sketch for Tragic Prelude II (The Plainsman, Coronado, Padre Padilla), John Steuart Curry

Artwork Overview

1897–1946
sketch for Tragic Prelude II (The Plainsman, Coronado, Padre Padilla), 1937
Where object was made: United States
Material/technique: oil; canvas
Dimensions:
Canvas/Support (Height x Width x Depth): 67.3 x 94 cm
Canvas/Support (Height x Width x Depth): 26 1/2 x 37 in
Frame Dimensions (Height x Width x Depth): 27 3/4 x 38 1/4 x 1 3/4 in
Credit line: Gift of Mr. and Mrs. C. L. Burt, Hutchinson, Kansas
Accession number: 1957.0060
On display: Loo Gallery

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Label texts

Displacement

These sketches demonstrate John Steuart Curry’s plans for his commissioned murals at the Kansas Statehouse in Topeka. Parts of the mural illustrate the violent history of colonial exploration and conquest in Kansas, represented by Coronado and Father Juan de Padilla. Curry’s depiction of the fiery abolitionist John Brown speaks to the territorial conflicts over slavery hastening the Civil War.

Displacement

These sketches demonstrate John Steuart Curry’s plans for his commissioned murals at the Kansas Statehouse in Topeka. Parts of the mural illustrate the violent history of colonial exploration and conquest in Kansas, represented by Coronado and Father Juan de Padilla. Curry’s depiction of the fiery abolitionist John Brown speaks to the territorial conflicts over slavery hastening the Civil War.

Exhibition Label:
"John Steuart Curry: Agrarian Allegories," Aug-2006, Kate Meyer
Curry opens his mural cycle with scenes of early European exploration in Kansas that shift into the territorial period (1854-1861), a time described by Emporia editor William Allen White as a “tragic prelude to the tragic years to come.” The figures of Francisco Vasquez de Coronado and the Franciscan friar Juan de Padilla mark the beginning of Curry’s history of Kansas. In their quest for the seven cities of gold, Coronado and Padre Padilla traveled to Kansas almost 400 years before Curry fashioned his mural. To the left of Coronado stands the Plainsman, a slain buffalo at his feet. The three men look left toward John Brown. Brown stands in monumental scale, arms outstretched in cruciform pose, Bible in one hand, a Sharp’s rifle, or “Beecher’s Bible,” in the other. John Brown’s violent support of the free-state cause during the territorial period known as “Bleeding Kansas” contributed to the polarization of society leading to the Civil War. Union and Confederate soldiers flank Brown as covered wagons, a prairie fire, and a swirling tornado sweep westward across the tumultuous landscape.

Exhibitions