Edward S. Curtis

by Edward S. Curtis, Hans Christian Adam

These indelible portraits of Native Americans by Edward S. Curtis, made at the dawn of the 20th Century, have become among the most avidly collected, published, and sought-after emblems of early encounters with American Indian life. Curtis is famous for photographing every major Native American tribe west of the Mississippi, taking more than 40,000 negatives of 80 tribes between 1896 and 1930. No record of these Native people from this period is more comprehensive. Now, after decades in obscurity, Curtis's work is enjoying a renaissance and is being celebrated in a series of exhibitions as well as in publication that have just begun to suggest the scope of this remarkable photographic achievement. This book, the first in a series that will take an in-depth look at many of the subjects most important to Curtis, collects 100 of his most compelling images of tribal leaders and warriors. They are drawn from the collection of Christopher Cardozo and feature iconic Curtis pictures as well as several little-known gems.

Genres: Photography, History, Coffee Table Books, Nonfiction, Art, Art and Photography

240 pages, Hardcover

First published October 1, 1999

About the author

Beginning in 1900 and continuing over the next thirty years, Edward Sheriff Curtis, or the “Shadow Catcher” as he was later called by some of the tribes, took over 40,000 images and recorded rare ethnographic information from over eighty American Indian tribal groups, ranging from the Eskimo or Inuit people of the far north to the Hopi people of the Southwest. He captured the likeness of many important and well-known Indian people of that time, including Geronimo, Chief Joseph, Red Cloud, Medicine Crow and others. This monumental accomplishment is comprised of more than 2,200 sepia toned photogravures bound in twenty volumes of written information and small images and twenty portfolios of larger artistic representations.

Edward S. Curtis was born near Whitewater, Wisconsin in 1868. His father, a Civil War veteran and a Reverend, moved the family to Minnesota, where Edward became interested in photography and soon constructed his own camera and learned how to process the prints. At the age of seventeen he became an apprentice photographer in St. Paul. The family moved near Seattle, Washington, where Edward purchased a second camera and bought a half interest in a photographic studio. He married and the couple had four children.

In 1898 while photographing on Mt. Rainier, Curtis encountered a group of prominent scientists who were lost, among them George Bird Grinnell, a noted Indian expert, who became interested in Curtis’ work and invited him to photograph the Blackfeet Indian people in Montana two years later. It was there that Curtis practiced and developed his photographic skills and project methodology that would guide his lifetime of work among the other Indian tribes.

Such a massive project is almost incomprehensible in this day and age. In addition to the constant struggle for financing, Curtis required the cooperation of the weather, vehicles, mechanical equipment, skilled technicians, scholars and researchers and the Indian tribes as well. He dispatched assistants to make tribal visits months in advance. With the proper arrangements Curtis would travel by horseback or horse drawn wagon over paths or primitive “roads” to visit the tribes in their home territory. Once on site Curtis and his assistants would start work by interviewed the people and then photographing them either outside, in a structure, or inside his studio tent with an adjustable skylight. Employing these and other techniques over his lifetime he captured some of the most beautiful images of the Indian people ever recorded.

One of Curtis’ major goals was to record as much of the people’s way of traditional life as possible. Not content to deal only with the present population, and their arts and industries, he recognized that the present is a result of the past, and the past dimension must be included, as well. Guided by this concept, Curtis made 10,000 wax cylinder recordings of Indian language and music. In addition he took over 40,000 images from over 80 tribes, recorded tribal mythologies and history, and described tribal population, traditional foods, dwellings, clothing, games, ceremonies, burial customs, biographical sketches and other primary source information: all from a living as well as past tradition. Extending the same principle to the photographs, he presented his subjects in a traditional way whenever possible and even supplied a bit of the proper clothing when his subjects had none. Reenactments of battles, moving camp, ceremonies and other past activities were also photographed. These efforts provided extended pleasure to the elders and preserve a rare view of the earlier ways of the people.

With the publication of volume twenty in 1930, the years of struggle finally took their toll with Curtis suffering a physical and nervous break down. The declining interest in the American Indian, the Great depression, and other negative forces slowed, then halted the successful financial completion of the project. Less than 300 sets

Reviews

[KathleenW · Rating 5 out of 5]

This book is 59 pages of text describing some of Curtis’ life, methods of photography and challenges, etc. The remainder are beautiful photos of native tribal members in various settings. In some cases he utilized a studio in other cases he visited and asked them to pose or if he couldn’t photograph certain events etc.
Some criticism is of his asking the people to pose/etc. but nobody else went about documenting the lives - so while photographers often get in trouble for being invasive/faking things- I’m glad he took the time to get such intimate photos to document this time in the past.

Enjoyed but also terribly sad for me in the reality of humanity and struggles and the sacrifices of humans and many animals who served with and for them -throughout time.

[J.D. Steens · Rating 5 out of 5]

The photos are top-of-the-line art pieces. Each one is carefully constructed to show North American Indians in their best light.

Curtis received criticism for his artistic documentary of Indian life. As the introductory essay says, "Established ethnologists and anthropologists regarded Curtis' activities with suspicion." They "wanted to see a strict division between art and science," between staged pictures and authenticity of Indians before modernity." There may have also been some resentment on the critics' part as Curtis was more widely known at that time than those who looked at Indian life "scientifically."

The essay, written separately in English, French and German, covers the background of Curtis' life (the back of the book includes pictures of his non-Indian work from his Seattle studio) and his dedication to his documentary project. It states that his pictures "express the universal values of the family, the tribe and the nation." I don't know how this is so. What particularly stood out was the role of the shamans, masks, and dancing. Some of the commentary seemed overdone, including this concluding line that, though the photos may be "posed, idealistic and romantic," they express "the American dream," and the call "for a better world." The other half of that concluding sentence, that the photos captured the "dream of pride and freedom," I think makes sense.


Their presentation in this book is excellent. Each photo is given its due. There's no crowding, to pack the book full of photos. For the most part, there's one photo printed per page. In some instances, there are more. The paper pages almost feel like card stock.

[Dewayne Stark · Rating 5 out of 5]

Love the Hopi Walpi maidens page 144 145

[S Shah · Rating 4 out of 5]

Beautifully photographed as expected. Would like to have had a bit more details about the photos.

[brian tanabe · Rating 5 out of 5]

While not well-versed in photography or american history, I cannot imagine a more historically important photographer. ES Curtis is a national hero for documenting the last of these peoples.

However, the photographs are very, very painful to look at -- I wonder, as these people don their beautiful regalia, if they realize the transition they are going through.

[Cathy · Rating 5 out of 5]

Fascinating. A vital piece of history.