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Há-tchoo-túc-knee, Snapping Turtle, a Half-breed

Nume Clasă Date

George Catlin, Há-tchoo-túc-knee, Snapping Turtle, a Half-breed (1834), Muzeul de Artă Americană Smithsonian. Domeniu public. Observați această pânză sub o lumină în mișcare: desenul, culoarea reală de sub vernis, pigmentul pur

Fapte relevante

Artist
George Catlin originaluniqueart.com/ro/artists/george-catlin_ro/
Date despre artist
1796 – 1872
Pictată
1834
Tehnică și material
Oil On Canvas
Dimensiune originală
73 x 60 cm
Mișcare
Realism Painting ordinary people and ordinary work exactly as they are, without making them prettier or grander.
Organizat la
Muzeul de Artă Americană Smithsonian originaluniqueart.com/ro/museums/muzeul-de-arta-americana-smithsonian-washington-d-c_ro/
Artistic style
Realism
Influences
Frontier life
Notable elements
Feather headdress, jacket
Subject or theme
Native American portrait

În context

Há-tchoo-túc-knee, Snapping Turtle, a Half-breed — George Catlin

Care sunt dimensiunile sale?

Originalul măsoară 73 × 60 cm (înălțime × lățime), prezentat aici alături de un adult de înălțime medie.

Când a fost pictată această operă?

  1. 1790
  2. 1800
  3. 1810
  4. 1820
  5. 1830
  6. 1840
  7. 1850
  8. 1860
  9. 1870

Rândul de sus: anii. Rândul de jos: vârsta artistului la începutul și la sfârșitul fiecărei perioade — 0 la naștere, 76 la moarte.

Pictată când artistul avea 38 de ani. Artistul a trăit până la vârsta de 76. 265 dintre cele 732 lucrări datate ale acestui artist din catalogul nostru au fost create anterior.

Shaded: întreaga viață a lui George Catlin (1796–1872) ▲ această operă, 1834 fiecare pictură datată, deceniu cu deceniu

Primele lucrări: până în 1832 Anii principali de activitate: 1832–1869 Lucrări târzii: din 1869

Aceste trei intervale împart lucrările datate în acest catalog într-un prim trimestru, o perioadă intermediară și un ultim trimestru. Acestea nu reprezintă întreaga producție a artistului: o perioadă scurtă poate fi o lacună în arhivă, mai degrabă decât o perioadă de inactivitate. Aceleași ani în care viața artistului s-a desfășurat paralel cu ei

Compară cu

Alege o lucrare de mai sus: numește două elemente pe care le are în comun cu aceasta și unul care o diferențiază.

Alte lucrări care pot fi puse alături de aceasta: originaluniqueart.com/ro/art/similar/george-catlin-ha-tchoo-tuc-knee-snapping-turtle-a-half-breed-D3ZFEM-en/

Culori

Măsurată din imagine

    Culoare principală

    Phthalo Green #2b2924

    Paletă catalogată

    • #2B2924
    • #7A744E
    • #5B4C34
    • #989870

    Aceste culori din întreaga paletă a artistului Caută alte picturi după culoare

    Nume culoare principală
    Phthalo Green
    Intensitate
    Balanced Rândul de saturație și varietatea culorilor, de la o singură nuanță temperată la numeroase nuanțe vibrante.
    Contrast
    Gentle Gradul de diferențiere a culorilor în ceea ce privește luminozitatea și saturația pe întreaga suprafață a imaginii.
    Armonie
    Strong Color Unity Modul în care culorile interacționează între ele, de la contrast puternic la o unitate completă.
    Luminozitate
    Shadow Nivelul de luminozitate sau întunecare al întregii imagini, de la umbrele profunde la luminile strălucitoare.
    Saturație
    Subtle Color Cât de pure și intense sunt culorile, de la un gri aproape neutru până la nuanțe complet vibrante.

    Unde în lume este vizualizată această pictură?

    • sub 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% și mai mult
    Această lucrare în parte are prea puțini vizitatori înregistrați pentru a putea fi cartografiată, așa că fișa prezintă fiecare operă a lui George Catlin din ultimele doceze luni — 10 țări în total. Sursa acestor cifre

    Cele zece principale țări

    1. 1 China 76,7%
    2. 2 Statele Unite ale Americii 7,8%
    3. 3 Singapore 6,7%
    4. 4 Hong Kong 3,3%
    5. 5 Italia 1,5%
    6. 6 Mexic 1,5%
    7. 7 Spania 0,7%
    8. 8 Polonia 0,7%
    9. 9 Rusia 0,7%
    10. 10 Canada 0,4%

    Identifică cele trei cele mai întunecate țări de pe hartă. Muzeul care găzduiește această pictură se află în oricare dintre acestea? Scrie un motiv pentru care oamenii de la distanță ar putea să o privească.

