 x 66 cm

George Catlin’s ‘The Black Drink’ is a striking 1838 portrait of a Shawnee warrior in realistic style. Explore this significant piece of American art, showcasing Native culture & masterful technique.

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No. 14 of 908 artworks by George Catlin
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The Cutting Scene, Mandan O-kee-pa Ceremony

View the most popular artwork of George Catlin ranked #15: The Cutting Scene, Mandan O-kee-pa Ceremony
1832 · Denver Art Museum, Denver

This artwork exemplifies Catlin's dedication to preserving Indigenous culture through detailed observation and artistic representation. Its inclusion in his Indian Gallery solidified its place as a cornerstone of American art history.

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No. 15 of 908 artworks by George Catlin
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Wa-másh-ee-sheek, El Cel Ce Ia Înapoi; Wa-chésh-uk, Război; Mink-chésk, Trei Băieți Distinși

View the most popular artwork of George Catlin ranked #16: Wa-másh-ee-sheek, El Cel Ce Ia Înapoi; Wa-chésh-uk, Război; Mink-chésk, Trei Băieți Distinși
1834 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 73 x 60 cm

Admirați pictura impresionistă George Catlin 'Wa-másh-ee-sheek', realizată în 1834! Descoperiți detalii impresionante și simboluri culturale ale culturii native americane într-o operă artistică emblematică.

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No. 16 of 908 artworks by George Catlin
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Stu mick o súcks, Buffalo Bull's Back Fat, Head Chief, Blood Tribe

View the most popular artwork of George Catlin ranked #17: Stu mick o súcks, Buffalo Bull's Back Fat, Head Chief, Blood Tribe
1832 · original 74 x 61 cm

Intense portrait of a Native American chief by George Catlin (1832), capturing the vibrant spirit of the frontier; discover this historical masterpiece today.

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No. 17 of 908 artworks by George Catlin
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Mah kée mee teuv, Grizzly Bear, Chief of the Tribe

View the most popular artwork of George Catlin ranked #18: Mah kée mee teuv, Grizzly Bear, Chief of the Tribe
1831 · original 54 x 41 cm

Witness George Catlin's evocative 1831 portrait of a dignified Native American chief, capturing the spirit of a vanishing culture; explore this historical masterpiece today.

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No. 18 of 908 artworks by George Catlin
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Big Bend on the Upper Missouri, 1900 Miles above St. Louis

View the most popular artwork of George Catlin ranked #19: Big Bend on the Upper Missouri, 1900 Miles above St. Louis
1832 · original 28 x 36 cm

Experience the serene grandeur of George Catlin's 1832 Missouri landscape, capturing a wild frontier scene you can own today.

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No. 19 of 908 artworks by George Catlin
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Né hee ó ee wóo tis, Wolf on the Hill, Chief of the Tribe

View the most popular artwork of George Catlin ranked #20: Né hee ó ee wóo tis, Wolf on the Hill, Chief of the Tribe
1832 · original 74 x 61 cm

Explore George Catlin’s ‘Wolf on the Hill’! A captivating 1832 portrait of a Plains Native American chief in American School style. Admire its rich detail & symbolic significance.

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No. 20 of 908 artworks by George Catlin
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Sky se ró ka, Second Chief of the Tribe

View the most popular artwork of George Catlin ranked #21: Sky se ró ka, Second Chief of the Tribe
1834 · original 74 x 61 cm

Explore George Catlin’s ‘Sky se ró ka,’ a powerful portrait of a Native American chief. Oil on canvas captures dignity & melancholy, showcasing rich detail & romantic realism.

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No. 21 of 908 artworks by George Catlin
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La-dóo-ke-a, Buffalo Bull, a Grand Pawnee Warrior

View the most popular artwork of George Catlin ranked #22: La-dóo-ke-a, Buffalo Bull, a Grand Pawnee Warrior
1832 · Muzeul de Artă Americană Smithsonian, Washington, D.C. · original 73 x 60 cm

Experience George Catlin's iconic 'La-dóo-ke-a, Buffalo Bull,' a powerful portrait of a Pawnee warrior from 1832. A stunning oil painting capturing Native American culture and heritage – available as a hand-painted reproduction.

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No. 22 of 908 artworks by George Catlin
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Great Hero, a chief

View the most popular artwork of George Catlin ranked #23: Great Hero, a chief
1845 · original 74 x 61 cm

Intriguing 19th-century portrait of a Native American chief by George Catlin capturing frontier spirit; discover this historical masterpiece today.

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No. 23 of 908 artworks by George Catlin
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Bread, Chief of the Tribe

View the most popular artwork of George Catlin ranked #24: Bread, Chief of the Tribe
1831 · original 54 x 42 cm

Capture the serious gaze of this 1831 portrait by George Catlin; own a piece of American frontier history today.

