File:E. Irving Couse, 'The Captive', 1891.jpg
Original file (974 × 800 pixels, file size: 113 KB, MIME type: image/jpeg)
This file is from a shared repository and may be used by other projects. The description on its file description page there is shown below.
Summary
E. Irving Couse: The Captive ( ) | ||||||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Artist |
artist QS:P170,Q3058696 (digital upload by SMcCandlish (talk · contribs)) |
|||||||||||||||||||||||
Title |
The Captive |
|||||||||||||||||||||||
Description |
English: A famous and controversial painting, for its sexual implications (rather strong for the art of the period), stereotyping of Native Americans, and (conversely) "noble savage" romanticization of them. Backstory, as provided by Robfergusonjr (talk · contribs): In 1838, Dr. Marcus Whitman and his wife came to the Oregon Territory to establish a mission to the Cayuse Indians under the sponsorship of the New England Mission Board. In time, immigrants also came to the area and settled around the Whitman mission. All went well until there was an epidemic of measles. The Indians were stricken by the disease and, though treated by the Whitmans, were not able to respond so well to medical treatment. Angry and terrified, they accused Dr. Whitman of deliberately poisoning them to get their land. In late November of 1847, they attacked the mission and murdered most of the staff, including Dr. Whitman and his wife. A number of others were taken captive, among them Lorinda Bewley, a seventeen-year-old teacher at the mission, who was spared from death by a Cayuse chief named Five Crows. When he saw her, he decided that he would enjoy the novelty of a white woman for a wife. Needless to say, this did not meet with a favorable response from the captured girl. Couse's painting shows us a dramatic scene – Lorinda is lying on the floor of the chief's teepee, unconscious, with bloody bonds testifying to a terrified but courageous struggle. Five Crows is seated on the floor, staring at her and unable to fathom her behavior, her aversion to him. Couse has shown us two cultures in tragic juxtaposition, and we are able perhaps to have an understanding of each. |
|||||||||||||||||||||||
Date | 1891 (digital upload 2011-09-26) | |||||||||||||||||||||||
Medium |
oil medium QS:P186,Q296955 |
|||||||||||||||||||||||
Collection |
institution QS:P195,Q1189960 |
|||||||||||||||||||||||
Source/Photographer | Original painting (digital photograph thereof) | |||||||||||||||||||||||
Permission (Reusing this file) |
Public domain. | |||||||||||||||||||||||
Other versions | File:The Captive.jpg (smaller, poor quality image) |
Licensing
This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. |
File history
Click on a date/time to view the file as it appeared at that time.
Date/Time | Thumbnail | Dimensions | User | Comment | |
---|---|---|---|---|---|
current | 22:01, 26 September 2011 | 974 × 800 (113 KB) | commons>SMcCandlish |
File usage
There are no pages that use this file.
Metadata
This file contains additional information, probably added from the digital camera or scanner used to create or digitize it.
If the file has been modified from its original state, some details may not fully reflect the modified file.
_error | 0 |
---|