    Cele 20 de opere cele mai vizualizate ale lui George Catlin

    1. 1 Náh se ús kuk, Whirling Thunder, Eldest Son of Black Hawk, 1832 1,3%
    2. 2 An Aged Ojibbeway Chief and Three Warriors, 1869 1,3%
    3. 3 Ud-je-jock, Pelicanul băiat, 1845 1,0%
    4. 4 Pa rís ka róo pa, Two Crows, a Band Chief, 1832 1,0%
    5. 5 Bird, 1839 1,0%
    6. 6 Káh kée tsee, Thighs, a Wichita Woman, 1834 1,0%
    7. 7 Wa ho béck ee, a Handsome Brave, 1834 1,0%
    8. 8 The Last Race, Mandan O-Kee-Pa Ceremony, 1832 1,0%
    9. 9 Iron Bluff, 1200 Miles above St. Louis, 1832 1,0%
    10. 10 View of the Junction of the Red River and the False Washita, in Texas, 1835 1,0%
    11. 11 Tuch-ee, A Celebrated War Chief of the Cherokees, 1834 1,0%
    12. 12 Chief of the Taensa Indians Receiving La Salle. March 20, 1682, 1848 1,0%
    13. 13 Ottowa Chief, His Wife, and a Warrior, 1869 1,0%
    14. 14 A Small Tobos Village, 1869 1,0%
    15. 15 View on the Missouri, Alluvial Banks Falling in, 600 Miles above St. Louis, 1832 0,7%
    16. 16 Né-hee-ó-ee-wóo-tis, Wolf on the Hill, Chief of the Tribe, 1832 0,7%
    17. 17 Múk-a-tah-mish-o-káh-kaik, Black Hawk, Prominent Sac Chief, 1832 0,7%
    18. 18 Say-say-gon, Hail Storm, War Chief, 1845 0,7%
    19. 19 Assinneboine Chief before and after Civilization, 1869 0,7%
    20. — Há-tchoo-túc-knee, Snapping Turtle, a Half-breed, 1834 această pictură 0,0%

    Împreună, aceste lucrări reprezintă 18,1% din întreaga atenție primită de picturile acestui artist în ultimele doceze luni. Catalogul cuprinde 736 lucrări ale acestui artist, dintre care 233 au fost vizualizate cel puțin o dată. Această pictură nu a fost vizualizată încă în acest interval — aceasta închide lista fără un clasament. Aceleași cifre, lună de lună

    Barele măsoară atenția, nu calitatea. Alege lucrarea de la începutul listei și pe aceasta: numește un singur lucru care ar putea face o pictură celebră, dincolo de cât de bine este executată.

    Despre această operă

    Há-tchoo-túc-knee, Snapping Turtle, a Half-breed — George Catlin

    The Visionary’s Gaze: George Catlin and the Soul of the Plains

    George Catlin's “Há-tchoo-túc-knee, Snapping Turtle, a Half-breed,” painted in 1834, isn’t merely a portrait; it’s a carefully constructed window into a vanishing world. This arresting image transcends the simple depiction of an individual, becoming instead a poignant meditation on identity, cultural exchange, and the encroaching tide of Western expansion. Catlin, driven by a deep empathy for Native American tribes facing relentless displacement, embarked on a radical artistic project: to capture their essence not through romanticized stereotypes, but with unflinching honesty and profound respect. The painting’s power lies in its ability to convey both the subject's inherent dignity and the complex circumstances of his existence as a ‘half-breed,’ caught between two worlds.

    A Man of Two Worlds: Symbolism and Portraiture

    The subject himself is immediately compelling – a man radiating quiet strength and contemplative awareness. His posture, seated with folded arms, suggests both dignity and a certain weariness, hinting at the burdens carried by someone navigating a world that doesn’t fully accept him. The vibrant blue jacket, adorned with intricate red designs, speaks to his status and perhaps a connection to tribal traditions – a visual assertion of belonging within a complex social landscape. The feathered headdress, a potent symbol of leadership and spiritual authority, elevates the figure beyond a simple portrait; it's a declaration of heritage. The snapping turtle itself, rendered with remarkable detail, is not just an animal subject but a powerful emblem of the American West – a resilient creature embodying the spirit of survival in a harsh environment.

