Paper

Student Artwork Guide

Taking the

Name Class Date

Alfred Jacob Miller, Taking the (1837), Amon Carter Museum of American Art. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Alfred Jacob Miller topimpressionists.com/en/artists/alfred-jacob-miller/
Artist’s dates
1810 – 1874
Painted
1837
Medium
Watercolor
Original size
27 x 20 cm
Movement
Contemporary Realism Living artists painting the real world with traditional skill, often from photographs as well as from life.
Period
19th Century
Held at
Amon Carter Museum of American Art topimpressionists.com/en/museums/amon-carter-museum-of-american-art-fort-worth/
Artistic style
Detailed observation & Narrative
Influences
Thomas Sully
Notable elements or techniques
Realistic depiction of horses and people
Subject or theme
Fur Trade Era Landscape

In context

Taking the — Alfred Jacob Miller

How big is it?

The original measures 27 × 20 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1810
  2. 1820
  3. 1830
  4. 1840
  5. 1850
  6. 1860
  7. 1870

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 64 at death.

Painted when the artist was 27. The artist lived to 64. 1 of the 36 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Alfred Jacob Miller (1810–1874) ▲ this work, 1837 every dated painting, decade by decade

First works: up to 1837 Main working years: 1837–1860 Late works: from 1860

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/alfred-jacob-miller-taking-the-D3YLSF-en/

Colours

Measured from the image

    Main colour

    Putty #c5bfbb

    Catalogued palette

    • #C5BFBB
    • #504842
    • #7A6F67
    • #9F958E

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Putty
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Alfred Jacob Miller over the last twelve months — 7 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 66.7%
    2. 2 Singapore 15.6%
    3. 3 United States of America 6.7%
    4. 4 Hong Kong 4.4%
    5. 5 France 2.2%
    6. 6 India 2.2%
    7. 7 Japan 2.2%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Alfred Jacob Miller

    1. 1 Shoshone Indian and his Pet Horse, 1860 8.5%
    2. 2 Taking the, 1837 this painting 6.4%
    3. 3 Indians in Pursuit 6.4%
    4. 4 War Path 6.4%
    5. 5 Visit to an Indian Camp on the Border of a Lake 6.4%
    6. 6 Approaching Buffalo Under the Disguise of a Wolf, 1837 4.3%
    7. 7 Receiving a Draught of Water from an Indian Girl, 1837 4.3%
    8. 8 Two Indians Killing a Buffalo 4.3%
    9. 9 Indian Boys (also known as Children of the Snake Tribe) 4.3%
    10. 10 Indian Scout on Horse Back 4.3%
    11. 11 Greeting the Trappers, 1837 4.3%
    12. 12 Rocky Mountain Scene, Wind River Mountains, 1853 4.3%
    13. 13 Reconciliation Between Delaware and Snake Indians, 1837 2.1%
    14. 14 Women Reclining with Leashed Dog (from Laurence Sterne, A Sentimental Journey, 1768), 1800 2.1%
    15. 15 The Trapper's Bride, 1837 2.1%
    16. 16 Indian Girl Swinging, 1837 2.1%
    17. 17 Last of the Buffalo, 1888 2.1%
    18. 18 Mirage on the Prairie, 1840 2.1%
    19. 19 Pawnee Indian Camp 2.1%
    20. 20 Snake Female Reposing 2.1%

    Together these works take 81.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 92 works by this artist, of which 29 were looked at at least once. This painting ranks 2 of them, with 6.4% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Taking the — Alfred Jacob Miller

    Taking the Hump Rib

    Alfred Jacob Miller’s “Taking the Hump Rib” stands as an arresting testament to the Romantic spirit of American art—specifically, its fascination with the untamed frontier and the portrayal of indigenous cultures amidst the grandeur of the Rocky Mountains. Completed in 1837, this watercolor painting captures a pivotal moment during William Drummond Stewart's expedition into the West, documenting not merely scenery but also the complex interactions between European observers and Native American communities.

    The artwork’s composition immediately draws the eye to a central scene: a group of men—likely fur traders—engaged in assisting a horseman struggling to ascend a steep incline, aptly named “Hump Rib.” Miller skillfully employs watercolor techniques—characterized by delicate washes and subtle gradations of color—to convey both the ruggedness of the landscape and the palpable tension within the tableau. The muted palette—dominated by browns, greens, and blues—reflects the prevailing atmospheric conditions of the region during that time, lending an air of authenticity to the depiction.

