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American Indian Painters Vol. 2

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O. B. JACOBSON JEANNE D'UCEL VOLUME II EDITIONS D'ART C. SZWEDZICKI NICE (France) 1950 Copyright by C. Szwedzicli 1950 PRINTED I N FRANCE VOLUME II THE ARTISTS THE PUEBLOS GILBERT ATENCIO SAN ILDEFONSO ADOLPH NARANJO SANTA CLARA (Wah-Peen, Mountain of the Wind) (O-go-wee, Road Runner) ZUNI DEMPSEY CHAPITA TONITA PENA COCHITI (Quah-ah) LOUIS GONZALES SAN ILDEFONSO (Wo Peen, Medicine Mountain) OTIS POLELONEMA HOPI (Lomada-moc-via, Springtime) JOE H. HERRERA COCHITI (See-Ru, Blue Bird) BEN QUINTANO COCHITI VELINO SHIJE HERRERA ZIA (Ha-a-te) (Ma-pe-wi, Oriole) ALPHONSO ROYBAL SAN ILDEFONSO JAMES R. HUMETAWA HOPI (Awa-Tsireh, Cattail Bird) (Saw-whu, Morning Star) ABEL SANCHEZ SAN ILDEFONSO MARINA LUJAN TAOS (Ogwa-Pi, Cloud Stick) (Pop Chalee, Blue Flower) PERCY SANDY ZUNI FRED KABOTIE HOPI (Kaisa, Red Moon) JULIAN MARTINEZ SAN ILDEFONSO THEODORE SUINA COCHITI (Ku-pe-Ru) EVA MIRABAL TAOS (Eah-ha-wa) JOSE R. TOLEDO JEMEZ (Sho-bah-woon-hoon, Morning Star) VINCENTE MIRABAL TAOS (Chiu-Tah, Dancing Boy) PABLITA VELARDE SANTA CLARA GERONIMA CRUZ MONTOYA SAN JUAN (Tsan, Dawn) (Po-t s u -nu, White Shell) ROMANDO VIGIL SAN ILDEFONSO WALTER MOOTZKA HOPI (Tse-ye-mu, Spruce falling in Winter) IGNACIO MOQUINO ZIA THOMAS VIGIL TESUQUE (Waka-yen-i-dewa, Stratus Cloud) (Pu-yo-Pin, Summer Mountain) THE NAVAJOS AND APACHES NARCISCO ABEYTA NAVAJO STANLEY MITCHELL NAVAJO (Ha-so-de, Ascending) (Che-Chille-Tsosie, Slim Curly hair) HARRISON BEGAY NAVAJO (Quo-ho, Dawn) GERALD NAILOR NAVAJO (Toh-yah, Walking by River) HOKE DENETSOSIE NAVAJO (Kiya-aa nii, House standing upright) ANDY TSIHNAHJINNIE NAVAJO WILSON DEWEY SAN CARLOS APACHE QUINCY TAHOMA ALLAN HOUSER GERONIMO APACHE NAVAJO (Ha-oz-ous, Pulling Roots) (Edge of the Water) CHARLEY LEE NAVAJO JIMMY TODDY (Hush-kay-yel-he-yah, NAVAJO Comes out with anger) (Beatin Yazz, Little no Shirt) 3 ILLUSTRATIONS GILBERT ATENCIO 58 GIRL HARVEST DANCER THEODORE SUINA 37 SAN ILDEFONSO WOMEN (Ku-Pe-Ru) DANCERS (Wah-peen, Mountain of the Wind) 59 PINE TREE CEREMONIAL JOSE R. TOLEDO DEMPSEY CHAPITA DANCE (Sho-bah-woon-hoon, Morning 38 ZUNI MASKED DANCERS Star) PABLITA VELARDE 39 BUFFALO DANCER LOUIS GONZALES 60 SUN BASKET DANCE (W o Peen, Medicine Mountain) (Tsan, Dawn) OLD TIME BUTTERFLY JOE H. HERRERA 61 HARVEST DANCE ROMANDO VIGIL 40 (Tse-ye-Mu, Spruce Falling ir DANCE (See-Ru, Blue Bird) Winter) 62 TESUQUE BUFFALO DANCE THOMAS VIGIL 41 PUEBLO POTTERY MAKERS VELINO SHIJE HERRERA (Pu-yo-Pin, Summer Mountai (Ma-pe-wi, Oriole) 63 "LET THEM LIVE" NARCISCO ABEYTA 42 TUNWUP HOPI KATCHINA JAMES R. HUMETEWA (Ha-so-de, Ascending) (Saw-whu, Morning Star) 64 TAKING THE SHEEP OUT HARRISON BEGAY 43 SKUNK AND SQUIRREL MARINA LUJAN (Quo-ho, Dawn) (Pop Chalee, Blue Flower) NAVAJOS GOING TO HARRSON BEGAY 44 PRAYER FOR RAIN FRED KABOTIE 65 A DANCE (Quo-ho, Dawn) 45 BUFFALO DANCER JULIAN MARTINEZ 66 NAVAJO MOTHER CARDING HOKE DENFTSOSIE WOOL (Kiya aa nii, House Standing 46 YUCCA SHAMPOO EVA MIRABAL Upright) (Eah-ha-wa) 67 HORSE AND RATTLESNAKE WILSON