When he returned to New York in 1838, Catlin quickly capitalized on the sudden fame of his subject. To this end he produced a stone lithograph of his full-length painting. Subsequently in his career, Catlin reproduced the lithograph, created new images of Osceola, and sold original pencil sketches based on his previous works. Catlin did not seek merely to profit off of Osceola. The painter was strongly opposed to the Jacksonian Indian policies, and he used his art to advance his respect for Native Americans and his opposition to Indian Removal.
According to Wickman, Osceola spontaneously posed for this full-length
depiction when he received reports of a Seminole victory in the ongoing
(1 of 9 images in this series)