Editing E. Irving Couse (section)

==Artistic career in the United States==
[[File:Couse contentment.jpg|thumbnail|''Couse contentment'']]

After his return to the United States, Couse first lived in New York.  He spent time in [[Taos, New Mexico]] during the summers. At the turn of the 19th century, the Southwest, and New Mexico in particular, attracted numerous artists and writers because it remained untouched by national expansion efforts dictated by the American policy of [[Manifest Destiny]]. The artists and writers of this era wanted to capture the last vestiges of the Old West before it disappeared altogether. During his time in New Mexico, Couse studied and painted the lives and culture of the Taos Indians, a [[Puebloan peoples|Pueblo]] tribe. He began to show his paintings of Native American life and earned his first solo show in 1891.

In 1911 Couse was elected to the [[National Academy of Design]].<ref name="New International Encyclopedia">{{cite book |chapter=Couse, E (anger) Irving (1866 – ) |title=New International Encyclopedia |edition=2nd |volume=6 |publisher=Dodd, Mead |year=1914 |page=190}}</ref>  He also became active in the [[Taos art colony]]. In 1915, Couse was one of the six founding members of the [[Taos Society of Artists]], and was elected first president.  Another founding member was the artist [[J. H. Sharp]], who adapted a chapel near Couse's house as a studio. Later Sharp built a combined house and studio on the land.  The adjacent properties are recognized jointly as the Couse/Sharp Historic Site, and are preserved and operated by the Couse Foundation.

Among Couse's works in public galleries are ''Elk-Foot of the Taos Tribe''<ref>{{cite web |last=Couse |first=Eanger Irving |title=Elk-Foot of the Taos Tribe |url=http://americanart.si.edu/collections/search/artwork/?id=5829 |work=Smithsonian American Art Museum |publisher=Smithsonian Institution |access-date=2012-08-10}}</ref> ([[Smithsonian American Art Museum]]); ''Taos Pueblo - Moonlight''<ref>{{cite web |url=http://sam.nmartmuseum.org/view/objects/asitem/People$00403063/0?t:state:flow=1ad86b38-c59a-4f68-9f0d-fd0251a41940 |title=Related: Taos Pueblo - Moonlight |work=Searchable Art Museum |publisher=New Mexico Museum of Art |access-date=2013-07-09 |archive-url=https://web.archive.org/web/20140809200505/http://sam.nmartmuseum.org/view/objects/asitem/People$00403063/0?t:state:flow=1ad86b38-c59a-4f68-9f0d-fd0251a41940 |archive-date=August 9, 2014 |url-status=dead }}</ref>  ([[New Mexico Museum of Art]]); ''The Forest Camp'' ([[Brooklyn Museum of Art]]); ''The Pottery Maker'' ([[Two Red Roses Foundation]]); ''The Tom-Tom Maker'' ([[Lotos Club]], New York); ''Medicine Fires'' (Montclair Gallery, New Jersey); and ''Shapanagons, a Chippewa Chief'' ([[Detroit Museum of Art]]).<ref name="New International Encyclopedia"/>

Of these works, ''[[Elk-Foot of the Taos Tribe]]'', painted in the summer of 1909, is considered Couse's masterwork. The painting was purchased for the United States national art collection by the well-known art collector [[William T. Evans]] and is now displayed in the collections of the [[Smithsonian American Art Museum]]. Elk-foot, whose anglicized name was Jerry Mirabal, began posing for Couse in 1907 and was one of the painters favorite subjects because of his "physical beauty and ideal features."<ref>{{cite book |first=Virginia Couse |last=Leavitt |title=Eanger Irving Couse: Image Maker for America |year=1991 |publisher=The Albuquerque Museum |location=Albuquerque, NM }}</ref>

===Early works===
[[File:E. Irving Couse, 'The Captive', 1891.jpg|right|thumb|''The Captive'', a controversial work from 1891]]

Couse's ''The Captive'' was shown in 1891 at his first solo exhibition, held at the [[Portland Art Association]] in Oregon, and then at the Paris Salon of 1892.  This large, "salon size" painting was the first Native American subject by Couse, who later achieved fame in the United States for his paintings of the [[indigenous peoples]] of New Mexico.  In 1991, ''The Captive'' was included in the [[National Museum of American Art]] exhibition entitled ''The West as America,'' which created controversy by its curatorial interpretation of the artists' meanings and intents.{{cn|date=May 2022}}{{clarify|date=May 2022|reason=Artists' or artist's?}}  Art historians have explored the painting's racial, sexual, and social motives in the context of American society at the time.<ref>{{cite book |last=Komanecky |first=Michael K. |title=Phoenix Art Museum: Collection Highlights |publisher=Harry N. Abrams, Inc. |location=New York |year=2002 |page=[https://archive.org/details/phoenixartmuseum0000unse/page/60 60] |isbn=978-0810932456 |url=https://archive.org/details/phoenixartmuseum0000unse/page/60 }}</ref>

In 1899, Couse exhibited three paintings at the [[Boston Art Club]]: ''A Cayuse Indian'' (oil), ''Maternity'' (oil), and ''Yakima Encampment'' (oil).  His address at that time was the Van Dyck Studios, 939 8th Avenue, New York City.<ref>{{Cite book|last=Leavitt|first=Virginia Couse|title=Eanger Irving Couse: The Life and Times of an American Artist, 1866–1936|publisher=University of Oklahoma Press|year=2019|location=Norman, OK|pages=146}}</ref>

===Later works===
[[File:Couse kachinapainter.jpg|thumb|''The Kachina Painter'' (1917)]]

* ''Mending the War Bonnet''
* ''Making Pottery'' (awarded $500 National Academy of Design [[Carnegie Prize]])
* ''Roasting Corn'' (1904)
* ''Rushing Water'' (1912)
* ''Twilight, Taos Pueblo'' (1913)
* ''Taos Canyon Camp''
* ''Taos Pueblo - Moonlight (1914)<ref>{{cite web |title=Taos Pueblo - Moonlight |work=New Mexico Art Tells New Mexico History |url=http://online.nmartmuseum.org/nmhistory/art-activities/taos-pueblo-moonlight.html |publisher=New Mexico Museum of Art |access-date=2014-01-16 |url-status=dead |archive-url=https://web.archive.org/web/20130504091928/http://online.nmartmuseum.org/nmhistory/art-activities/taos-pueblo-moonlight.html |archive-date=May 4, 2013 |df=mdy-all }}</ref> 
* ''The Kachina Painter'' (1917)
* The Quiver Maker (1918){{clear|left}}