Less than thirty years after Lewis and Clark completed their epic journey, Prince Maximilian of Wied—a German naturalist—and his entourage set off on their own daring expedition across North America. Accompanying the prince on this 1832–34 voyage was Swiss artist Karl Bodmer, whose drawings and watercolors—designed to illustrate Maximilian’s journals—now rank among the great treasures of nineteenth-century American art. This lavishly illustrated book juxtaposes Bodmer’s landscape images with modern-day photographs of the same views, allowing readers to see what has changed, and what seems unchanged, since the time Maximilian and Bodmer made their storied trip up the Missouri River. To discover how the areas Bodmer depicted have changed over time, photographer Robert M. Lindholm and anthropologist W. Raymond Wood made several trips over a period of years, from 1985 to 2002, to locate and record the same sites—all the way from Boston Harbor, where Maximilian and Bodmer began their journey, to Fort McKenzie, in modern-day western Montana. Pairing sixty-seven Bodmer works side by side with Lindholm’s photographs of the same sites, this volume uses the comparison of old and new images to reveal alterations through time—and the encroachment of a built environment—across diverse landscapes. Karl Bodmer’s America Revisited is at once a tribute to the artistic achievements of a premier landscape artist and a photographer who followed in his footsteps, and a valuable record of America’s ever-changing environment.

Less than thirty years after Lewis and Clark completed their epic journey, Prince Maximilian of Wied—a German naturalist—and his entourage set off on their own daring expedition across North America. Accompanying the prince on this 1832–34 voyage was Swiss artist Karl Bodmer, whose drawings and watercolors—designed to illustrate Maximilian’s journals—now rank among the great treasures of nineteenth-century American art. This lavishly illustrated book juxtaposes Bodmer’s landscape images with modern-day photographs of the same views, allowing readers to see what has changed, and what seems unchanged, since the time Maximilian and Bodmer made their storied trip up the Missouri River. To discover how the areas Bodmer depicted have changed over time, photographer Robert M. Lindholm and anthropologist W. Raymond Wood made several trips over a period of years, from 1985 to 2002, to locate and record the same sites—all the way from Boston Harbor, where Maximilian and Bodmer began their journey, to Fort McKenzie, in modern-day western Montana. Pairing sixty-seven Bodmer works side by side with Lindholm’s photographs of the same sites, this volume uses the comparison of old and new images to reveal alterations through time—and the encroachment of a built environment—across diverse landscapes. Karl Bodmer’s America Revisited is at once a tribute to the artistic achievements of a premier landscape artist and a photographer who followed in his footsteps, and a valuable record of America’s ever-changing environment.

"During the expedition, twenty-three-year-old Bodmer sketched and painted a wealth of landscapes and Native American portraits that would be immortalized as engravings in Maximilian's published journals and accompanying atlas. Now considered the most vivid and instructive depiction of the nineteenth-century American West and its people prior to the decimation of many Plains tribes by disease, Bodmer's artwork continues to intrigue historians, scholars, and collectors.".

Made famous through the paintings of Swiss artist Karl Bodmer, the North American expedition of German naturalist Prince Maximilian of Wied in 1832–34 was the first scientific exploration of the Missouri River’s upper reaches since the epic journey of Lewis and Clark almost thirty years earlier. Maximilian’s journal has never been presented fully in English—until now. This collector’s-quality, oversized volume, the first of a three-volume set, draws on the Maximilian-Bodmer Collection at Joslyn Art Museum in Omaha, Nebraska. The North American Journals offer an incomparable view of the upper Missouri and its Native peoples at a pivotal moment in the history of the American West. This meticulous account, newly translated with extensive modern annotation, faithfully reproduces Maximilian’s 110 drawings and watercolors as well as his own notes, asides, and appendices. Volume I, which covers May 1832 to April 1833, documents Maximilian’s voyage to North America and his first encounters with Indians upon reaching the West. This is an essential resource for nineteenth-century western American history and a work of lasting value. This book is published with the assistance of the National Historical Publications and Records Commission.

The Europeans who first explored and settled North America were endlessly intrigued by the indigenous people they found there; even before the newly arrived colonials began to record the landscape, they drew and painted Indians. This study focuses on that practice, offering a new visual perspective on westward expansion, mainly through a survey of the major Indian images painted by Euro-American artists before and after the American Revolution. William H. Truettner finds that these images were never simply the historical record they were purported to be; instead they were conceived--either directly or indirectly--to accompany attempts to expand white hegemony across North America, first by the British, then by the Americans. Truettner's incisive, accessible readings of paintings by artists such as Benjamin West, Gilbert Stuart, Charles Bird King, and George Catlin relate these images to social and political events of the time, and tell us much about how North American tribes would fare as they fought to survive during the second half of the nineteenth century.