DEWEY 47 TAOS BUFFALO DANCE VINCENTE MIRABAL (Chiu-tah, Dancing Boy) 68 RESTING COWBOYS ALLAN HOUSER 48 A MATACHINA DANCE GERONIMA CRUZ MONTOYA (Ha-oz-ous, Pulling Roots) (Po-tsu-nu, Whiteshell) 69 MOVING CAMP ALLAN HOUSER 49 TWO DEER DANCERS WALTER MOOTZKA (Ha-oz-ous, Pulling Roots) 70 NAVAJO FAMILY STANLEY MITCHELL 50 DEER HUNTERS IGNACIO MOQUINO (Che-chille-Tsosie, Slim CurlY (Waka-yen-i-dewa, Stratus Hair) Cloud) 71 THE FEMALE RAIN GERALD NAILOR 51 HUNTING THE BUFFALO ADOLPH NARANJO AND CORN (Toh-yah, Walking by Rivet (O-go-wee, Road Runner) 52 COCHITI EAGLE DANCE TONITA PENA 72 NAVAJO N' DA A ANDY TSIHNAHJINNIE (Quah-Ah) 53 PRIEST OF THE SNAKE OTIS POLELONEMA 73 THE LAST JUMP QUINCY TAHOMA DANCE (Lomada-moc-via, Springtime) (Edge of Water) 74 FRIGHTENED ANTELOPE JIMMY TODDY 54 BUFFALO DANCE BEN QUINTANO (Ha-a-te) (Beatin Yazz, Little No Shirt 75 PICKING CORN MAIDEN CHARLIE LEE 55 HARVEST FESTIVAL ALFONSO ROYBAL (Ava Tsireh, Cattail Bird) (Hush-kay-yel-he-yah, Comes out with anger) 76 NAVAJO BOYS 56 DEER DANCE ABEL SANCHEZ CHARLIE LEE (Ogwa-Pi, Cloud Stick) (Hush-kay-yel-ho-yah, Come Out with Anger) 57 THE SCRATCHING DEER PERCY SANDY 77 PEYOTE BIRD MONROE TSA-TO-KE (Kai-Sa, Red Moon) (Hunting Horse) 4 CONTENTS BENJAMIN GILBERT ATENCIO work or about anything, and in less than three sentences, she will gravitate to Joe's painting, and, beaming with pride, will tell all about (Wah-peen, Mountain of the Wind) his work. The eternal mother ! S AN ILDEFONSO As a little boy, See-Ru delighted in watching his mother paint and he learned her technique trying out his own hand. One of his 37. "SAN ILDEFONSO WOMEN DANCERS" early efforts at painting won him a prize from the American Youth (Collection O.B.J.) Forum Contest. At the Santa Fe Indian School, he completed a mural "Wedding". Another mural is a "Butterfly Dance" on the outer wall Wah-peen is one of the youngest of the Pueblo artists to receive of an Indian trading post in Albuquerque. recognition in the native American art world. In heritage, he also belongs to modern times ; his mother was a full-blooded Tewa and his Joe Herrera is much interested in agriculture, depending on it father Navajo and Spanish. He is a nephew of Julian Martinez and for his livelihood. He is also a trained auto mechanic. During the Maria, the famous potter. Wah-peen grew to manhood in the Rio war he saw service in the Caribbean and in the Mediterranean. He Grande Valley of New Mexico. He is one of the most prolific young painted a landscape of the Bay of Naples of which his mother is im- artists in the Southwest. His pictures are to be seen in most shops in mensely proud. and about Santa Fe, but he has not yet had the opportunity to exhibit His style is very reminiscent of his mother's, but more sensitive formally, except in Santa Fe. and with a finer feeling for color and grace of line. His "Butterfly In subjects, he adheres closely to the Pueblo tradition, Indian Dance" is a fine example of his ability to render graceful movement dances and home life. "The San lldefonso Women Dancers" is repre- with simple means. His colors of black, red, white, and