Let me begin by invoking three moments from the history of the North American West. The first occurred in late 1801; the second, in 1842 or early 1843; the third took place in 1881. Together, these three moments set the stage for this volume of essays, an attempt probe the commingling of Canada's West with that of the United States West in history, image, and myth, adapt the phrasing of Henry Nash Smith's subtitle in Virgin Land (1950). Any story, any history, is a combination of verifiable fact, descriptive image, and believed (or disbelieved) mythology, and nowhere has this been more evident that in the North American West it explored, settled, and understood from the sixteenth century the present. Three moments. John L. Allen, author of the excellent Passage Through the Garden: Lewis and Clark and the Image of the American Northwest (1975), has also written of Thomas Jefferson's reaction the publication, in London, of Alexander Mackenzie's Voyages from Montreal, on the River St. Lawrence, through the Continent of North the Frozen and Pacific Oceans in the Years 1789 and 1793 (1801). He says that late in 1801 the President was worried because the publication of Mackenzie's book stirred the imagination of the Western world and jolted Jefferson's thinking on the geography of the western interior of North America (79). As a consequence, Jefferson ordered his own copy of the book from Philadelphia, he began poring his collection of books and maps on western North and he told his personal secretary, Meriwether Lewis, to begin making preparations for an American exploration the Pacific. More than this, Jefferson also informed the Spanish, British, and French ministers the United States of his intentions send Lewis west, as he put it, 'unite the discoveries' of the explorers of Rupert's Land with those of an American party farther south (80). That's just what Lewis and Clark eventually did--unite the versions of the geographical reality of the North American West then understood in Europe, in British North America, and in the United States. This is a first moment. The second occurred sometime over the winter of 1842-43 in London where Paul Kane, who there after studying art in Italy, met George Catlin and Catlin's art on display in Egyptian Hall, Piccadilly. The American then basking in the fame that his for a short time, a notoriety fueled by his best-selling book, Letters and Notes on the Manners, Customs, and Conditions of the North American Indians that had been published in 1841 (see Dippie et al). Kane, inspired by this meeting and by Catlin's images, decided embark on a similar project in Canada. He returned there and made an initial summer sketching trip the northern Great Lakes country in 1845 before securing the support of the Hudson's Bay Company for his transcontinental trip, 1846-48. As J. Russell Harper explains, Sir George Simpson--Inland Governor of the Company--wrote a circular letter all Hudson's Bay Company officers in 'Ruperts Land and Elswehere,' directing that the artist be given free transportation of company boats and 'hospitalities' at all posts. Kane, a guest of the Hudson's Bay Company, could go without cost anywhere in the vast territories it controlled (Qtd. in MacLaren, I Came, 11). It a wonderful deal. Kane, in fact, arrived on the Pacific coast in the same HBC brigade that brought the official news of the Oregon Treaty (1846). That is, he there just vast changes were afoot. The third moment is a brief one, barely mentioned in the biographical accounts of North America's most-famous Western painter, Frederic Remington. In 1881, Remington made his first trip west Montana, the trip from which he sent back--drawn on a piece of wrapping paper--his first illustration appear in Harper's Weekly (in February 1882). During that trip he crossed the Canada-U.S. border on horseback and there, according one commentator, saw his first Mounted Police--bringing in a Blackfoot suspected of murder. …
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