    Catlin’s technique is characterized by his signature “border painting” style. He deliberately left unpainted areas around the figure, creating a sense of depth and drawing attention to the subject's form. This technique, coupled with his use of bold colors and expressive brushstrokes, imbues the portrait with a dynamic energy that belies its stillness. The muted background serves as a deliberate framing device, emphasizing the individual’s presence and directing the viewer’s gaze directly upon him.

    Historical Context: A Bridge Between Cultures

    “Há-tchoo-túc-knee, Snapping Turtle, a Half-breed” was created during a pivotal moment in American history – the era of westward expansion and the systematic displacement of Native American tribes. Catlin’s work represents a crucial attempt to document these cultures before they were irrevocably lost. He wasn't simply an observer; he actively sought to understand and portray the lives, customs, and beliefs of the people he encountered. His travels through the Plains territories provided him with unparalleled access to indigenous communities, allowing him to capture their essence in a way that few artists had previously attempted. The painting reflects the complex realities of this period – the blending of cultures, the tensions between tradition and modernity, and the tragic consequences of colonization.

    A Legacy of Representation: Reproduction and Artistic Impact

    Today, “Há-tchoo-túc-knee, Snapping Turtle, a Half-breed” stands as a testament to Catlin’s artistic vision and his commitment to preserving the stories of Native American tribes. WahooArt offers meticulously crafted hand-painted reproductions that faithfully capture the painting's original detail and emotional resonance. These reproductions provide an opportunity to bring this powerful work into your home or office, serving not only as a beautiful piece of art but also as a reminder of a complex and often overlooked chapter in American history. The reproduction allows you to appreciate Catlin’s masterful use of color, composition, and symbolism, while simultaneously honoring the legacy of the subject he so powerfully depicted.

    Artist și muzeu

    Artist

    George Catlin

    Născut în Wilkes-Barre, Statele Unite ale Americii

    Early Life and the Call of the Frontier

    George Catlin, born in Wilkes-Barre, Pennsylvania, in 1796, was destined for a life profoundly shaped by the frontier—a world both alluring and perilous, vividly etched into his memory through the tales spun by his mother, Polly Sutton. Her own harrowing experience as a captive during an Indian raid ignited within young Catlin a deep fascination with the West, a land perceived not merely as distant but as imbued with a unique dignity and romance. Initially trained in law, he found himself drawn to a different path—a yearning to capture the essence of a vanishing way of life before it was irrevocably altered by westward expansion. This wasn’t simply an artistic pursuit; it stemmed from a profound sense of urgency, a premonition that these vibrant cultures were on the brink of disappearing. His early work, primarily engravings depicting scenes along the Erie Canal, demonstrated a remarkable technical skill and attention to detail—qualities he would later hone into his ambitious project: documenting the lives of Native American tribes. These initial endeavors served as a crucial foundation, sharpening his observational abilities and solidifying his commitment to visual storytelling, laying the groundwork for his future explorations.

    Documenting a Vanishing World: The Indian Gallery

    Catlin’s most enduring legacy is undoubtedly “The Indian Gallery,” an extraordinary collection of over 500 paintings meticulously crafted between the 1830s and 1836 during five extensive expeditions into the American West. He ventured up the Missouri River, penetrating territories inhabited by tribes such as the Mandan, Sioux, Blackfeet, and Choctaw—immersing himself within their communities, participating in ceremonies, witnessing daily life, and forging genuine relationships with tribal leaders. It’s crucial to understand that Catlin wasn't merely an observer; he actively sought to understand and represent these cultures authentically. His paintings are not simply portraits but vibrant narratives of Native American life, capturing the dynamism of their customs, the solemnity of their rituals, and the profound connection between people and the land. Works like Sham Fight, Mandan Boys (1832-1833) offer a glimpse into the playful yet competitive spirit of young warriors, while Medicine Buffalo of the Sioux (1839) powerfully conveys the dignity and authority of a prominent tribal leader. The meticulous detail in these paintings—from the intricate beadwork on clothing to the carefully rendered landscapes—reflects Catlin’s dedication to accuracy and his desire to present Native Americans not as savage stereotypes, but as individuals with rich cultural traditions and complex social structures.

