japonisme in the land of the pueblo (etc.) VII
(click images to enlarge)
as we've seen over the last two weeks, native americans and native american lands grew in fascination after the completion of the railroad which made them accessible. The artists went first, some with exploitation in mind, and many with inspiration in their hearts; the beauty, the people, the weather: it was as though a new nation have been born in the middle of this one. in fact, it was many nations, and they had been there all along.
with the artistic communities growing, an interchange between painters and indians who wanted to 'learn to paint,' began. classes became frequent, and from them came work which began to be shown around the country. before long the bureau of indian affairs set up indian schools around the country with a strong emphasis on teaching the arts.
In 1932, Dorothy Dunn established The Studio at the Santa Fe Indian school where she nurtured many of the well-known "easel artists" such as Ben Quintana, Harrison Begay, Joe H. Herrara, Quincy Tahoma, Pablita Velarde, Eva Mirabel, Tonita Lujan, Pop-Chalee, Oscar Howe and Geronima Cruz Montoya.1
quincy tahoma (1921-1956) was a navajo painter. he was a shepherd for many years, but then in 1932 decided to go to the santa fe indian school where he learned to paint in dorothy dunn's 'studio' class. he went on to become one of the most prominent pupils.
At the Studio, at the federal government's Santa Fe Indian School, Dunn promoted the "modern flat-art" style featuring clearly outlined, bright forms rhythmically linked in a seemingly dimensionless yet narrative space. 2
the Studio of the Santa Fe Indian School became the centerpiece of the Collier administration's commitment to Indian arts and a model for other Indian schools across the country. 3
The studio attracted student artists from tribes all over the United States and was so influential that it is possible to speak of the "Studio style" that dominated American Indian painting through the 1950s and reverberates among the work of many artists today. 4
(sources: 2. "Modern By Tradition: American Indian Painting in the Studio Style." Publishers Weekly (Nov 27, 1995); 3. Journal of the Southwest (Summer 1998); 4. DISCovering Multicultural America. Online ed. Detroit: Gale, 2003.)
as we've seen over the last two weeks, native americans and native american lands grew in fascination after the completion of the railroad which made them accessible. The artists went first, some with exploitation in mind, and many with inspiration in their hearts; the beauty, the people, the weather: it was as though a new nation have been born in the middle of this one. in fact, it was many nations, and they had been there all along.
with the artistic communities growing, an interchange between painters and indians who wanted to 'learn to paint,' began. classes became frequent, and from them came work which began to be shown around the country. before long the bureau of indian affairs set up indian schools around the country with a strong emphasis on teaching the arts.
In 1932, Dorothy Dunn established The Studio at the Santa Fe Indian school where she nurtured many of the well-known "easel artists" such as Ben Quintana, Harrison Begay, Joe H. Herrara, Quincy Tahoma, Pablita Velarde, Eva Mirabel, Tonita Lujan, Pop-Chalee, Oscar Howe and Geronima Cruz Montoya.1quincy tahoma (1921-1956) was a navajo painter. he was a shepherd for many years, but then in 1932 decided to go to the santa fe indian school where he learned to paint in dorothy dunn's 'studio' class. he went on to become one of the most prominent pupils.
At the Studio, at the federal government's Santa Fe Indian School, Dunn promoted the "modern flat-art" style featuring clearly outlined, bright forms rhythmically linked in a seemingly dimensionless yet narrative space. 2
the Studio of the Santa Fe Indian School became the centerpiece of the Collier administration's commitment to Indian arts and a model for other Indian schools across the country. 3The studio attracted student artists from tribes all over the United States and was so influential that it is possible to speak of the "Studio style" that dominated American Indian painting through the 1950s and reverberates among the work of many artists today. 4
(sources: 2. "Modern By Tradition: American Indian Painting in the Studio Style." Publishers Weekly (Nov 27, 1995); 3. Journal of the Southwest (Summer 1998); 4. DISCovering Multicultural America. Online ed. Detroit: Gale, 2003.)
Labels: blue eagle, dorothy dunn, gilbert atencio, hokusai, Kunisada Utagawa, limoges, native americans, quincy tahoma, winold reiss, woody crumbo
posted by lotusgreen at 12:41 PM
4 Comments:
i really love this amazing series,so rich in content and so many resourceful comparison,i need MORE time to read it:)
thannk you so much for your visit and y our comment, harlequinpan. yes, it's wordy--i know. so i am so glad to learn you find it interesting as well.
it's not wordy at all,i just unfamiliar with different culture,so i need more time to learn these interesting things.....this feeling reminds me the movie "Babette's Feast",it's amazing and inconceivable!!
you're such a treasure, hp. thanks. if it's any help, it's all new to me too. i mean i knew i had loved some of the indian images i had seen years ago, and the rest i'm learning too.
but thanks so much for finding it interesting.
and saying so :^)
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hi, and thanks so much for stopping by. i spend all too much time thinking my own thoughts about this stuff, so please tell me yours. i thrive on the exchange!
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