“Indian Hunter with Dog” is a 1926 sculpture by Manship Paulfrom the “Indianapolis Museum of Art.” Manship was born andbrought up in Saint Paul Minnesota. The theme and insight for hisartwork derives from the classical past whereas evaluating themodernistic techniques, which later became Art Deco (Roberts 108).His academic profession started at Minnesota’s St. Paul artlearning institution. When he was nineteen years, he relocated toPhiladelphia to advance his edification and later at “Arts StudentsLeague” in New York. After being awarded with a scholarship, hebuild up a liking in archaic, as well as classical Greek art (Roberts108). The sculpture depicts Manship’s archaic method, reflecting aromanticized youth racing full stride. It demonstrates the untroubledspirit of young maturity, a symbol for a US Eden prior toEuro-American colonists’ displacement. Depictions of animals asvisible accounts of fading native wildlife were completed as numerousspecies faced extinction all through the frontier’s closure. Animalsculptures acted as influential recollections of the ancient west,insisting in outward preciseness and emotional reverberation.
The sculpture comprises of a lean youth carrying an arrow and bow.These are more of attributes in place of weapons. There is a dog onthe side with the behind legs planted on the artwork’s stand. Itjumps forward in synchrony with the human friend (Tolles and Smith54). Manship employs diagonal lines in “Indian Hunter with Dog”.Diagonal lines communicate movement. The objects, which are theIndian and his dog, are in movement. The established appearances, aswell as animated facades of the characters stir up the enthusiasm ofthe chase. In addition are horizontal lines in the hunter, whichmatch the dog’s immediate motion. The horizontal lines are apparentin the loincloth, arrow, and right leg.
The sculpture employs geometric shapes. The measurements seem to beideal and consistent. The base of the sculpture is in rectangle,which is a geometric shape. This is made apparent by the apparentedges. However, Manship also utilizes organic shapes, which flownaturally. They are apparent in the characters incorporated in thesculpture. Both characters flow in a natural way. The artist intendedat creating a natural piece thus, the application of organic shapes.A majority of Manship’s artwork is a reminiscence of his early daysin Minnesota. The form is three-dimensional as the sculpture isviewable from any side.
Cool color is apparent in the sculpture, which is in black. Thecolor is also dull creating a serious mood. The objective is tocapture the seriousness of the hunter and his companion, the dog. Thecharacters seem focused on what they are doing, or intend at doing.Value is defined via the vividness of color. Value is as wellestablished through the materials employed in making the piece.Manship uses bronze, which is more advantageous due to its potencyand ductility. The artwork is highly valued, because it is originaland in good shape as there are no apparent signs of abrasions. Inaddition, the artist is well recognized.
The sculpture has smooth and rough texture. Smooth texture isapparent in objects like the foundation and hand. Rough texture isapparent in the loin clothing, the dog’s head, arrow and bow, whichis made probable through the rhythmic curves. Space utilized in theartwork is both positive and negative. The hunter, base and theanimal fill the positive space in black, whereas the lighter shade ofblack that surrounds them creates the negative space.
Roberts, Kate. Minnesota 150: The People, Places, and Things ThatShape Our State. St. Paul: Minnesota Historical Society Press,2007. Print.
Tolles, Thayer, Thomas B. Smith, Carol Clark, Brian W. Dippie, PeterH. Hassrick, Karen Lemmey, and Jessica Murphy. The American Westin Bronze, 1850-1925. New York: Yale University Press, 2013.Print.