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No. 24 of 908 artworks by George Catlin
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Wée sheet, Sturgeon's Head, a Fox Warrior

View the most popular artwork of George Catlin ranked #25: Wée sheet, Sturgeon's Head, a Fox Warrior
1832 · original 74 x 61 cm

Witness the stern gaze of a Fox Warrior in George Catlin's 1832 depiction, capturing vanishing frontier life; explore this historic masterpiece today.

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No. 25 of 908 artworks by George Catlin
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The artist

George Catlin

1796 – 1872

Portretul lui George Catlin
Informații rapide
  • Top-ranked workSha-có-pay, The Six, Chief of the Plains Ojibwa
  • Creative periodsmature period
  • Works on APS908
  • Gift suitabilityziua mamei, aniversare
  • Room fitliving room
  • Best occasionscultural, punct focal
  • Died1872
  • Vibenostalgic
Biography

Early Life and Legal Training

George Catlin was born in 1796 in Wilkes-Barre, Pennsylvania, as the fifth of fourteen children. His early environment was shaped by the harsh realities of the American frontier, specifically through the stories of his mother, Polly Sutton. She had survived being captured during an Indian raid, a fact that provided a constant, visceral connection to the indigenous cultures he would later document. This personal history anchored his interest in the West long before he ever picked up a brush for professional purposes.

His path was not initially aimed at the canvas. At age 17, he entered Litchfield Law School to prepare for a legal career, a direction pushed upon him by his parents. He eventually achieved professional standing when he was admitted to the Bar in 1819. However, the legal profession failed to hold his attention. He practiced law for only two years, finding the courtroom a poor substitute for his actual interests. By the time he abandoned his legal books, the impulse to study art and travel had already become his primary driver.

Expeditions and the Indian Gallery

Catlin’s work derives its weight from the sheer scale of his movement across the American West. During the 1830s, he undertook five extensive expeditions, navigating the Missouri River to reach the territories of the Mandan, Sioux, Blackfeet, and Choctaw. These were not mere sightseeing trips. He moved through these lands to document specific tribal lives, collecting both paintings and physical artifacts. This massive accumulation of visual and material evidence eventually formed his Indian Gallery, a collection exceeding 500 paintings.

The scale of this collection is what makes his output historically significant. He did not simply paint from memory; he gathered the results of his travels into a singular, massive assembly. This effort to compile a comprehensive record of the frontier was later expanded by his travels through South and Central America between 1852 and 1857. His focus remained on the ethnographic reality of the people he encountered, prioritizing the documentation of their customs and appearances over mere landscape painting.

  • Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe (1834)
  • Ball-play of the Choctaw--Ball Up (1850)

Artistic Style and Documentation

Catlin’s approach was driven by a specific, urgent necessity: the documentation of a way of life he believed was vanishing. He did not settle for mere caricature or the superficial stereotypes common in the 19th century. Instead, he focused on the individual, attempting to capture the specific dignity of tribal leaders and the kinetic energy found in traditional ceremonies. His brushwork prioritized meticulous detail, ensuring that the textures of ceremonial regalia and the specificities of daily life were recorded with ethnographic precision. This was a deliberate attempt to preserve the essence of these cultures before westward expansion irrevocably altered them.

The visual impact of his work relies on a heavy use of color and detailed environmental context. He rarely painted subjects in isolation; instead, he placed them within elaborate backgrounds that provided essential situational information. These settings often included specific landscapes, tipis, or ceremonial objects that grounded his subjects in their actual surroundings. By including these elements, he moved beyond simple portraiture to create a comprehensive visual record of the American frontier. His ability to render the atmosphere of a scene—from the dust of a prairie to the structure of a camp—transformed his paintings into historical evidence rather than mere aesthetic exercises.

  • Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe (1834)
  • Ball-play of the Choctaw--Ball Up (1850)

Key Works and Notable Paintings

Catlin’s output functions as a visual record of specific, lived moments rather than mere portraiture. His 1834 depiction of Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe captures a leader with an unwavering gaze, projecting authority through a direct, unadorned presence. Similarly, Ball-play of the Choctaw moves away from static posing to document the kinetic energy of a traditional game. These works provide the granular detail necessary to understand tribal social structures and communal activities.

The artist also focused on the intersection of people and their environment. Prairie Meadows Burning records a controlled burn alongside accompanying riders, capturing a specific ecological and social practice. His depiction of Pipestone Quarry, Coteau Des Prairies identifies a site of profound spiritual significance for many tribes. Even his more intimate or unusual subjects carry weight; Oó-je-en-á-he-a, Woman Who Lives in a Bear, painted about 1832, offers a glimpse into a specific cultural narrative, while Little Wolf (Shon-ta-ye-ga), executed in 1846, remains a significant piece of his later documentation.

  • Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe (1834)
  • Little Wolf (Shon-ta-ye-ga) (1846)

Publications and Touring

Catlin’s efforts to secure a permanent home for his Indian Gallery required more than just visual evidence; they demanded a public presence. He took his collection on tour through major European centers, exhibiting in London, Paris, and Berlin during the 1840s and 50s. These exhibitions were not passive displays. He accompanied his paintings with public lectures, using his personal recollections of life among the American Indians to provide a spoken context to the images. This combination of sight and speech was a calculated attempt to make the realities of the frontier tangible to audiences far removed from the Missouri River.

His written work provided the intellectual framework for his visual documentation. In 1841, he published Manners, Customs, and Condition of the North American Indians, a text that attempted to codify the observations he had gathered during his expeditions. Later, in 1868, he released Last Rambles amongst the Indians of the Rocky Mountains and the Andes. These publications were not merely travelogues; they were attempts to fix a specific, vanishing social order into a permanent historical record. He used the written word to bolster the legitimacy of his paintings, ensuring his observations survived even when his financial stability did not.

Later Years and Death

Financial instability defined Catlin’s final decades. Despite his efforts to secure a national legacy for his collection, the artist spent much of his later life struggling to recoup his investments. In a pragmatic attempt to recover funds, he recreated over 400 paintings into a smaller "cartoon collection." This was a calculated move to monetize his life's work, yet it failed to provide the substantial returns he required for stability.

The struggle for solvency continued until his death. George Catlin died on December 23, 1872, in Jersey City, New Jersey. He was buried in Green-Wood Cemetery, Brooklyn. His passing marked the end of a life spent documenting a frontier that was rapidly being replaced by the very expansion he had predicted.

Legacy and Historical Significance

Catlin’s importance lies in his role as a primary visual source. He was the first white man to depict Plains Indians within their native territory, providing a direct record of life before the full impact of westward expansion. His paintings offer a glimpse into cultures that were frequently misrepresented or ignored by the mainstream narratives of the nineteenth century. Rather than relying on secondhand accounts, his work captures the specificities of tribal customs and social structures through direct observation.

The historical value of his output is concrete. His documentation provides insights into religious beliefs and ceremonial traditions that might otherwise have been lost to history. This archival quality has earned him significant recognition in later years. He was inducted into the National Rivers Hall of Fame in 2001 and the Luzerne County Arts & Entertainment Hall of Fame in 2023. These honors acknowledge the weight of his contribution to American historical and cultural records.

Where to See the Works Today

Catlin’s visual record is scattered across several major institutions, making a comprehensive study of his output a matter of visiting specific collections. The most significant concentration of his work resides in Washington, D.C. The Smithsonian American Art Museum holds 25 of his paintings, providing the most substantial look at his ethnographic documentation. Nearby, the National Gallery of Art in Washington also maintains one of his works in its collection.

Beyond the capital, his presence is felt in other regional museums that hold individual pieces. The Denver Art Museum contains one work, while the Virginia Museum of Fine Arts in Richmond holds another. These dispersed holdings reflect the fragmented nature of his original Indian Gallery and the difficulty he faced in securing a single permanent home for his collection during his lifetime.

  • On sáw kie, The Sauk, in the Act of Praying (about 1830)
  • Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe (1834)
  • Ball-play of the Choctaw--Ball Up (1850)

Întrebări și răspunsuri

Pot să explorez lucrările lui George Catlin pe categorii de mișcări artistice?

Stilurile în care a activat George Catlin pot fi vizualizate pe pagina de Toate mișcările de artă a artistului, care grupează operele pe mișcări artistice.

Pot explora operele lui George Catlin pe baza unor cuvinte cheie?

Pagina După cuvinte cheie a lui George Catlin grupează operele de artă ale artistului în funcție de cuvintele cheie.

Cum s-a evoluat creația lui George Catlin de-a lungul timpului?

O relatare cronologică a creației lui George Catlin este disponibilă pe pagina Cronologie a artistului, unde operele se succed în ordinea creației lor, capitol cu capitol.

Echipa editorială WikiOO.org Actualizat la 14 Octombrie 2026
Quiz pentru colecționari
  1. Unde s-a născut George Catlin?

  2. Care a fost profesia lui George Catlin înainte de a deveni artist?

  3. Cum s-a numit colecția de peste 500 de picturi creată de Catlin?

  4. Pe care dintre aceste triburi le-a vizitat Catlin în timpul expedițiilor sale?

  5. În ce oraș au murit soția și cel mai tânăr fiu al lui Catlin în 1845?

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