European Exploration to the “New World”

European Exploration to the "New World" began with Columbus's Voyage across the Atlantic in 1492, which reveals a new civilization of native people with their own way of life, believed by modern archaeologists to have built upon the first arrivals in the Americas around 12,000 BC. Over these thousands of years, as the natives migrated across the continents, they developed a wide range of languages, trading systems, agriculture, customs, and civilizations. This discovery, however, quickly shifted into the favor of the Europeans, unknowingly bringing diseases that rapidly spread throughout the Native American population, wiping out thousands.

The European expansion throughout the Americas was driven by the pursuit of new territories, wealth, and resources. This expansion allowed the colonists to observe Native American religions and cultures firsthand. However, these observations were often filtered through a lens of European superiority, leading to depictions of Native Americans as inferior or alien to the norms of European culture. Artists and artworks of the time captured these depictions, some aiming to record history, while others sought to justify the Europeans' actions. This raises the question: How did these depictions portray the Native Americans, and what impact did these portrayals have on the Native Americans and the broader perception of them?

The European colonizers often regarded Native Americans as "the other," fundamentally different from themselves. This categorization led to the formation and perpetuation of stereotypes that misrepresented Native American life and culture during first encounters. Stereotypes portrayed Native Americans in a way that influenced public perception, painting their religions and cultures as barbaric and savage. European depictions of initial encounters with Native Americans often positioned Europeans as superior. For instance, John Vanderlyn's painting, "Landing of Columbus," commissioned by Congress in 1836 and completed in 1846, depicts Christopher Columbus and his crew landing on a beach in the West Indies in 1492. Columbus is the central, prominent figure, raising a flag as if claiming the land. To his left, natives are shown lurking in the trees, with some bowing, suggesting that they needed saving, with Columbus positioned as the savior.

This painting is displayed in the Capitol Building in Washington, D.C., accompanied by a description that mentions the natives only once: "To his left, a sailor kneels, gazing upward, and a soldier looks warily into the woods, where native West Indians watch the visitors from behind a tree." This description appears unnatural, given Columbus's documented viewpoints and actions towards the natives. The statement implies that the Indians were an immediate threat, inferred by the wary soldier. Yet, within the painting, Native Americans are depicted as either submitting or curious. The description could have better noted the natives' expressions, portraying them as curious and submissive rather than threatening. This reflects a broader tendency to gloss over past wrongs rather than clearly identifying both sides of the encounter. While this piece may not negatively portray Native Americans, it glorifies the Western settlers. During this time, other works were predominantly more negative towards native people.

Negative portrayals of Native Americans were prevalent in the 18th and 19th centuries, often depicting them as violent aggressors, particularly in interactions with white settlers. These images reinforced fears of savagery and danger associated with Native Americans in the minds of settlers. Such portrayals often featured brutish Native American males overpowering terrified white women, implying torture and death. These negative depictions proved popular, serving as scapegoats to justify the settlers' hardships in founding new colonies. This scapegoating facilitated a range of illustrations that spread artists' biased views to the settler population. For instance, F. Opper's 1894 illustration of the "Black Hawk War" falsely characterizes the leader of the Sauk tribe, Black Hawk, as scalping a white man. This misleading portrayal ignores the reality that scalping was introduced by European bounty hunters as a method to confirm kills while clearing natives from potential settlement lands. Native Americans only adopted the practice in retaliation.

The Sauk tribe did not cede their land willingly, nor did they instigate conflict; they sought friendly relations and trade with settlers. Nonetheless, settlers took their land, leading to misunderstandings and skewed portrayals in popular media. Such works, considered part of anti-Indian humorism, were extremely popular at the time, justifying settlers' actions despite the skewed realities they presented. Historical pieces often portrayed European settlers as passive victims, always attacked and never the aggressors, thereby justifying retaliatory violence against Native American villages. In reality, settlers frequently made threats and aggressive moves toward natives. The lithograph print "General Harrison and Tecumseh," produced in 1860, exemplifies this bias. It depicts a meeting between William Henry Harrison and Tecumseh in 1810, showing Tecumseh in a menacing posture while Harrison and his men appear defensive. In truth, the tension was sparked by one of Harrison's officers making a threatening move, quickly resolved without violence. However, the image misrepresents Tecumseh as savage and incapable of diplomacy.

Native Americans were trying to secure their homes and lands necessary for survival. Both the U.S. federal government and the British government had guaranteed this land through treaties and laws. Despite these legal protections, many Americans violated the laws, often attacking Native Americans in the process, particularly in the Ohio Valley. Tragically, when Native Americans defended themselves, it was considered an act of aggression, leading to military retaliation. Under U.S. policy, land agreements required mutual consent. Leaders like Tecumseh and Black Hawk resisted settler attacks on their villages and people, striving to protect their territories. Their resistance led to conflicts, such as the Sioux Conflict, fueled by American attempts to fraudulently seize land. These conflicts were often narrated in one-sided ways that supported settler viewpoints, rendering the Native American perspective irrelevant and unknown to the broader American public.

Despite predominantly negative portrayals, some depictions were favorable, highlighting the strength and simplicity of Native American cultures and their beneficial interactions with settlers. Positive portrayals showed Native Americans as willing participants in treaties, creating a semblance of respect within the white American population. However, these portrayals could be one-sided, as many "willing participants" were coerced into agreement. An example of a positive portrayal is George Catlin's "Ojibwa Show Dancers," painted in 1844. Catlin sought to change public opinion by presenting Native Americans as noble and integral to history, showcasing their ceremonial dances and traditional clothing. The Ojibwas, who worked with Catlin, hoped their performances would enhance their way of life and adapt to new settlers. These "show Indians" earned money through performances, projecting a positive image to American settlers, and fostering a belief that their cultures would be respected. The painting includes Ojibwa signatures, highlighting their forms of writing and identification. While Catlin's work positively impacted perceptions of Native American culture, it did not affect land ownership rights.

In conclusion, the portrayal of Native Americans in European artwork often served to elevate settlers and perpetuate stereotypes, invoking fear and disrespect in the public eye. Although some artists attempted to capture the richness of Native cultures, these efforts were overshadowed by prevailing negative depictions. The artwork of the time justified acts of violence against Native Americans, portraying them as natural enemies of white settlers. Despite attempts to show the nobility of tribes, the public continued to view them as inferior. Today, Native American history remains largely underrepresented in education across the United States. It is crucial to examine these artworks to learn from the past and better inform others about the injustices faced by Native Americans. By addressing historical biases and recognizing the cultural richness of Native American societies, we can foster a more accurate and respectful understanding of their history.

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