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The United Nations Educational and Cultural Organization (UNESCO) entrusted author James Robinson with tracking down the place where the Nag Hammadi Codices had been discovered. Priests whom the author interviewed in the region told Robinson that the codices had once been in the possession of a priest in the town of Dishna, a bit further upstream than Nag Hammadi itself. Robinson found that this priest had not had the Nag Hammadi Codices but rather the Bodmer Papyri. For Dishna is where the monastery headquarters of the first monastic order was located. The Bodmer Papyri discovery consisted of all that was left of the library of the Pachomian monastic order: Coptic letters of Pachomius and very early Greek copies of Luke and John, perhaps donated when Athanasius was in hiding at the monastery. These treasures were preserved in a jar hidden in the mountain where monks were buried. This book traces the story of the Bodmer Papyri from beginning to end.

To document the natural history and inhabitants of the American West, Prince Maximilian of Wied-Neuwied selected the Swiss artist Karl Bodmer to accompany him on his 1833-34 expedition up the Missouri River. Beginning in St. Louis, they journeyed as far as inland waterways could take them, through present-day Nebraska, South Dakota, North Dakota, and into Montana.During the expedition, twenty-three-year-old Bodmer sketched and painted a wealth of landscapes and Native American portraits that would be immortalized as engravings in Maximilian's published journals and accompanying atlas. Now considered the most vivid and instructive depiction of the nineteenth-century American West and its people prior to the decimation of many Plains tribes by disease, Bodmer's artwork continues to intrigue historians, scholars, and collectors.This volume collects Bodmer's studio art, a series of compositions he created in his Paris studio. These images, thirteen of them previously unpublished, are augmentations of the artist's expeditionary sketches and watercolors rendered in the complicated process of completing the aquatints. The publication of the Newberry Library Bodmer Collection, together with five sketches from the Baltimore Museum of Art, brings together nearly all of Bodmer's extant works not previously collected in book form. Karl Bodmer's Studio also includes sketches that Bodmer did not use for later paintings or engravings.

To document the natural history and inhabitants of the American West, Prince Maximilian of Wied-Neuwied selected the Swiss artist Karl Bodmer to accompany him on his 1833-34 expedition up the Missouri River. Beginning in St. Louis, they journeyed as far as inland waterways could take them, through present-day Nebraska, South Dakota, North Dakota, and into Montana.During the expedition, twenty-three-year-old Bodmer sketched and painted a wealth of landscapes and Native American portraits that would be immortalized as engravings in Maximilian's published journals and accompanying atlas. Now considered the most vivid and instructive depiction of the nineteenth-century American West and its people prior to the decimation of many Plains tribes by disease, Bodmer's artwork continues to intrigue historians, scholars, and collectors.This volume collects Bodmer's studio art, a series of compositions he created in his Paris studio. These images, thirteen of them previously unpublished, are augmentations of the artist's expeditionary sketches and watercolors rendered in the complicated process of completing the aquatints. The publication of the Newberry Library Bodmer Collection, together with five sketches from the Baltimore Museum of Art, brings together nearly all of Bodmer's extant works not previously collected in book form. Karl Bodmer's Studio also includes sketches that Bodmer did not use for later paintings or engravings.

The United Nations Educational and Cultural Organization (UNESCO) entrusted author James Robinson with tracking down the place where the Nag Hammadi Codices had been discovered. Priests whom the author interviewed in the region told Robinson that the codices had once been in the possession of a priest in the town of Dishna, a bit further upstream than Nag Hammadi itself. Robinson found that this priest had not had the Nag Hammadi Codices but rather the Bodmer Papyri. For Dishna is where the monastery headquarters of the first monastic order was located. The Bodmer Papyri discovery consisted of all that was left of the library of the Pachomian monastic order: Coptic letters of Pachomius and very early Greek copies of Luke and John, perhaps donated when Athanasius was in hiding at the monastery. These treasures were preserved in a jar hidden in the mountain where monks were buried. This book traces the story of the Bodmer Papyri from beginning to end.