    Beyond its technical prowess, “Taking the Hump Rib” resonates with deeper symbolic significance. It embodies the Romantic ideal of confronting nature’s challenges head-on, mirroring Stewart's ambition to explore and document the wilderness while simultaneously acknowledging the vulnerability of human endeavor against its formidable forces. The horseman represents not only physical exertion but also the pursuit of progress—a theme central to the burgeoning American Westward expansion. Simultaneously, Miller subtly portrays the collaborative spirit between Europeans and Native Americans, highlighting the necessity of mutual respect and understanding in navigating unfamiliar territories.

    The painting’s emotional impact is undeniable. It evokes a sense of immediacy and drama, transporting viewers back to 1837 and immersing them in the sights and sounds of the expedition. Miller's meticulous observation—evident in the detailed rendering of clothing, equipment, and facial expressions—transforms the scene into more than just a visual record; it becomes a window into the human experience within the context of an era defined by exploration, discovery, and cultural exchange.

    Artist: Alfred Jacob Miller

    Year Created: 1837

    Medium: Watercolor

    Dimensions: 27 x 20 cm

    Location: Private Collection

    Historical Context: The Fur Trade Era and Stewart’s Expedition

    The painting emerged during the height of the fur trade era—a period marked by intense competition between European nations for control over lucrative trading routes in North America. William Drummond Stewart's expedition aimed to establish a foothold for the American Fur Company (AFC) among Native American tribes, primarily the Crow and Pawnee. Miller’s artwork serves as invaluable documentation of this undertaking, capturing not only the physical landscape but also the social dynamics inherent in intercultural encounters. The AFC sought to forge alliances with indigenous peoples while simultaneously exploiting their resources—a complex relationship that fueled both economic prosperity and cultural disruption.

    Technique: Watercolor Rendering and Observational Detail

    Miller’s masterful watercolor technique—characterized by layering translucent washes of pigment—allowed him to achieve remarkable luminosity and tonal subtlety. He meticulously studied the effects of light on the terrain, skillfully capturing the rugged contours of the mountains and the diffuse glow of twilight. Furthermore, Miller's keen eye for detail extended beyond mere topographical representation; he painstakingly rendered clothing, equipment, and facial expressions, conveying a profound understanding of human behavior within the context of an unfamiliar environment.

    Symbolism: Confrontation with Nature and Collaboration Between Cultures

    “Taking the Hump Rib” embodies several symbolic motifs that encapsulate the Romantic worldview prevalent during Miller’s time. The arduous climb represents humanity's struggle against nature—a recurring theme in Romantic art—while simultaneously symbolizing ambition and aspiration. Simultaneously, the collaborative effort between Stewart and his men underscores the importance of mutual respect and understanding in navigating intercultural relations—a sentiment particularly pertinent to the historical context of the fur trade era.

    Artist and museum

    Artist

    Alfred Jacob Miller

    Born in Baltimore, United States of America

    A Pioneer of the American West

    Alfred Jacob Miller, born in Baltimore in 1810, occupies a unique and vital position in the narrative of American art. He wasn’t merely a painter of landscapes or portraits; he was a visual chronicler of a vanishing world – the fur trade era of the Rocky Mountains and the lives of the Native American tribes who inhabited them. His journey to artistic recognition was unconventional, beginning not with formal academic training but with an innate talent nurtured by early exposure to artists like Thomas Sully. While attending John D. Craig’s Academy in Baltimore, Miller's education lacked a dedicated art curriculum, yet this absence perhaps fostered a distinctive style that would later set him apart. A pivotal period followed when he journeyed to Paris in 1832, immersing himself in the rigorous study of life drawing at the École des Beaux-Arts and absorbing the artistic traditions of Europe. This foundational experience honed his observational skills and provided a technical base upon which he would build his uniquely American vision.

