Not long after the white man stepped ashore in North America he began killing Indians and pushing those that survived farther and farther west. And what of his conscience? Well, he invented a convenient explanation: Indians are a vanishing race, doomed to extinction anyway.

That belief not only persisted, writes historian Brian Dippie, but it also spread throughout American culture. Soon the "vanishing Indian" appeared in science, literature, art, popular culture, and, most importantly, federal policy.

"The assumption that the Indians are a vanishing race has about it the quality of self-fulfilling prophecy," Dippie writes. In this classic study, first published in 1982, he traces the origins of this assumption and documents its insidious effects on U.S. policy toward Indians from the beginning of the nation's history through the Indian New Deal of the 1930s. He describes its role in early attempts at civilization and education, segregation of Indians west of the Mississippi, post-Civil War reform, the Dawes Act and allotment, the gradualism of early twentieth-century policy, the reform movement of the 1920s, John Collier's Indian Reorganization Act, and into the 1970s.

Almost as familiar as the images of the American West he painted and sculpted is the figure of Charles M. Russell himself. Standing or mounted, in boots and wide-brimmed hat, sash knotted at his waist, gaze steady under a hank of unruly hair: he is the one and only "Cowboy Artist." What is not so well known is the story that unfolds in the myriad photographs of Russell, pictures that document a remarkable life while also reflecting the evolution of photography and the depiction of the American West at the turn of the twentieth century. This biography makes use of hundreds of images of Russell, many never before published, to explore the role of photography in shaping the artist's public image and the making and selling of his art. More than that, the book shows how the Cowboy Artist personified what he portrayed.

Born in 1864 to a well-to-do family in St. Louis, Russell was smitten early on by the burgeoning art of photography and the images of the West that were proliferating as rapidly as the frontier was disappearing. When he moved to Helena at sixteen, his passions came together, as professional and amateur photographers made their way to the Montana Territory to document the cowboy life that Charlie was embracing and beginning to paint. Larry Len Peterson traces Russell's image and his career from these first adventures to his apotheosis as an artist, and then to his California period and his final days as the grand statesman of the American West. Along the way we meet some of the most interesting photographers of the era, as Russell posed for Edward S. Curtis, Roland Reed, Clarence S. Bull, Hildore C. Eklund, and Dorothea Lange, among others. Because Nancy Russell used photographs to promote her artist husband's career and artistic identity, we also see the medium's early application as a marketing tool in the hands of a surprisingly savvy businesswoman.

Alongside Peterson's engrossing tale of the life of this American icon, the hundreds of photographs of Russell, his friends, family members, business associates, colleagues, and celebrities of his time offer a unique view of the artist's historic and cultural milieu--a view at once panoramic and intimate.

Defeat and death at the Little Bighorn gave General George Custer and his Seventh Cavalry a kind of immortality. In "Custer's Last Stand," Brian W. Dippie investigates the body of legend surrounding that battle on a bloody Sunday in 1876. His survey of the event in poems, novels, paintings, movies, jokes, and other ephemera amounts to a unique reflection on the national character.

"Custer and the Great Controversy" was the first book to focus on the origins of what has come to be called the Custer myth. The Battle of the Little Bighorn has always been wrapped in mystery and controversy because none of Custer's men survived to tell what happened, because press accounts circulated much misinformation and editors politicized the event, because popular writers repeated the errors of journalists, because a court of inquiry issued in bitter debate, and because Indian testimony was hard to gauge. This book, originally published in 1962, helps the reader understand the sources of the confusion and controversy surrounding the Custer fight and the beginning of the legend.

"Custer and the Great Controversy" was Robert M. Utley's debut, coming after six years of service as a ranger-historian at the Little Bighorn National Monument. His distinguished career as a historian has produced many books, including "Frontiersmen in Blue: The United States Army and the Indian, 1848-1865" and "Frontier Regulars: The United States Army and the Indian, 1866-1891," both available as Bison Books.

