Henry H. Cross (1837-1918) stands as a significant, if sometimes overlooked, figure in the pantheon of American artists who dedicated their talents to capturing the essence of the American West. Born in Flemingville, New York, in 1837, Cross developed an early wanderlust and a keen eye for the world around him, traits that would define his artistic journey. He is primarily celebrated for his evocative portraits of Native American leaders and his dynamic depictions of thoroughbred racehorses, two subjects that, while seemingly disparate, both spoke to a rapidly changing American landscape in the 19th and early 20th centuries.
Early Life and Artistic Awakening
Cross's formative years were marked by a restless spirit. He reportedly ran away from home multiple times during his adolescence, eventually finding a temporary home and perhaps an early exposure to diverse characters and animals within the vibrant, traveling world of the circus. This period likely honed his observational skills and instilled in him a comfort with subjects outside the conventional norms of academic art.
A pivotal moment in his artistic development came in his late teens. Recognizing his burgeoning talent and passion, Cross sought formal training. He traveled to Paris, then the undisputed center of the art world, to study under the tutelage of Rosa Bonheur. From 1853 to 1855, he immersed himself in the teachings of Bonheur, one of the most acclaimed animal painters (or animalières) of the 19th century. Bonheur's meticulous attention to anatomical accuracy, her ability to convey the spirit and movement of animals, and her success in a male-dominated field undoubtedly left a profound impression on the young American artist. This European sojourn provided Cross with a technical foundation that would serve him well throughout his career.
Return to America and the Lure of the West
Upon returning to the United States, Cross initially leveraged his skills in animal portraiture, reportedly painting animals on wagons for P.T. Barnum, the great showman. However, the vast expanse and unfolding drama of the American West soon beckoned. His work with circuses had already brought him into contact with Native American performers, sparking an interest that would grow into a significant thematic focus.
In 1862, Cross established two portrait studios in Chicago, Illinois. The following year, he moved to Minnesota, a decision that coincided with the tumultuous period of the Dakota War (often referred to as the Sioux Uprising) of 1862. This proximity to significant historical events and direct interaction with Native American communities, including the Lakota Sioux, deepened his resolve to document their lives and leaders. It was during this period that he began to create portraits of prominent figures, reputedly including the Oglala Lakota leader Red Cloud, although the exact timeline and circumstances of such sittings require careful historical consideration, as Red Cloud's primary sphere of influence was further west.
Documenting Native American Dignity
Cross became particularly known for his portraits of Native Americans. His work in this genre aimed to capture the dignity and individuality of his subjects, often figures of considerable renown and influence. He painted leaders, warriors, and individuals whose cultures were undergoing profound and often traumatic transformations due to westward expansion and U.S. government policies.
Buffalo Bill Cody, the legendary showman and frontiersman, was a significant admirer of Cross's work, famously declaring him "the greatest Indian portrait painter of all time." This high praise, coming from a man who knew many Native American leaders personally and whose Wild West shows brought portrayals of the West to a global audience, lent considerable weight to Cross's reputation. Cross and Cody developed a deep friendship, and Cross produced numerous portraits for Cody's entourage and for the promotional materials of his shows. These images, disseminated as posters, advertisements, and brochures, played a role in shaping public perceptions of Native American peoples, albeit through the lens of popular entertainment.
Cross asserted that his paintings were often based on direct, "on-the-spot" observation and sittings. This claim to authenticity was important in an era when many artists depicted Native Americans from afar or based on romanticized notions. However, like many of his contemporaries, including photographers such as Edward S. Curtis who sometimes staged his subjects, Cross also likely utilized photographs as reference materials, a common practice that allowed for greater detail and convenience, especially when subjects were not available for extended sittings. His depictions of ceremonies, such as his reported paintings of the Hopi Snake Dance in Arizona during the 1890s, would have benefited from both direct observation and supplementary visual aids.
His approach can be seen in the context of other artists who documented Native American life. Earlier figures like George Catlin and Karl Bodmer had undertaken extensive expeditions in the 1830s, creating invaluable ethnographic records. Charles Bird King painted portraits of Native American delegates visiting Washington D.C. in the early 19th century. Later, artists like Joseph Henry Sharp, Eanger Irving Couse, and other members of the Taos Society of Artists would also dedicate their careers to portraying Native American subjects, often with a focus on preserving a sense of their cultural heritage. Cross's work fits within this lineage, contributing to the visual record of a pivotal era.
The World of Equine Art
Parallel to his interest in Native American portraiture, Henry H. Cross was a distinguished painter of horses, particularly racehorses. His training under Rosa Bonheur, a master of animal anatomy and movement, provided him with an excellent foundation for this genre. He captured the sleek power, refined breeding, and competitive spirit of these magnificent animals.