    A Journey Westward: Challenges and Artistic Evolution

    Catlin's expeditions were far from easy. He faced immense logistical challenges – navigating treacherous rivers, enduring harsh weather conditions, and often relying on the hospitality of tribes wary of outsiders. Furthermore, he encountered significant resistance to his work—many Native Americans viewed his presence with suspicion, while government officials largely dismissed his efforts as frivolous or even exploitative. Despite these obstacles, Catlin persevered, driven by a deep conviction that documenting these cultures was an urgent necessity. His artistic style evolved throughout his journey, moving from the more formal engravings of his early career to a looser, more expressive approach that captured the immediacy and dynamism of Native American life. He experimented with color palettes, brushstrokes, and composition, striving to create paintings that were both visually compelling and emotionally resonant. The influence of Hudson River School painters is evident in his landscapes, while his portraits often incorporate elements of realism and psychological insight.

    Recognition and Legacy

    Catlin’s work initially garnered limited recognition in the United States, but it gained considerable acclaim abroad, particularly in Europe during the 1840s and 50s. Exhibitions in London, Paris, and Berlin captivated audiences with their vivid depictions of Native American life—a world largely unknown to Europeans. These international successes not only provided Catlin with much-needed financial support but also helped to raise awareness of the plight of Native Americans and challenge prevailing prejudices. He published several influential books, including Letters and Notes on the Manners, Customs, and Conditions of North American Indians (1841) and Last Rambles Amongst the Indians of the Rocky Mountains and the Andes (1868), which further solidified his reputation as a leading authority on Native American culture. Despite facing financial difficulties throughout his life, Catlin remained steadfast in his commitment to documenting these vanishing cultures until his death in 1872. Today, George Catlin is remembered not only for his artistic achievements but also for his pioneering role in advocating for the preservation of Native American heritage and challenging the dominant narratives of American history. His paintings serve as a poignant reminder of a time when indigenous cultures were on the brink of extinction—a legacy that continues to inspire artists and scholars alike.

    Key Works

    Sham Fight, Mandan Boys (1832-1833): A lively depiction of a playful mock battle among young Mandan warriors.

    Mrs. George Catlin (Clara Bartlett Gregory) (1850): A portrait showcasing the artist’s wife, offering insight into his personal life.

    Pipestone Quarry, Coteau Des Prairies (1848): Illustrates a sacred site for many tribes and their spiritual connection to the land.

    Medicine Buffalo of the Sioux (1839): A striking portrait capturing the dignity and power of a prominent Sioux leader.

    Prairie Meadows Burning (1832): Depicts a dramatic scene of controlled burning, highlighting the relationship between Native Americans and their environment.

    Little Wolf, A Famos Warrior (1844): A powerful portrait of a Native American warrior, symbolizing strength and resilience.

    Muzeu

    Muzeul de Artă Americană Smithsonian

    Expus la Washington, D.C., Statele Unite ale Americii

    A Chronicle of American Identity: The Smithsonian American Art Museum

    Nestled within the venerable Old Patent Office Building in Washington, D.C., the Smithsonian American Art Museum is more than simply a repository for artistic treasures; it’s a profoundly resonant chronicle of the United States itself. Stepping through its grand doors feels akin to embarking on a journey into the very heart of America – a sprawling narrative woven from the threads of colonial landscapes, poignant social commentaries, groundbreaking artistic innovations, and the diverse voices that have shaped our nation's cultural identity. The building’s presence, originally conceived as a showcase for American ingenuity during the 19th century, provides an unexpectedly powerful backdrop to the artwork within; its soaring ceilings, intricate detailing, and sense of monumental scale whisper tales of innovation and progress, elevating every piece on display with a subtle yet undeniable grandeur. The juxtaposition of this industrial-era architecture with the vibrant expressions of American art creates a dialogue across time, prompting reflection on the nation’s evolving values and artistic sensibilities.