Themes of the American West have been enduringly popular, and The American West in Bronze features sixty-five iconic bronzes that display a range of subjects, from portrayals of the noble Indian to rough-and-tumble scenes of rowdy cowboys to tributes to the pioneers who settled the lands west of the Mississippi. Fascinating texts offer a fresh look at the roles that artists played in creating interpretations of the "vanishing West"-whether based on fact, fiction, or something in-between. These artists, including Charles M. Russell and Frederic Remington, embody a range of life experiences and artistic approaches. Some grew up in the West and based their artwork on first-hand experience, while others never set foot west of the Rockies. Four thematic sections-Indians, animals, cowboys, and settlers-are illustrated with new photography and provide a cultural overview to the works presented. Also included are biographies of the artists, each illustrated with a vintage portrait, plus an illustrated chronology of historical and artistic events. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art (12/17/13-04/13/14) Denver Art Museum (05/09/14-08/31/14) Nanjing Museum (October 2014-January 2015)

"Russell writes easily, and in the vernacular. He tells of Indians and Indian fighters, buffalo hunts, bad men, wolves, wild horses, tough hotels, drinking customs, and hard-riding cowboys. . . . [He] lived long enough in the West to acquire a vast amount of information and lore, and he has left enough from his brush to prove his place as a sound interpreter of a stirring period and a fascinating country."-New York Times Brian W. Dippie is a professor of history at the University of Victoria, British Columbia, and the author of Catlin and His Contemporaries: The Politics of Patronage (Nebraska 199).

Between 1867 and 1875, George Armstrong Custer contributed fifteen letters under the apt pseudonym Nomad to the New York-based sportsman's journal Turf, Field and Farm. Previously available only in a collector's typescript edition, the Nomad letters offer valuable insight into the character of the Boy General as he gives expression to his abiding love for hunting, horses, and hounds.Vivid accounts of days in the field after buffalo and deer alternate with letters that attest to Custer's passion for Kentucky thoroughbreds and trotters and his devotion to his favorite hunting dogs. Moreover, the letters show Custer as a student of literature who constandy alluded to works of fiction and drama and who loved to quote poetry as he self-consciously honed his skills as a writer. The Nomad letters also open the way to controversy since three of the letters written in 1867, as Brian Dippie's careful annotations make clear, offer a strikingly different account of Custer's ill-starred induction into Indian fighting than the accepted version recorded five years later in his memoirs, My Life on the Plains. Composed only a few months after the abortive Hancock Expedition that led to Custer's court-martial and suspension from rank and pay for one year, the Nomad letters are full of a passion and venom absent from My Life on the Plains. They provide an immediate response to the events of 1867 that will interest all students of the Western Indian wars and of Custer's fascinating career.

Charles M. Russell has long been recognized for his action-packed paintings, drawings, and sculpture of cowboys, fur trappers, Native American buffalo hunters and warriors, and other heroes of the Old West. Russell's best-known works capture the excitement and deadly risk of men battling nature and one another in a majestic landscape of mountains and plains. Less well known are Russell's hundreds of depictions of western women. As renowned author and art historian Ginger K. Renner observed thirty-five years ago, no other artist of the West devoted more of his time and talent to the portrayal of women. But few have followed Renner's lead - until now. Lavishly illustrated with full-color illustrations, Charles M. Russell: The Women in His Life and Art presents groundbreaking essays essential to understanding the role of western women in Russell's art. This volume is both a tribute to the women who nurtured Russell's artistic development and a landmark in the study of the role of women in a genre all too often identified almost exclusively with a masculine world. The catalogue essays examine the exhibition's theme from four unique perspectives. Joan Carpenter Troccoli provides an over view of the works in the exhibition and the social, cultural, and personal values that influenced them. Emily Crawford Wilson explores Russell's interest in the feminine ideal, tying it to wider artistic trends of the late nineteenth and early twentieth centuries. Jennifer Bottomly-O'looney describes Russell's friendship with Ben and Lela Roberts, who introduced the artist to Nancy Cooper, the woman who would become his wife and indispensable business partner. Thomas A. Petrie employs extended excerpts from Nancy's unpublished biographical memoir to illuminate the Russells' marriage, a relationship sustained by affection and mutual respect, as well as shrewd creative and marketing decisions.