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The pictures described in this list portray Native Americans, their homes, and activities. The images are from the records of 15 Government agencies within the holdings of the Still Picture Branch (RRSS) of the National Archives and Records Administration. Most are from the records of the Bureau of Indian Affairs (Record Group 75), the Army Signal Corps (Record Group 111), the Smithsonian Institution (Record Group 106), and U.S. Geological Survey (Record Group 57)
Many photographs relating to Native Americans are not included in this list. Separate inquiries for additional images should be as specific as possible, including names, dates, places, and other details. To view more photographs, please visit the Bureau of Indian Affairs, Photographs Finding Aid.
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Painted in 1917, a decade later, Benson's Natalie(Plate 8) conveys a young woman with a greater rangeof possibilities open to her. In contrast to the decorative gown worn byDorothy Lincoln, Natalie Thayer wears a simple white shirt and skirt. Herhat is a practical shield from the sun, whose light just touches her nose,chin, and neck and floods her blouse. Her bearing implies a level of independencenot evident in the Lincoln portrait. The difference between the two canvasesstems in part from the changing roles that women were adopting at the beginningof the twentieth century and in part from the circumstances under whichthe images were created. Whereas Dorothy Lincoln makes a social statementabout a newly marriageable woman, Natalie portrays a woman dressedto ride a horse.[62] A final differenceis that Dorothy sat for her portrait in Benson's Boston studio, while Nataliewas painted outdoors during a vacation near the Grand Teton Mountains in Wyoming.[63]
American Impressionists also represented women sensually,and nude subjects were not uncommon. Tarbell's The Venetian Blind(Plate 41) demonstrates that light and atmosphere could contribute to thetactile richness of a nude. The pose Tarbell selected is modest, and hispreparatory oil sketch (Plate 40) demonstrates that he ultimately drapedmore of the figure than he had first intended. His choice of title assertedthat the painting was a study in particular lighting conditions rather thanall expression of female sexuality. Of course, these choices may have beenmade in deference to the prevailing conservatism of American audiences.Indeed, when the painting was first exhibited in Worcester in 1902, onereviewer noted that "Studies of the nude and semi-nude are in the minorityand the lack was not lamented."[68] Largely positive criticism of The Venetian Blind focusedon the painting as a technical accomplishment. "Here is technical fluency,"one critic declared. "Here is nervous force put at the service of ataking pictorial idea."[69] Thepainter and critic Philip Hale went even further, proclaiming the canvas"the best picture that has been done in America."[70] Less common, though at least as sensual,were American Impressionist images of male nudes. In The Bathers(Plate 36), John Singer Sargent uses water to make the flesh glisten andlight to set the muscular bodies into beautiful relief. Sargent's posesand the outdoor setting also accord a greater degree of physical freedomto these male subjects than Tarbell allowed the woman in his oil painting.
Portraits of mature women, such as Benson's Portraitof a Lady (Edith Perley Kinnicutt) (Plate 4) and Sargent's Mrs. GardinerGreene Hammond (Esther Fiske Ha