His equine works were sought after by prominent owners and breeders. One notable example is the "Horse Commission for Marcus Daly," painted in 1888. This oil on canvas, measuring 18x24 inches, would have depicted prized thoroughbreds belonging to Daly, one of the "Copper Kings" of Montana and a significant figure in American horse racing. Such commissions required not only anatomical accuracy but also the ability to convey the individual character and lineage of each animal.
Another representative work is "Chestnut Racehorse with a Jockey Up On a Training Strap," dated to 1891-1892. This painting likely showcases a specific champion or promising contender, capturing a moment of readiness and controlled energy. In this field, Cross joined a tradition of American sporting artists. Edward Troye, for instance, was a preeminent painter of American thoroughbreds in the mid-19th century, setting a high standard for anatomical precision and portrait-like depictions of horses. Cross's contributions continued this tradition, documenting the burgeoning sport of horse racing and the celebrated equine athletes of his day. His skill in this area was comparable to that of other contemporary animal and sporting artists, such as the British painter John Frederick Herring Sr., whose works were also highly popular.
Artistic Style, Recognition, and Later Years
Cross's style was generally characterized by a detailed realism, a strong sense of draftsmanship, and a keen eye for color and texture. Whether depicting the weathered visage of a Native American elder or the gleaming coat of a thoroughbred, he aimed for a lifelike representation that conveyed both the physical appearance and the inherent character of his subject. His "on-the-spot" approach, when employed, lent a vitality and immediacy to his work.
His friendship with Theodore Corwin of Brooklyn led to visits to Corwin's Wyoming ranch around 1897 or 1899, providing further opportunities to paint Western subjects. Despite the acclaim from figures like Buffalo Bill Cody and the patronage of individuals like Marcus Daly, Cross's broader artistic reputation experienced fluctuations. Some accounts suggest that his artistic judgment may have been questioned in his later years, and his fame somewhat declined after 1915. This is not uncommon for artists whose styles may fall out of fashion or whose later work does not match the vigor of their prime.
The art world of the late 19th and early 20th centuries was diverse and dynamic. While Cross focused on representational Western and animal art, other movements were gaining prominence. The landscapes of Albert Bierstadt and Thomas Moran, with their grand, romantic visions of the West, appealed to a public fascinated by the sublime beauty of the frontier. The action-packed, anecdotal paintings and sculptures of Frederic Remington and Charles M. Russell offered a more narrative and often dramatic portrayal of cowboy and Native American life. Impressionism, championed in America by artists like Childe Hassam and Mary Cassatt, was also transforming artistic sensibilities. Cross's work, while distinct, occupied its own niche within this rich artistic tapestry.
Henry H. Cross passed away in Chicago, Illinois, on April 2, 1918. His legacy is preserved in the collections of several important institutions, including the Gilcrease Museum in Tulsa, Oklahoma, which houses a significant collection of American West art, and the Buffalo Bill Center of the West in Cody, Wyoming. These collections ensure that his contributions to American art, particularly his efforts to document the people and animals of a transformative period in the nation's history, continue to be studied and appreciated.
Enduring Legacy
Henry H. Cross was a multifaceted artist whose career bridged the worlds of formal European training and the rugged realities of the American West. His dedication to portraying Native American leaders with dignity and his skill in capturing the grace and power of thoroughbred horses provide a valuable visual record of his time. While perhaps not as widely known today as some of his contemporaries like Remington or Russell, his work offers a unique perspective, informed by his adventurous spirit and his genuine engagement with his subjects.
His portraits of Native Americans contribute to a complex visual history, one that reflects both the agency of the sitters and the perspectives of the artists who depicted them. In an era that often stereotyped or romanticized Indigenous peoples, Cross's efforts to create individual likenesses, praised by figures like Buffalo Bill, hold historical and artistic significance. Similarly, his equine paintings stand as testaments to the importance of horse culture in 19th-century America, from the working horses of the plains to the celebrated champions of the racetrack.
The assessment of an artist's "artistic judgment" can be subjective and change over time. What remains is the body of work itself. Cross's paintings offer insights into the aesthetic values and historical concerns of his era. He operated within a representational tradition, valuing verisimilitude and character portrayal. His connection to figures like Rosa Bonheur and Buffalo Bill Cody places him at interesting intersections of art, popular culture, and the historical narrative of the American West. As an artist who moved between the circus, the Parisian salon, the Minnesota frontier, and the ranches of Wyoming, Henry H. Cross left behind a legacy as a dedicated chronicler of a dynamic and evolving America.