The United Nations Educational and Cultural Organization (UNESCO) entrusted author James Robinson with tracking down the place where the Nag Hammadi Codices had been discovered. Priests whom the author interviewed in the region told Robinson that the codices had once been in the possession of a priest in the town of Dishna, a bit further upstream than Nag Hammadi itself. Robinson found that this priest had not had the Nag Hammadi Codices but rather the Bodmer Papyri. For Dishna is where the monastery headquarters of the first monastic order was located. The Bodmer Papyri discovery consisted of all that was left of the library of the Pachomian monastic order: Coptic letters of Pachomius and very early Greek copies of Luke and John, perhaps donated when Athanasius was in hiding at the monastery. These treasures were preserved in a jar hidden in the mountain where monks were buried. This book traces the story of the Bodmer Papyri from beginning to end.

Among the many painters of the early American West—of Native Americans, landscape, wildlife—no artist is more admired and renowned than Karl Bodmer. Here, for the first time, carefully prepared and painstakingly reproduced, is the full range of Bodmer's American work, printed in 359 plates, 257 in full color and 102 in black and white. Here, also for the first time, is the background needed to place Bodmer and his work in the history of his time, exploration, and the American frontier: his life, his American journey, and the subjects he painted and their contexts.Bodmer accompanied his patron, Prince Maximilian of Wied, to the upper Missouri country in 1982-34. For many years, his work was known only through a picture atlas of eighty-one aquatints—largely Native American subjects—published in Europe soon after the party returned home. His original American art dropped out of sight for a hundred years, but was rediscovered at the Wied estate after World War II. The collection is now held by the Inter-North Art Foundation and is on permanent loan to the Joslyn Museum in Omaha, Nebraska. Except for the few selections judged too faint to reproduced, this volume presents that entire collection.The paintings and sketches constitute a unique visul survey of the American frontier of that day. They follow Maximilian and Bodmer across the United States and some three thousand miles up the Missouri, through the domain of the Sioux, Manans, and Hidatsas, Blackfeet, Assiniboins, and other tribes. They depict landscapes, river views, natural history studies, and views of cities and settlements, as well as Indian portraits and related scenes of aboriginal life.Karl Bodmer's America is a joint publication of the Joslyn Art Museum and the University of Nebraska Press.

In May of 1832, Swiss artist Karl Bodmer (1809–93) set out with Maximilian, Prince of Wied, on a twenty-eight-month expedition along the Ohio and Missouri Rivers. Along the way, Bodmer produced more than four hundred watercolors and sketches of Native American people, landscapes, animals, and plants. Engravings of many of the images were subsequently used to illustrate Travels in the Interiors of North America, Prince Maximilian’s well-known historical account. Paying homage to the great painter who captured for the rest of the world so many important natural details of early America, Karl Bodmer presents all eighty-one engravings used to illustrate Maximilian’s book, as well as the original watercolors, sketches, and photographs collected during the passage. Bodmer’s detailed work is among the most important documents of Native American culture of the nineteenth century, and this richly illustrated volume brings to life a monumental event in both art history and the history of early America.  

Among the many painters of the early American West—of Native Americans, landscape, wildlife—no artist is more admired and renowned than Karl Bodmer. Here, for the first time, carefully prepared and painstakingly reproduced, is the full range of Bodmer's American work, printed in 359 plates, 257 in full color and 102 in black and white. Here, also for the first time, is the background needed to place Bodmer and his work in the history of his time, exploration, and the American frontier: his life, his American journey, and the subjects he painted and their contexts.Bodmer accompanied his patron, Prince Maximilian of Wied, to the upper Missouri country in 1982-34. For many years, his work was known only through a picture atlas of eighty-one aquatints—largely Native American subjects—published in Europe soon after the party returned home. His original American art dropped out of sight for a hundred years, but was rediscovered at the Wied estate after World War II. The collection is now held by the Inter-North Art Foundation and is on permanent loan to the Joslyn Museum in Omaha, Nebraska. Except for the few selections judged too faint to reproduced, this volume presents that entire collection.The paintings and sketches constitute a unique visul survey of the American frontier of that day. They follow Maximilian and Bodmer across the United States and some three thousand miles up the Missouri, through the domain of the Sioux, Manans, and Hidatsas, Blackfeet, Assiniboins, and other tribes. They depict landscapes, river views, natural history studies, and views of cities and settlements, as well as Indian portraits and related scenes of aboriginal life.Karl Bodmer's America is a joint publication of the Joslyn Art Museum and the University of Nebraska Press.

