Hiawatha and Minnehaha by Edmonia Lewis Hiawatha and Minnehaha by Edmonia Lewis Hiawatha and Minnehaha are 1868 sculptures by Edmonia Lewis. They are in the collection of the Metropolitan Museum of Art on view in gallery 759. African-American, Haitian and Chippewa (Ojibwa) artist, Lewis, developed her neoclassical style of marble sculpture while working in Rome. Lewis was an admirer of Henry Wadsworth Longfellow's poetry, and in 1869 Longfellow visited her studio where he posed for one of her portraits which was shortly afterward acquired by Harvard University. Often working in themes that intersected her identity, Lewis focused a series of marble sculptures based on Longfellow’s much-referenced
The Song of Hiawatha "Vision of Columbus" (1787) (rewritten and entitled "The Columbiad" in 1807), were considered derivative. Longfellow provided something entirely new, a vision of the continent's pre-European civilisation in a metre adapted from a Finnish, non-Indo-European source. Soon after the poem's publication, composers competed to set it to music. One of the first to tackle the poem was Emile Karst, whose cantata "Hiawatha" (1858) freely adapted and arranged texts of the poem. It was followed by Robert Stoepel's "Hiawatha: An Indian Symphony", a work in 14 movements that combined narration, solo arias, descriptive choruses and programmatic orchestral interludes. The composer consulted with