Recent scientific findings date their arrival earlier than ever thought, sparking hot debate among archaeologists
To animate the image scroll down to the first comment below or view original size. Details and History The Wikimedia Commons website offers a multitude of historical images with no restrictions on use. This circa 1871 William Gunnison Chamberlain portrait of a Ute man has minimal bibliographic detail. Further information on the photographer's life and work can be found in Palmquist and Kailbourne's bibliographic dictionary "Pioneer Photographers of the Far West". Chamberlain first photographed the Ute people during an 1871 trip through the Rocky mountains. He continued working int he Denver area through the 1890s. His irreplaceable library of negatives was destroyed in an 1883 fire, along with any information not published on the extant stereoviews. The Ute people were wary of being photographed. Accounts of the time attribute this to worries of becoming sick, something we might attribute to interaction of an outsider with a relatively closed community. Often neglected is the political climate of the era. The long running Black Hawk War (1865-1872) with Mormon settlers gave Native Americans an immediate reason to be waryr lands in Utah were seized. Five years later conflicts in Colorado lead to the seizure of the gold-rich lands promised by treaty. Quick Links to related animated stereo images: Native American people. Ute people. Browse the 19th century or by decade: 1850s, 1860s, 1870s, 1880s, 1890s. Browse the 20th century or by decade: 1900s, 1910s, 1920s, 1930s, 1940s. Copyright Advisory This item is indicated as being in the public domain on its Wikimedia page: commons.wikimedia.org/wiki/File:Ute_Indians,_from_Robert_... . This image is also available with bibliographic notes from the New York Public Library's Digital Library under the digital ID digitalgallery.nypl.org/nypldigital/id?g92f046_017zf . Technical trivia Image manipulations and animated gif generation done with StereoPhotoMaker, a freeware program by Masuji Suto & David Sykes.
File name: 09_06_000040 Cab no.: Cab 23.41.1 Title: Four Bull, Assinaboines Creator/Contributor: Rinehart, F. A. (Frank A.) (photographer) Copyright date: 1898 Physical description: 1 photographic print : platinum Summary: Genre: Platinum prints; Portrait photographs Subjects: Trans-Mississippi and International Exposition (1898 : Omaha, Neb.); Indians of North America; Assiniboine Indians Notes: Rinehart No. 745 Location: Boston Public Library, Print Department Rights: No known restrictions
Adam Clark Vroman iniziò a interessarsi di fotografia nel 1892, diventando celebre per i suoi ritratti di Nativi Americani che vivevano, in quel periodo, in California e negli stati vicini come Arizona e New Mexico. Egli iniziò la propria carriera lavorativa nelle ferrovie statunitensi, ma poi si dedicò prevalentemente alla cultura e alla fotografia. La sua libreria, la Vroman Bookstore, divenne una delle più grandi aziende di distribuzione di libri della California, particolare che lo mise in contatto con alcuni dei più grandi scrittori di quell'epoca. Tra le sue realizzazioni ci sono anche le fotografie che illustrarono il libro best seller "Ramona", di Helen Hunt Jackson, che cambiò per sempre la percezione della California da parte del mondo intero. Le immagini di Vroman sono naturali, evocative e mostrano il rapporto intimo che egli riusciva a creare con i propri soggetti, non certo propensi a concedere fotografie ad un uomo bianco di Los Angeles. I ritratti sono degli indiani delle tribù Hopi e dei Navajo, durante il periodo finale delle guerre indiane, attraverso le quali gli invasori del Nord America di nazionalità Inglese, Olandese, Francese, Tedesca, Spagnola (ma anche altre), massacrarono i nativi americani usurpandone le terre. La documentazione fotografica è fondamentale perché precede di qualche anno un altro grandissimo fotografo statunitense, Edward Curtis, che nel 1906 partì per un viaggio durato quasi 30 anni durante i quali immortalò usi e costumi del "Popolo degli Uomini". Le primissime fotografie degli Hopi e dei Navajo sono infatti risalenti anche al 1886, quattro anni prima del massacro di Wounded Knee, che pose la parola fine alle legittime ribellioni dei nativi americani. Il libro formato Kindle con le fotografie e la storia di Adam Clark Vroman è disponibile su Amazon Italia. Adam Clark Vroman - Nativi#5: Adam Clark Vroman - Nativi#6: Adam Clark Vroman - Nativi#7: Adam Clark Vroman - Nativi#8: Adam Clark Vroman - Nativi#9: Adam Clark Vroman - Nativi#10: Adam Clark Vroman - Nativi#11: Adam Clark Vroman - Nativi#12: Adam Clark Vroman - Nativi#13: Adam Clark Vroman - Nativi#14: Adam Clark Vroman - Nativi#16: Adam Clark Vroman - Nativi#18: Adam Clark Vroman - Nativi#19: Adam Clark Vroman - Nativi#20: Adam Clark Vroman - Nativi#21: Adam Clark Vroman - Nativi#22: Adam Clark Vroman - Nativi#23: Adam Clark Vroman - Nativi#24:
Martin Chambi. 26,798 likes · 4 talking about this. Archivo Fotográfico Martin Chambi Cusco - Perú www.matinchambi.org
In 1905, when the Andean photographer Martín Chambi was 14 years old, he traveled to northwestern Peru with his father, who had a job working in a gold mine there. At the time, there were no indigenous photographers in the country, and images of the Quechua people were mostly captured through the lenses of French and American photographers.
Reuben Brothers - Nez Perce 1900
Assiniboine Indians. Photo taken by my 3rd Great Uncle at Fort Belknap, Montana, 1899
A collection of Cabinet Cards and Tin Types ...a semblance of antiquity.
The Pueblo, which is Spanish for "town or village," are one of the oldest cultures in the U.S. Archaeologists have traced back their civilization 2000 years, but their ancestors, the Anasazi, can be traced back 7000 years. Photo by Charles F. Lummis, 1890
In Native American cultures, people were valued for their contributions to the tribe, rather than for masculinity or femininity.
Chief Owl—Blackfoot circa 1886. During the 1880s, Canadian Alex Ross photographed many of the First Nations people who lived around Calgary. In particular, Ross documented many of the men, women and families of the Blackfoot—mainly of the Siksiká Nation—and the Tsuu T’ina—or as they were originally called, Sarcee. Ross started his photographic career as an assistant in Winnipeg, but decided in his early 30s to relocate to Calgary and establish his own studio. The practicalities of taking pictures in situ—carrying equipment out on location where one was open to the vagaries of the weather—led to a boom in such studios, where backcloths could replicate any South Sea island, summer palace, or traditional suburban drawing room. Add to this the possibility of owning a seemingly permanent portable reminder of a loved one, family member or even deceased relative made photography a very profitable business. Unlike some of his business rivals, Ross took a growing interest in the local First Nations and between 1884-91 he started photographing as many of the indigenous peoples as possible. He also photographed various of their camps across the Alberta province. In 1891, Ross unexpectedly closed his business down. He died...
Lettering: Omaha dance bonnet & scalplock. Bears Rinehart's number: No. 1391.