The United Nations Educational and Cultural Organization (UNESCO) entrusted author James Robinson with tracking down the place where the Nag Hammadi Codices had been discovered. Priests whom the author interviewed in the region told Robinson that the codices had once been in the possession of a priest in the town of Dishna, a bit further upstream than Nag Hammadi itself. Robinson found that this priest had not had the Nag Hammadi Codices but rather the Bodmer Papyri. For Dishna is where the monastery headquarters of the first monastic order was located. The Bodmer Papyri discovery consisted of all that was left of the library of the Pachomian monastic order: Coptic letters of Pachomius and very early Greek copies of Luke and John, perhaps donated when Athanasius was in hiding at the monastery. These treasures were preserved in a jar hidden in the mountain where monks were buried. This book traces the story of the Bodmer Papyri from beginning to end.

In May of 1832, Swiss artist Karl Bodmer (1809–93) set out with Maximilian Prince of Wied, a German aristocrat and scientist, on a 28-month journey along the Ohio and Missouri rivers. For Bodmer, the expedition resulted in more than 400 watercolors and sketches of Native American people, landscapes, animals, and plants. Engravings of many of the images were subsequently used to illustrate Travels in the Interior of North America, Prince Maximilian’s well-known historical account. Karl Bodmer is an homage to the great painter who captured for the rest of the world so many important natural details of early America.            Presented here are all 81 engravings used to illustrate Maximilian’s book, and 9 of Bodmer's original watercolors and sketches, as well as photographs of artifacts collected during the legendary passage. Bodmer’s detailed work is among the most important documents of Native American culture from that region. Almost all of these images are held today in public collections in the United States, including large collections at the Newberry Library in Chicago, the Baltimore Museum of Art and the Joslyn Art Museum in Omaha.            Karl Bodmer is a richly illustrated volume that brings to life a monumental event in both art history and the history of early America.

The Maximilian-Bodmer Collection at Joslyn Art Museum is internationally recognized as a priceless record of early nineteenth-century America. Nebraska is fortunate to have this significant collection. Prince Maximilian's meticulous written observations, contained in lengthy journals and letters, are beautifully depicted by hundreds of landscapes and portraits created by Karl Bodmer.

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Published in association with the American Library of Congress, this miniature folio is based on the well-known frontier artwork of Catlin's North American Indian Portfolio, McKenney and Hall's History of the Indian Tribes of North America and Bodmer's America These three historic collections of prints and paintings were the first to preserve images of native Americans before their culture was affected by the white man.

This is a book not only about the Indians, themselves, but about a turning point in Indian-White relations. By 1891, less than fifty years after the realization of these extraordinary works of art by Charles Bird King, George Catlin and Karl Bodmer, for the first time united within this book, the majority of Indians were on reservations. Thaks to the art and travels of these artists, it is possible to admire visual delights, stories of high adventur, and meditate upon the moral tale of the displacement and disruption of the original inhabitants of North America.