    The Transformative Expedition

    Miller’s career took an extraordinary turn in 1837, when fate – or perhaps artistic destiny – intervened in the form of Sir William Drummond Stewart, a Scottish aristocrat with a passion for the untamed West. Stewart commissioned Miller to accompany him on a hunting expedition into the heart of the Rocky Mountains, tasking him with documenting the landscapes and cultures encountered along the way. This wasn’t simply an assignment; it was an immersion into a world few Americans, let alone artists, had ever witnessed. For months, Miller meticulously sketched scenes of Native American life – the Sioux, Crow, Shoshone, and others – capturing their customs, clothing, rituals, and interactions with trappers and traders. He recorded the rugged beauty of the terrain, the drama of hunts, and the quiet moments of daily existence on the frontier. These weren’t romanticized depictions intended to glorify the West; they were honest observations imbued with a sensitivity that distinguished Miller's work from much of his contemporaries'. Upon returning to New Orleans, he transformed these sketches into a series of paintings that would establish his reputation as a significant figure in American art, offering an invaluable glimpse into a world on the cusp of irreversible change.

    Style and Artistic Legacy

    Miller’s artistic style is characterized by a compelling blend of realism and romanticism. He possessed a remarkable ability to render details with precision – the intricate beadwork on Native American garments, the texture of animal hides, the subtle nuances of light across the landscape. Yet, his paintings are far from mere photographic representations. They possess a dramatic flair, an atmospheric quality that evokes the spirit of adventure and the grandeur of the West. He wasn’t afraid to imbue his scenes with a sense of narrative, capturing moments of tension, camaraderie, or quiet contemplation. Works like The Lake Her Lone Bosom Expands to the Sky, Camp Scene (Sioux), Big Bowl (A Crow Chief), and Snake Indians Shooting Elk exemplify this approach – each painting tells a story, inviting the viewer to step into the world Miller so vividly portrayed. His watercolors, in particular, demonstrate a mastery of color and light, creating an ethereal quality that enhances the emotional impact of his scenes. The majority of these significant works now reside within the esteemed collection of the Walters Art Museum in Baltimore, serving as enduring testaments to his artistic vision.

    Historical Significance and Enduring Appeal

    Alfred Jacob Miller’s legacy extends far beyond the realm of art history. He was among the first artists to authentically capture the essence of the American West, providing a visual record of Native American cultures at a time when they were facing unprecedented challenges. His paintings serve as invaluable historical documents, offering insights into the lives and customs of tribes that would soon be dramatically altered by westward expansion. While his work wasn’t without its limitations – reflecting the biases of his era – it remains remarkably sensitive and respectful in its portrayal of Native American people. Today, Miller's art continues to inspire artists and captivate audiences with its beauty, drama, and historical significance. His paintings are not merely representations of a bygone era; they are windows into a world that has largely disappeared, reminding us of the complex and often tragic history of the American West and the importance of preserving cultural heritage. He stands as a testament to the power of art to document, interpret, and ultimately, to remember.

    Museum

    Amon Carter Museum of American Art

    On show in Fort Worth, United States of America

    A Legacy of Vision and Landscape

    Nestled within the vibrant Cultural District of Fort Worth, the

    Amon Carter Museum of American Art

    stands as a profound testament to the enduring spirit of the American West and the transformative power of the creative gaze. The institution was born from a deeply personal passion for the rugged beauty and historical narratives of the frontier, beginning as a dedicated repository for works celebrating Texas’s heritage. Through decades of thoughtful curation, it has blossomed into a nationally recognized beacon of American creativity, offering a sanctuary where the dust of the plains meets the sophisticated elegance of modern artistic expression. The museum does not merely display art; it preserves the very soul of a nation's evolution.

    At the heart of the museum’s identity lies its foundational collection, a breathtaking assembly of masterpieces that define the visual lexicon of the American frontier. The works of

    Frederic Remington

    and

    Charles M. Rex Russell

    serve as the collection's pulse, with over 400 diverse pieces—ranging from intricate drawings and evocative watercolors to powerful bronze sculptures—capturing the dramatic tension between settlers and Native Americans. These are not mere historical records but complex, breathing narratives that invite viewers to witness the grit, glory, and profound symbolism of an era shaped by movement and encounter.

    From Frontier Narratives to Modernist Horizons

    As one wanders through the galleries, the museum’s scope reveals a magnificent expansion beyond the horizon of the West. The collection gracefully transitions into the broader currents of American art history, embracing the delicate light of Impressionism, the grounded truth of Realism, and the bold, fractured energies of Modernism and Abstract Expressionism. Collectors and enthusiasts will find themselves captivated by the presence of icons such as

    Georgia O’Keeffe

    ,

    Edward Hopper

    , and

    Willem de Kooning

    , whose works demonstrate how American identity has been continuously redefined through stylistic innovation.

