American art contrasted Indians to European Americans. Americans viewed Indians as savages who were different; they were not and would never become white Christians. Instead, they were illiterate hunters and gatherers who followed pagan superstition and their own emotions. Cultural stereotypes of Native Americans swept through the United States. Indians were at first an object of European intellectual curiosity, serving a symbolic model for the Romantic notion of the "noble savage". American depictions of Indians in the 1820s and 1830s portray Indians as one with their remote, natural surroundings. For example, in Charles Bird King's Young Omahaw, War Eagle, Little Missouri, and Pawnees, Indians are depicted as bare-shouldered with buffalo skin robes and body decorations. Although these characteristics convey a primitive sense, their physiques and stature imply a noble sense of prowess. Paintings depicting this type of "noble savage" continued through the 1850s. Shortly thereafter, depictions of American Indians moved away from the friendly native or "noble savage" in favor of paintings of violent, threatening hostiles. Colonial encroachment on Indian lands, broken treaties, and a general attitude of disrespect for Indians was replacing the once common notion of friendship and hospitality. Scenes of conflict presumed the innocence of whites. Savagery of Indians in paintings was also accompanied by Indian doom. It was assumed during this time that Indians would have to adopt the beliefs and customs of the dominant white culture in order to survive. Paintings of Indians were created by whites in order to show their attitudes about the Indian civilization. Because Indians refused to abandon their "savage" tribal customs in favor of the Anglo-Saxon way of life, they were not considered productive citizens. Instead, they were viewed as primitive, savaged, or doomed.