painter, Albert Bierstadt (1830– 1902, US, born Germany), Th e Last of the Buff alo. Th e Last of the Buff alo, which showcases Plains Indians hunting an enormous herd of bison, has inspired essays exploring Bierstadt’s relationship to Indigenous peoples and to bison, and broader connections between these subjects and the West at the turn of the century. Th is framework of biographical, sociocultural, and environmental contextual research is stronger and more compelling than the melodramatic painting at the publication’s center. When Bierstadt painted The Last of the Buff alo his human and animal subjects’ populations were in severe decline, and most Americans believed the Indian and the buff alo were destined for extinction. Bierstadt paints man and beast locked in battle of mutually assured destruction rather than acknowledging that European Americans are the primary force decimating both populations. Peter Hassrick argues that the painting represents the end of the Old West and rise of a New West focused on preservation rather than exploitation and extermination, due to Bierstadt’s concern for the endangerment of western places like Yellowstone National Park, where wildlife was not protected until 1894, and the people and animals who dwelt there. Hassrick believes Bierstadt’s intentions regarding Indigenous peoples, western wildlife, and western places were sympathetic, and that he approached these subjects from a preservationist worldview. Th is argument seems less productive and is less convincing than other lines of inquiry found in the publication, including considerations of the painting’s contemporary reception among actual American Indians touring abroad in Buff alo Bill’s Wild West where the painting was displayed. Twice newspapers published accounts of Indians almost reverently observing Bierstadt’s painting, and Emily Burns’s essay adroitly explores the accuracy of these accounts and potential signifi cance of the encounters. Dan Flores’s essay balances emphasis on Bierstadt’s paintings of the Plains and the West with emphasis on the history of those places and the decline, but not extinction, of the buff alo. Most valuably, Oglala Lakota artist, historian, and educator Arthur Amiotte reminds readers in his prologue that the Native people Bierstadt painted were not extinguished, and that Native people continue to provide valuable perspectives on the West and its legacy.

中文翻译：

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平原印第安布法罗文化：艾玛·汉森 (Emma I. Hansen) 的保罗·戴克 (Paul Dyck) 收藏艺术

画家，阿尔伯特·比尔施塔特（Albert Bierstadt，1830–1902 年，美国，出生于德国），最后的 Buff alo。The Last of the Buff alo 展示了平原印第安人狩猎大量野牛的故事，激发了探索比尔施塔特与土著人民和野牛的关系以及这些主题与西方在世纪之交之间更广泛联系的文章。与出版物中心的情节剧绘画相比，传记、社会文化和环境背景研究的框架更强大、更引人注目。当比尔施塔特 (Bierstadt) 画《最后的野牛》时，他的人类和动物主题的数量急剧下降，大多数美国人认为印第安人和野牛注定要灭绝。Bierstadt 描绘了人与兽陷入相互确保毁灭的战斗中，而不是承认欧洲裔美国人是摧毁这两个人口的主要力量。彼得·哈斯里克（Peter Hassrick）认为，这幅画代表了旧西部的终结和新西部的兴起，重点是保护而不是开发和灭绝，因为比尔施塔特担心黄石国家公园等西部地区受到威胁，那里的野生动物直到 1894 年才受到保护，以及居住在那里的人和动物。Hassrick 认为 Bierstadt 对原住民、西方野生动物和西方地方的意图是同情的，并且他从保护主义的世界观中接近这些主题。与出版物中发现的其他调查线索相比，这种论点似乎效率较低，说服力也较低，包括考虑这幅画在美国印第安人中的当代接受程度，这些印第安人在布夫阿洛比尔的狂野西部巡回展出这幅画。两份报纸刊登了印度人几乎虔诚地观察比尔施塔特的画作的报道，而艾米丽·伯恩斯的文章巧妙地探讨了这些报道的准确性和相遇的潜在意义。丹·弗洛雷斯 (Dan Flores) 的文章在对比尔施塔特 (Bierstadt) 平原和西部绘画的强调与对这些地方的历史和野牛的衰落而非灭绝的强调之间取得了平衡。最有价值的是，奥格拉拉拉科塔 (Oglala Lakota) 艺术家、历史学家和教育家 Arthur Amiotte 在他的序言中提醒读者，比尔施塔特 (Bierstadt) 画的土著人并未消失，土著人继续提供有关西方及其遗产的宝贵观点。