艺术品展示 / 油画
《维乔恩,土著装扮和在华盛顿的装扮》【Wi-jún-jon, Pigeon's Egg Head (The Light)
Going To and Returning From Washington】

名家名作

《维乔恩,土著装扮和在华盛顿的装扮》
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档案记录

画作名称:

Wi-jún-jon, Pigeon's Egg Head (The Light) Going To and Returning From Washington

中文名称:
维乔恩,土著装扮和在华盛顿的装扮
画 家:
乔治·卡特林(george catlin)
作品年份:
1837-1839 年
原作材质:
布面油画
画作尺寸:
73.6 x 60.9 cm
馆藏链接:
史密森尼美国艺术博物馆(Smithsonian American Art Museum)
备注信息:

       Catlin mistranslated Ah-jon-jon, whose name means ​“The Light,” as ​“Pigeon’s Egg Head.” The Light was an Assiniboine leader who was invited in 1831 to represent his tribe in Washington. During a winter in the nation’s capital, he traded his native dress for European clothes and customs. In Catlin’s before-and-after portrait, the once proud warrior, with a liquor bottle in his pocket, swaggers in high-heeled boots and carries a fan and umbrella. For Catlin, this transformation illustrated the tragic gulf between Native American and white cultures.
       George Catlin first met the Light in St. Louis in December 1831, when the Assiniboine warrior was en route to Washington to meet President Andrew Jackson and tour the city. Catlin recalled that the warrior appeared for his portrait sitting ​“plumed and tinted … [and] dressed in his native costume, which was classic and exceedingly beautiful.” Wi-jún-jon returned home to the northern Plains eighteen months later a decidedly different man—dressed apparently in a ​“general’s” uniform and sharing what to his fellow tribesmen were astonishing accounts of the white man’s cities. They eventually rejected his stories as ​“ingenious fabrication of novelty and wonder,” and his persistence in telling such ​“lies” eventually led to his murder. (Catlin, Letters and Notes, vol. 2, no. 55, 1841; reprint 1973)

     

    百度翻译:http://fanyi.baidu.com

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