This painting was based on Miller’s portrait of a Nez Perce Indian (CR# 298A) created for William T. Walters in 1858 – 1860, though in this later work, Miller mirrored his composition. In the Walters portrait, the subject looks to the left; here he looks to the right. Another difference between the two works is crisp detail evident in the Ottawa painting. Miller used only watercolor for his earlier portrait, but here employed pen and paint over a pencil drawing to delineate the figure and his accessories. Using these media allowed the artist to clearly describe his sitter’s distinctive profile and his most prominent attributes—a nose ring and dramatic earrings. In its careful detail and its muted color palette, this portrait compares favorably with the work of Miller’s peer Karl Bodmer.
Karen McWhorter
This painting was based on Miller’s portrait of a Nez Perce Indian (CR# 298A) created for William T. Walters in 1858 – 1860, though in this later work, Miller mirrored his composition. In the Walters portrait, the subject looks to the left; here he looks to the right. Another difference between the two works is crisp detail evident in the Ottawa painting. Miller used only watercolor for his earlier portrait, but here employed pen and paint over a pencil drawing to delineate the figure and his accessories. Using these media allowed the artist to clearly describe his sitter’s distinctive profile and his most prominent attributes—a nose ring and dramatic earrings. In its careful detail and its muted color palette, this portrait compares favorably with the work of Miller’s peer Karl Bodmer.
Karen McWhorter
This painting was based on Miller’s portrait of a Nez Perce Indian (CR# 298A) created for William T. Walters in 1858 – 1860, though in this later work, Miller mirrored his composition. In the Walters portrait, the subject looks to the left; here he looks to the right. Another difference between the two works is crisp detail evident in the Ottawa painting. Miller used only watercolor for his earlier portrait, but here employed pen and paint over a pencil drawing to delineate the figure and his accessories. Using these media allowed the artist to clearly describe his sitter’s distinctive profile and his most prominent attributes—a nose ring and dramatic earrings. In its careful detail and its muted color palette, this portrait compares favorably with the work of Miller’s peer Karl Bodmer.