Presents original drawings, paintings, and lithographs by the noted nineteenth-century artists

This Tiny Folio™ volume is based on the well-known frontier artwork by Karl Bodmer, George Catlin, and McKenney & Hall. Based on the renowned frontier artwork of George Catlin’s North American Indian Portfolio, McKenney and Hall’s History of the Indian Tribes of North America, and Prince Maximilian’s Travels in the Interior of North America between 1832 and 1834, these historic collections of prints and paintings were the first to preserve images of Native Americans before their culture was affected by the white man. Fulfilling one of the Library of Congress’s central missions—to document the printed, visual, and written history of this country—the images in this volume constitute part of the archive of the American memory. Native Americans found the world’s eyes upon them in the nineteenth century. Artists like George Catlin, Charles Bird King, and Karl Bodmer trekked to the West to paint images for those unable to make the journey and created some of the most important sociological, historical, and ethnological studies of American Indians. George Catlin, for example, was allowed to observe many of the ceremonies and games in the Indian villages which enabled him to provide a remarkably detailed picture of the tribe’s religious and social life. He wrote, The history and customs of such a people, preserved by pictorial illustration, are themes worthy of the lifetime of one man.” This extraordinary miniature folio will appeal to anyone with an interest in American art, art history, or Native American history.

Not since the early nineteenth century, when George Catlin and Karl Bodmer thoroughly sketched the area, have the rough-textured Loess Hills of western Iowa been artistically interpreted with any intensity. Now, inspired by this rugged landscape of steep-sided ridges and bluffs, Land of the Fragile Giants offers a collaboration of contemporary artists, scientists, and humanists all creating their interpretations of today's Hills. Looking at the natural and the human features of the renowned Hills, personal essays blend with works of art to create a verbal and visual panorama of the Loess Hills and a multidimensional view of a region that makes a deep impression on each visitor.Working closely with Iowa State University's Brunnier Art Museum, twenty-seven professional artists from Iowa and the Midwest visited the Loess Hills at various times throughout 1993 to gather insight for their projects. The result: a dramatic exhibition of paintings, sculpture, prints, and photographs that beautifully complement this volume's literary works. The twelve essayists also have strong ties to the Loess Hills. Each author has spent a significant portion of her or his life in the Hills. The scientists reinterpret their research within the framework of their experience; the humanists provide background and context for the scientists; the artists illuminate the whole.The art and essays in Land of Fragile Giants bring a meeting of broadly diverse minds and talents to an appreciation of the multitude beauties of Iowa's premier natural area. This striking and colorful volume will appeal to all those captivated by the Loess Hills and all general readers with interdisciplinary interests.

The four volumes of the Maximilian, Prince of Wied's Travels in the Interior of America during the years 1832-1834 follow the German explorer and naturalist's travels to the Great Plains region, including his journey up the Missouri River, with Swiss painter Karl Bodmer. While Maximilian's intention had been to describe the flora and fauna of the interior of American, he instead concentrated on describing the culture, language, customs, and appearance of the indigenous people he encountered along the way. Maximilian's work become well known for his thorough study of the Mandans and Hidatsas tribes, as well as for his less complete analysis of the Arikaras tribe. Of particular interest is his description of the one of the most important ceremonies of the Mandans, the O-kee-pa. While his writings helped to reinforce the Romantic ideal of the ""noble savage,"" Wied's Travels also records the impact contact with fur-traders and settlers began have on Native American tribes and the land around them. vol. 1 of 4

This book is informative, educational and highly recommended for all parents and others involved in the raising of competitive figure skater. Doris Bodmer has drawn on her considerable experience and insight acquired over the years as a competitive skater, coach, and judge to offer a book that will provide guidance through the intricacies of a wonderful sport. (Carol Heiss Jenkins)

In May of 1832, Swiss artist Karl Bodmer (1809–93) set out with Maximilian, Prince of Wied, on a twenty-eight-month expedition along the Ohio and Missouri Rivers. Along the way, Bodmer produced more than four hundred watercolors and sketches of Native American people, landscapes, animals, and plants. Engravings of many of the images were subsequently used to illustrate Travels in the Interiors of North America, Prince Maximilian’s well-known historical account. Paying homage to the great painter who captured for the rest of the world so many important natural details of early America, Karl Bodmer presents all eighty-one engravings used to illustrate Maximilian’s book, as well as the original watercolors, sketches, and photographs collected during the passage. Bodmer’s detailed work is among the most important documents of Native American culture of the nineteenth century, and this richly illustrated volume brings to life a monumental event in both art history and the history of early America.