3099

Kathryn Woodman Leighton

1875-1952

Portrait of a Native American man

Oil on canvas
Signed lower right: Kathryn W. Leighton
30" H x 25" W

  • Notes: Kathryn Woodman Leighton was once considered one of the world's most notable painters of American Indian portraits, "at a time when the subject was reserved for males."
    Born in Plainfield, New Hampshire in 1875, Kathryn was educated locally and taught school for three years before studying at art school in Boston. She married attorney Edward L. Leighton in 1900, and they moved west in 1910 when a planned vacation to California turned into a permanent relocation. Dedicated support from Edward enabled her to successfully mix serious artistic pursuits and practical home life. Her canvases featured portraits as well as local landscapes, especially California desert wildflowers and coastal seascapes of Laguna and Morro Bay.
    A fortuitous meeting in 1924 with Charles M. Russell at a party in Los Angeles led to an important shift in subject matter and a change to her popularity as a painter. Russell encouraged Kathryn to visit the newly formed Glacier National Park in Montana, and the Leightons were invited to stay at the Russell's summer home on Lake McDonald in 1925, where she reportedly painted two landscapes on the curtain dividers between the guest beds in the lodge. As a regular visitor to the park for the next few years, Kathryn became enamored of the glorious landscape and of the Blackfeet Nation people she met on her many trips to Montana. Kathryn was commissioned by the Great Northern Railway to paint grand landscapes of the majestic peaks and lakes, as well as portraits of various Blackfeet elders as part of the promotion of the park. The GNR bought over twenty of Leighton's works to augment a national touring lecture series on the history of the Blackfeet. Leighton felt: "I am trying to put on canvas…the nobility of the Indian as I see him, the beauty of color, the dignity of tradition, and the fundamental beliefs of our first American people…"
    At age fifty, the success of these portraits moved Kathryn to a new career, "propelled to fame as the world's foremost painter of Native American portraits." Leighton's portraits were featured in major exhibitions in Los Angeles, Chicago, and Boston as well as in Paris and London, with rave critical reviews.
    This portrait depicts a Native American man wearing a beaded, quilled vest, a bone, bead, and shell disc necklace and red blanket. The style is typical of Leighton, featuring distinctive, bold strokes and rich paint colors inspired by hues of the variety of clothing, objects, and sacred facial paints of her Native American sitters. The work was most likely executed in her studio in Los Angeles, often reported to be full of chanting, drums and music of the numerous visitors to be found there of an evening.
    Over the years, Kathryn's versatility was expressed in over 700 works. Her numerous portraits included Blackfeet, Sioux, Cherokee, Shoshone, Yakima, Arapaho, Navajo, Hopi, Pawnee, Osage, and more, as well as local Native American actors from Hollywood, notable figures of the time including Pawnee Bill, Iron Eyes Cody, Florence Collins Porter, and numerous studies of family members and friends.
    Kathryn died in 1952, and her Native American portraits continue to be a legacy of a well-intentioned admiration and respectful desire to retain and share important cultural details and perspectives of the First Nation people she was privileged to meet.

    Sources:
    Trenton, Patricia, ed. "Independent Spirits: Women Painters of the American West, 1890-1945." Los Angeles, CA: Autry Museum of Western Heritage, 1995.

    Kovinick, Phil & Yoshiki-Kovinick, Marian. "An Encyclopedia of Women Artists of the American West." Austin, TX: University of Texas Press, 1998.
  • Condition: Visual: Craquelure throughout. Stretcher bar creases along the edges. Small spots of paint loss lower left, lower right and in the man's earlobe. Frame abrasion along the edges. Surface dirt and grime.

    Blacklight: Apparently no evidence of restoration. Difficult to read under uneven varnish.

    Unframed


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