    The museum's collection is an astonishingly diverse tapestry, spanning centuries and encompassing a breathtaking range of artistic styles. From the evocative landscapes of Frederic Church and Thomas Moran, capturing the untamed grandeur of the American West with their luminous colors and dramatic compositions – images that once fueled westward expansion and romanticized the frontier – to the sharp social critiques of Edward Hopper and Dorothea Lange, documenting the stark realities of the Great Depression through hauntingly intimate portraits that expose human vulnerability and resilience, SAAM offers a panoramic view of the nation’s visual history. You'll encounter the vibrant folk art traditions of self-taught artists like Florence Scovel Shinn, whose whimsical illustrations captured everyday life with charming detail, and Ralston Crawford, who masterfully depicted urban landscapes and industrial scenes, reflecting the dynamism and anxieties of early 20th-century America. Alongside these familiar figures, SAAM proudly showcases the iconic works of Georgia O’Keeffe, whose abstract floral paintings continue to captivate viewers with their bold colors, intimate perspectives, and profound exploration of form and nature; and a significant collection of Native American art, reflecting the rich artistic traditions of diverse tribes across the country – a vital and often underrepresented element of America's artistic heritage. Notable highlights include Winslow Homer’s masterful depictions of coastal life, offering a poignant glimpse into America’s complex relationship with the sea, and the museum’s extensive holdings of works by African American artists, whose contributions have often been overlooked but are now rightfully celebrated for their power, beauty, and social commentary.

    Architectural Echoes and Contemporary Dialogue

    The Old Patent Office Building itself is an integral part of the SAAM experience. Constructed in 1855 as a showcase for American inventions – a symbol of ingenuity and progress during the Industrial Revolution – its neoclassical design and expansive spaces provide a stunning setting for the museum’s collection. The building’s original purpose, celebrating innovation, subtly mirrors the museum’s own mission: to explore and celebrate the creative spirit of America. The juxtaposition of this grand, functional space with the diverse range of artistic expressions within creates an intriguing tension – a reminder of the constant interplay between progress and tradition, industry and art. The addition of the Renwick Gallery in 1972, housed just blocks away, broadened SAAM’s scope and championed craft traditions alongside fine art, further enriching the museum's narrative. This deliberate pairing highlights the ongoing evolution of American creativity – a conversation between past masters and present-day makers, demonstrating how artistic forms adapt and transform over time.

    Current Explorations: Stories in Every Frame

    Currently, SAAM is hosting several compelling exhibitions that illuminate diverse facets of the American experience. “State Fairs: Growing American Craft” offers a fascinating look at the artistic contributions to this uniquely American tradition, celebrating the creativity and skill of fair artists across the country – from intricate quilts to dazzling ceramics. “Shahzia Sikander: The Last Post,” a powerful multimedia installation by Pakistani-American artist Shahzia Sikander, critically examines the legacy of British colonialism through the lens of Indo-Persian miniature painting—a truly thought-provoking exploration of cultural exchange and historical perspective. And don’t miss “Cecilia Vicuña: Quipu Viscera,” an immersive installation that utilizes unspun wool to explore themes of memory, identity, and indigenous rights – a poignant reminder of the enduring struggles for recognition and justice. These exhibitions, alongside the museum's permanent collection, offer visitors a rich and rewarding experience, showcasing the breadth and depth of American artistic expression.

    A Legacy of Access and Engagement

    Beyond its impressive collection and architectural splendor, SAAM is deeply committed to education and accessibility. It provides extensive resources for students, teachers, and art enthusiasts alike through online databases and engaging programs. The museum’s free admission policy ensures that its treasures are accessible to all, fostering a deeper appreciation for American art and culture within the community and beyond. Visiting SAAM isn't simply an opportunity to view beautiful objects; it is an invitation to connect with the nation’s history, celebrate its diversity, and engage in a meaningful exploration of what it means to be American – a vibrant testament to the enduring power of artistic expression. The museum continues to evolve, embracing new technologies and perspectives while remaining steadfast in its commitment to preserving and sharing America's rich artistic heritage.

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    Citează această lucrare

    MLA
    Catlin, George. Há-tchoo-túc-knee, Snapping Turtle, a Half-breed. 1834, Muzeul de Artă Americană Smithsonian. https://originaluniqueart.com/ro/art/george-catlin-ha-tchoo-tuc-knee-snapping-turtle-a-half-breed-D3ZFEM-en/
    APA
    Catlin, George (1834). Há-tchoo-túc-knee, Snapping Turtle, a Half-breed [Painting]. Muzeul de Artă Americană Smithsonian. https://originaluniqueart.com/ro/art/george-catlin-ha-tchoo-tuc-knee-snapping-turtle-a-half-breed-D3ZFEM-en/
    Chicago
    George Catlin. Há-tchoo-túc-knee, Snapping Turtle, a Half-breed. 1834. Muzeul de Artă Americană Smithsonian. https://originaluniqueart.com/ro/art/george-catlin-ha-tchoo-tuc-knee-snapping-turtle-a-half-breed-D3ZFEM-en/
    Harvard
    Catlin, George (1834) Há-tchoo-túc-knee, Snapping Turtle, a Half-breed. Muzeul de Artă Americană Smithsonian. Available at: https://originaluniqueart.com/ro/art/george-catlin-ha-tchoo-tuc-knee-snapping-turtle-a-half-breed-D3ZFEM-en/

