Charles Marion Russell (March 19, 1864 – October 24, 1926), also known as C. M. Russell, Charlie Russell, and "Kid" Russell, was an artist of the Old American West. Russell created more than 2,000 paintings of cowboys, Indians, and landscapes set in the Western United States and in Alberta, Canada, in addition to bronze sculptures. Known as 'the cowboy artist', Russell was also a storyteller and author. The C. M. Russell Museum Complex located in Great Falls, Montana houses more than 2,000 Russell artworks, personal objects, and artifacts. Other major collections are held at the Montana Historical Society in Helena, Montana, the Buffalo Bill Center of the West in Cody, Wyoming, and the Amon Carter Museum of American Art in Fort Worth, Texas. Russell's mural titled Lewis and Clark Meeting the Flathead Indians hangs in the state capitol building in Helena, Montana. Russell's 1918 painting Piegans sold for $5.6 million at a 2005 auction. Russell's works comprised a wide variety of topics, including major historical events and everyday life in the west. His work was noted for the frequency with which he portrayed well-known events from the point of view of Native American people instead of the non-Native viewpoint. He was noted for a keen eye on the social undercurrents of society and the meticulous authenticity with which he portrayed the clothing and equipment of both cowboys and Native people. His portrayal of women has drawn critiques and assessment from historians studying women in the west. The contrasting levels of sensuality in his depictions of white and native women is noted in his artistic transference of sexuality from white to Native women, so as to conform to the moral standards and perceptions of women in his time. Most of Russell's portrayals of white women are shown as "pure" and non-sexual, other than those paintings specifically depicting prostitutes. In contrast, his series of five Keeoma paintings and related images show a sensual native woman, with accompanying legends that Keeoma was a real person that Russell had loved. However, photographs show that the body model for these images was actually Russell's wife, Nancy, who in doing so, critics note, was able to express her sexuality in a way generally not allowed "decent" white women of the time.