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White Captive
Cooper, A.D.M. | Painting | ...
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17.64 | 1902 | H: 30 in, width: 50 in, Frame height: 43 in, Frame width: 63.25 in | White Captive | LRC: Astley D. M. Cooper/1902 | Credit Line: Bequest in memory of Houx and Newell families. | 17.64.JPG | Landscape | Indian | Figure | Group | canoe | Other | Painting | oil on canvas | Cooper, A.D.M.

Relics of the Past
Cooper, A.D.M. | Painting | ...
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4.64 | before 1910 | H: 40 in, width: 36 in, Frame height: 45.375 in, Frame width: 41.375 in, frame depth: 3.75 in | Relics of the Past | Bequest in memory of the Houx and Newell Families | This type of still life painting is often called a trompe l'oeil (fool the eye). The artist sought to create the illusion that real photographs and artifacts were nailed to the wall. Buffalo Bill Cody owned this painting and had it hanging in the Irma Hotel for many years. | LL: Astley D. M. Cooper | Book: Redrawing Boundaries: Perspectives on Western American Art; Institute of Western American Art, Denver; and the University of Washington Press, Seattle; 2007, page 78 | 4.64.jpg | 4.64.JPG | 4.64.web.jpg | 4.64.jpg | 4.64.jpg | still life | Other | Painting | oil on canvas | Astley D. M. Cooper’s trompe l’oeil (fool the eye) tribute to the Old West includes a buffalo head mount; American Indian weapons; and collectible cabinet card photographs of the Western heroes Sitting Bull, Wild Bill Hickok, and Buffalo Bill Cody, whose portrait is placed prominently at the top of the composition. These souvenirs strive to recapture a long-ago past preserved in the face of the industrialization that was taking hold in the United States following the turn of the twentieth century. Nostalgia for the Old West was a powerful emotion captured by artists and embodied by Buffalo Bill’s Wild West show. | Cooper, A.D.M.

Buffalo Head (Goo...
Cooper, A.D.M. | Painting | ...
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157.69 | ca. 1905 | H: 24 in, width: 18 in, Frame height: 31.5 in, Frame width: 25.5 in | Buffalo Head (Good Morning) | Born in St. Louis, Missouri, Cooper was the grandson of Indian agent Benjamin O'Fallon and the great-nephew of explorer William Clark. As a result, he developed an interest in the art and history of the West at an early age. He is best known for his paintings of American Indians, frontiersmen, and wildlife of the West, particularly buffalo. | LRC: Astley D.M. Cooper | Black and white oil on canvas. | 157.69.JPG | 157.69.jpg | 157.69.web.jpg | Landscape | Animal | Painting | oil on canvas | A.D.M. Cooper (1856-1924) Buffalo Head (Good Morning) 1905, oil on canvas Museum Purchase, Garlow Collection 157.69 | Cooper, A.D.M.

Viewing the Curios
Cooper, A.D.M. | Painting | ...
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5.64 | 1909 | H: 14.125 in, width: 17 in, Frame height: 18.5 in, Frame width: 21.5 in | Viewing the Curios | Bequest in memory of Houx and Newell families. | LL: A. D. M. Cooper 1909 (?) | 5.64.JPG | 5.64.jpg | 5.64.web.jpg | Indian | Figure | Painting | oil on canvas | A.D.M. Cooper (1856-1924) Viewing the Curios 1909, oil on canvas Bequest in memory of Houx and Newell families, 5.64 | Astley D. M. Cooper grew up in Saint Louis hearing stories of the American West. George Catlin was a friend of the family, and his grandfather was an Indian agent. In these paintings, Cooper questions the relationship between illusion and reality for his American Indian subjects as well as for the viewer. Warriors in feathered headdresses examine items that Euro-Americans valued about Indian culture—collectible objects such as a war club, a buffalo mount, or a painting—while viewers of these paintings see the Indian himself as a rare object, a curio. | Cooper, A.D.M.

In the Studio
Cooper, A.D.M. | Painting | ...
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3.64 | 1902 | H: 14 in, width: 17 in, Frame height: 18.5 in, Frame width: 21.5 in | In the Studio | Bequest in memory of Houx and Newell families. | LL: Astley D. M. Cooper 1902 | 3.64.JPG | 3.64.jpg | 3.64.web.jpg | Figure | Indian | Painting | oil on canvas | A.D.M. Cooper (1856-1924) In the Studio 1902, oil on canvas Bequest in memory of Houx and Newell families, 3.64 | Astley D. M. Cooper grew up in Saint Louis hearing stories of the American West. George Catlin was a friend of the family, and his grandfather was an Indian agent. In these paintings, Cooper questions the relationship between illusion and reality for his American Indian subjects as well as for the viewer. Warriors in feathered headdresses examine items that Euro-Americans valued about Indian culture—collectible objects such as a war club, a buffalo mount, or a painting—while viewers of these paintings see the Indian himself as a rare object, a curio. | Cooper, A.D.M.