Who painted Portfolio I, Plate 15: Apache Nalin?

Portfolio I, Plate 15: Apache Nalin was painted by Edward S. Curtis in 1903.

Where can I see Portfolio I, Plate 15: Apache Nalin?

Portfolio I, Plate 15: Apache Nalin is held by Cleveland Museum of Art.

Artwork

Portfolio I, Plate 15: Apache Nalin

Edward S. Curtis , 1903

Portfolio I, Plate 15: Apache Nalin is a work on paper by Edward S. Curtis. It dates from 1903 and is held in the collection of the Cleveland Museum of Art.

About this work

The beads and style suggest traditional clothing, but it’s not clear where or why this was made.

This is a black-and-white portrait of a person with long, straight hair pulled back. They’re wearing a dark coat over a beaded necklace with round, shiny pendants. The lighting makes their face stand out against a plain background.

The photo looks like it was taken a long time ago—maybe early 1900s. The beads and style suggest traditional clothing, but it’s not clear where or why this was made.

If you like this kind of portrait, check out Edward S. Curtis (American, 1868–1952).

Overview

Portfolio I, Plate 15: Apache Nalin is a photograph by Edward S. Curtis, created in 1903. It is part of a larger portfolio and is currently held at The Cleveland Museum of Art.

Subject & Meaning

The image is a black-and-white portrait of an individual wearing traditional attire, featuring a beaded necklace with shiny pendants. The subject's long, straight hair is pulled back, and they wear a dark coat. The traditional clothing and adornments suggest a cultural significance, although the specific context is not immediately clear.

Technique & Style

The photograph is characterized by a stark contrast between the subject's face and the plain background, achieved through controlled lighting. The image's aesthetic and technical qualities are consistent with early 20th-century photographic practices.

History & Provenance

The photograph was taken in 1903 by Edward S. Curtis, an American photographer known for his documentation of Native American cultures. The work is part of a larger body of Curtis's photography, which often focused on traditional Native American life.