    Priviți cu atenție

    Há-tchoo-túc-knee, Snapping Turtle, a Half-breed — George Catlin

    Privire atentă

    Răspunde cu propriile tale cuvinte. Nu există răspunsuri greșite aici — doar răspunsuri pe care le poți explica.

    1. Ce vă atrage atenția prima dată și de ce?
    2. Ce culori sau forme creează atmosfera — și care este acea atmosferă?
    3. Catalogul nostru clasifică această lucrare sub: native american, portrait, indigenous. Sunteți de acord? Ce ați adăuga sau ce ați elimina?
    4. Reveniți asupra lucrării Múk-a-tah-mish-o-káh-kaik, Black Hawk, Prominent Sac Chief (1832), prezentată anterior în acest ghid. Identificați două elemente pe care le împarte cu această lucrare și unul care diferă.
    5. Realism: Painting ordinary people and ordinary work exactly as they are, without making them prettier or grander. Unde puteți observa acest lucru în această lucrare?

    Răspunsul tău

    Scrie un scurt paragraf despre această operă de artă. Folosește informațiile din secțiunile anterioare ale acestui ghid și răspunsurile oferite mai sus.

    Quiz de artă

    Há-tchoo-túc-knee, Snapping Turtle, a Half-breed — George Catlin

    Cât de bine cunoști această operă de artă?

    Selectați câte un răspuns pentru fiecare dintre cele 4 întrebări de mai jos. Fiecare are exact un singur răspuns corect.

    1. 1. What is the primary subject of George Catlin’s painting, ‘Há-tchoo-túc-knee, Snapping Turtle, a Half-breed’?

      • A A portrait of a European nobleman.
      • B A depiction of a Native American man and his turtle companion.
      • C An abstract landscape scene.
    2. 2. In what year was George Catlin’s painting ‘Há-tchoo-túc-knee, Snapping Turtle, a Half-breed’ created?

      • A 1824
      • B 1834
      • C 1844
    3. 3. What is the approximate size of the painting ‘Há-tchoo-túc-knee, Snapping Turtle, a Half-breed’?

      • A 73 x 60 cm
      • B 100 x 80 cm
      • C 50 x 40 cm
    4. 4. The painting features a Native American man wearing a distinctive jacket. What is the primary purpose of the red designs on his jacket?

      • A To indicate his social status.
      • B They are purely decorative elements.
      • C To represent tribal markings.

    Scorul meu: ____ din 4

    Cheia răspunsurilor — pentru profesor

    Acesta începe o pagină nouă, astfel încât poate fi pur și simplu omis din copii.

    1B · 2B · 3A · 4A

    Verificați orice răspuns comparându-l cu înregistrarea din catalog pentru această pictură

    Întrebări și răspunsuri

    Ce intensitate de culoare are "Há-tchoo-túc-knee, Snapping Turtle, a Half-breed" de George Catlin?

    Intensitatea culorilor din "Há-tchoo-túc-knee, Snapping Turtle, a Half-breed" este Balanced. Această intensitate descrie cât de puternice par a fi culorile.

    Care este tehnica de execuție și dimensiunile pentru „Há-tchoo-túc-knee, Snapping Turtle, a Half-breed”?

    Originalul "Há-tchoo-túc-knee, Snapping Turtle, a Half-breed" de George Catlin este o lucrare de tip Oil On Canvas, cu dimensiunile de 73 x 60 cm. Tehnica și dimensiunea descriu obiectul original.

    Cât de cunoscută este opera „Há-tchoo-túc-knee, Snapping Turtle, a Half-breed” de George Catlin?

    Nivelul de popularitate înregistrat pentru "Há-tchoo-túc-knee, Snapping Turtle, a Half-breed" de George Catlin este Iconic.