Description
An arrow has already struck home, and the great animal staggers under its weight, front legs buckling, head thrown low as the plains open out behind it in pale, dust-hazed light. This is the moment George Catlin gives you: not the hunt in full cry, but its consequence, rendered with the directness of a man who painted what he witnessed on the frontier rather than what convention expected of him.
About Dying Buffalo, Shot with an Arrow
Catlin travelled deep into the American West in the 1830s to record the peoples, animals, and landscapes he believed were vanishing before the advance of settlement, and the buffalo, more than any other creature, became the emblem of that disappearing world. Here the animal fills the canvas with a raw, muscular weight, its dark bulk set against a wide, thinly worked sky, so that the eye reads mass and motion before it reads detail. The brushwork is loose and urgent where the buffalo strains against the arrow, then opens into broader, calmer passages of ground and horizon, a contrast that lets the drama of the foreground breathe against the stillness beyond it.
What distinguishes the picture is how little Catlin relies on incident to make his point. There is no hunter shown triumphant, no crowd of onlookers; the animal alone carries the emotional charge of the scene, its posture doing the work that a more theatrical painter might have handed to gesture and narrative detail. The palette stays close to earth and hide tones, ochres and browns worked against a bleached sky, a restraint that keeps the focus on the animal rather than on spectacle, and that marks Catlin as a recorder first and a dramatist second.
The hand-painted reproduction
When you order this piece from us, one of our painters sets up a canvas and works through it in oil, by hand, from the first block of colour to the final touches on the buffalo hide. We match the palette of the original closely, warm ochre against cool, dust-pale sky, and we let the brush leave its own trace, so the surface carries real ridges of paint rather than a flattened, printed likeness. Ask anyone who has stood in front of an oil painting reproduction and a poster side by side; the difference is in the light catching the raised paint, in the sense that a hand, not a machine, has followed Catlin across the canvas.
- Hand-painted oil on canvas, not a printed copy
- Available in a range of sizes to suit your wall
- Arrives ready to hang, gallery-presented
- Certificate of authenticity included with every order
- Free worldwide shipping, with no shipping charge to any country