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Cracking Catlin's Code Lesson PlanContent Introduction In objects such as the "power shirts" used by tribes native to the Great Plains (see the "Symbols of Power in Clothing Worn by the Plains Indians" Lesson Plan), individuals developed a set of symbols or a "code" that represented attributes of leadership and power held by the wearer of the shirt. For centuries European artists have also used a "code" based on gesture and pose in the traditions of sculpture and painting to express a sense of power and highlight an individual as a leader. This "code," which designates leadership, is referred to by Richard Murray as the Imperial Mode on this web site. In his portraits of Native Americans, George Catlin adopted his own "code" through which he conveyed the power and leadership qualities of his American Indian subjects. Catlin translated Native American attributes of leadership into a language that could be understood by his Western audience. This lesson plan is designed to introduce students to the ways in which consistent patterns of gesture and pose chosen by an artist (specifically George Catlin) communicate ideas of power and leadership about the subject of the portrait. Before presenting the lesson in class it may be useful to review the meanings of gesture and pose and their use in an artistic context. See the vocabulary list section for this lesson, visit the "Chiefs and Leaders" campfire story on this web site to listen to Richard Murray, Senior Art Historian, Smithsonian American Art Museum, discuss the "Imperial Mode" and visit the following links to view examples of artworks displaying what Murray calls the Imperial Mode:
Part I: Living Statues—Body Language and Visual Clues Guided Practice Ask students to consider the following questions: How does an artwork's composition affect its intended meaning? Consider such formal qualities as pose, gesture, and setting. What do these formal "clues" convey about the subject? In what ways do specific poses suggest specific personal attributes? Which details does the artist choose to focus on (clothing, facial expression, decoration)? Do these details combine in any way to present a consistent idea throughout the piece? What can we learn about Native American leadership through these portraits? Instruct students to look at examples of Western Imperial Portraiture such as Augustus of Prima Porta, Napoleon on His Imperial Throne, and George Washington. Physically demonstrate examples of these "Imperial poses" for the class and discuss with students the implied meanings of each gesture. Independent Practice Ask students to become "living statues" by imitating the pose of one of the leaders from the above western artworks. Conduct a discussion about what their body language says about leadership. How do the ways in which they hold their head, arms, and body convey a sense of power and leadership? Part II: Understanding Catlin's Code—Becoming an Art Detective Guided Practice Show students images of Native American leaders that Catlin depicted, particularly Keokúk, Four Bears, and Buffalo Bull's Back Fat. Images of these leaders may be found on this site or at the following links from the collection of the Smithsonian American Art Museum:
Create a "clue bank" of visual clues that will guide students in cracking Catlin's pictorial code in the activities below. Write clues on a chalk board or put them on slips of paper for students to choose out of a hat. Keeping in mind the above guiding questions, create clues such as:
Independent Practice Divide students into three groups. Ask each group to research one of the following Native American leaders: Kee-o-kúk, Four Bears, or Buffalo Bull's Back Fat. Have each group look at Catlin's portraits of these leaders. Each group should write a short biography of the leader of no more than a paragraph in length. Information may be found on this web site. Also see links provided in the "Quiz Show!" lesson plan. Ask students to work together to create a Clue List. Have them make a chart in which they record the visual clue ( i.e. gesture, pose, setting ) in the right-hand column and the personal qualities of the historical figure which they express in the left hand column (i.e. head held high=pride and confidence, arm outstretched=vision/leadership, or bright body paint=warrior ). Have them keep the leader's biographical information in mind while making their list. Ask students to share their findings with the rest of the class. Wrap-Up Activity Have students write a Case Summary of no more than five paragraphs in length in which they discuss the process by which they broke Catlin's code. Ask them to compare and contrast Catlin's portrait of a Native American leader with the biographical information they have gathered. What visual code (i.e. gesture, pose, setting, and so forth)did Catlin use to express the leadership qualities of his particular subjects? For advanced students: In an essay, compare and contrast one of the examples of western imperial art (Augustus of Prima Porta, Napoleon, or George Washington) with one of Catlin's Native American portraits. What are the similarities and differences in use of gesture, pose and setting between the two works. How does the historical setting of each work of art affect its overall meaning? Vocabulary composition, formal, gesture, imperial, mode, pose, setting, Western. Standards National Standards for Arts Education—Visual Arts:
National Council of Teachers of English:
National Center for History in the Schools—Historical Thinking (5–12):
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