    This mastery of storytelling is complemented by a staggering photography archive, where approximately 45,000 exhibition-quality prints allow the lens of legends like

    Ansel Adams

    and

    Dorothea Lange

    to illuminate the social and political transformations of the American experience. This breadth ensures that the museum remains a vital interlocutor in contemporary cultural dialogues, bridging the gap between the historical frontier and the avant-garde.

    Architectural Harmony and Serene Design

    The physical experience of the Amon Carter is as much a work of art as the treasures held within its walls. Designed by the legendary architect

    Philip Johnson

    , the museum’s original structure embodies a harmonious blend of modernist elegance and an intimate connection to the natural world. The recent expansion, known as “The New Carter,” has masterfully honored Johnson’s original vision while introducing state-of-the-art facilities and sustainable architectural practices.

    Bathed in soft, natural light, the galleries provide a serene backdrop that allows the textures of oil on canvas and the sharp lines of contemporary sculpture to resonate with unparalleled clarity. For the interior designer or the wandering soul, the museum offers an atmosphere of profound tranquility and intellectual stimulation, making it a destination where history, architecture, and art converge in perfect, lasting harmony.

    Where to read more

    Find this online

    QR code linking to the download page for Taking the

    topimpressionists.com/en/art/download/alfred-jacob-miller-taking-the-D3YLSF-en/

    Cite this artwork

    MLA
    Miller, Alfred Jacob. Taking the . 1837, Amon Carter Museum of American Art. https://topimpressionists.com/en/art/alfred-jacob-miller-taking-the-D3YLSF-en/
    APA
    Miller, Alfred Jacob (1837). Taking the [Painting]. Amon Carter Museum of American Art. https://topimpressionists.com/en/art/alfred-jacob-miller-taking-the-D3YLSF-en/
    Chicago
    Alfred Jacob Miller. Taking the . 1837. Amon Carter Museum of American Art. https://topimpressionists.com/en/art/alfred-jacob-miller-taking-the-D3YLSF-en/
    Harvard
    Miller, Alfred Jacob (1837) Taking the . Amon Carter Museum of American Art. Available at: https://topimpressionists.com/en/art/alfred-jacob-miller-taking-the-D3YLSF-en/

    Look closely

    Taking the — Alfred Jacob Miller

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: fur trade, native americans, landscape painting. Do you agree? What would you add, or take away?
    4. Look back at Shoshone Indian and his Pet Horse (1860), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Contemporary Realism: Living artists painting the real world with traditional skill, often from photographs as well as from life. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Taking the — Alfred Jacob Miller

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject matter of ‘Taking the ’?

      • A A Landscape Scene Featuring Horses and People
      • B A Portrait of a Nobleman
      • C An Interior Depiction of a Fur Trader's Cabin
    2. 2. In what year was ‘Taking the ’ created?

      • A 1820
      • B 1837
      • C 1850
    3. 3. Who is Alfred Jacob Miller?

      • A A Flemish Painter Known for Landscapes
      • B An American Artist Focused on Depicting the Fur Trade Era
      • C A German Sculptor Celebrated for Classical Portraits
    4. 4. What artistic movement is Miller’s style associated with?

      • A Impressionism
      • B Romanticism
      • C Cubism
    5. 5. The image depicts a scene of interaction between humans and animals. What is the overall mood conveyed by this depiction?

      • A Melancholy and Isolation
      • B Joyful Celebration and Adventure
      • C Quiet Contemplation

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Is "Taking the" held in the country of its creator?

    Yes - the artwork is kept in the artist's home country. The birth country of Alfred Jacob Miller is United States of America, and the museum holding the original of "Taking the" is in United States of America.

    How do the colors of "Taking the" by Alfred Jacob Miller relate to its emotion?

    "Taking the" by Alfred Jacob Miller combines a neutrals palette with a melancholic tone.

    Where can I see the original "Taking the" by Alfred Jacob Miller?

    You can see the original "Taking the" at the Amon Carter Museum of American Art, Fort Worth, United States of America.