green create sentative of his style. His work possesses vigor and a certain crisp- a splendid harmony. It is equally satisfying and as charmingly deco- ness, reminiscent of Tonita Pefia, but is much bolder in color, a bold- rative as a print by Utamaro. ness that sometimes reaches the point of crudity. With more expe- rience and practice, it will doubtless become more mellow in tone. VELINO SHIJE HERRERA (Ma-Pe-Wi, Oriole) DEMPSEY CHAPITA ZIA ZUNI 41. "PUEBLO POTTERY MAKERS" 38. "MASKED DANCERS OF ZUNI" (Collection O.B.J.) (Collection University of Oklahoma) "The Masked Dancers of Zuni" is included in this volume Velino Herrera, at first called Velino Shije, is one of the major because of its beauty and charm, not because Chapita is very famous Pueblo artists of the older modern group. He comes from an artistic as an artist. His work has not been widely exhibited and he has no family of potters, weavers, and silversmiths. murals to his credit. In school, he only painted for the pleasure it When the state of New Mexico adopted as its emblem the sun gave him, with no intention of making art his career. He has not symbol of the Pueblo Indians, although this symbol had long been painted at all since he left school in 1939. He was born in Zuni, known to the Whites for what it is, Ma-Pe-Wi was accused by his own 1922, and was in military, serviec until 1945. Since then he has been people of Zia of betraying them by giving it to the Whites. He was occupied as a laborer in and about his ancestral home. ostracized and forced to abandon the name of Shije as unworthy of The watercolor "Masked Dancers of Zuni" shows a native good it. Zia is exceedingly conservative. He taught art for a time at the taste and refinement in color as well as design. The primitive angu- Indian School in Albuquerque, and now makes his home in Picuris larity of the figures only adds a piquant charm, that is often lost in where he owns a ranch. He decorated with murals the recreation the work of artists who have had art school training. It follows very room in the Department of the Interior Building in Washington, D.C. closely in the tradition of the Zuni religious ceremonial art. Ma-Pe-Wi's work shows great versatility. He can accomplish a happy blend of realism with symbolism. While he has not received as much publicity as Awa Tsireh, some connoisseurs consider LOUIS GONZALES him more vigorous and virile, and freer from outside influence. His (Wo-Peen, Medicine Mountain) preferred subjects are the dances of the secret societies and the daily life of the Pueblos. The older Indian artists concentrated mostly on GOVERNOR OF SAN ILDEFONSO religious ceremonials ; the younger set seems to prefer buffalo and deer hunting as subjects for their paintings. So it is a welcome relief 39.0 "BUFFALO DANCER" to find some pictures showing men at their prosaic work as farmers, (Collection University of Oklahoma) women at their craft of pottery making. Born in 1907, Wo Peen could look forward to a splendid "The Pueblo Pottery Makers" is interesting in form and in color.
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