UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PABLITA VELARDE, HELEN HARDIN, AND MARGARETE BAGSHAW: THREE GENERATIONS OF ASSERTION, EXPRESSION, AND INNOVATION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By EMILY PAYNE Norman, Oklahoma 2018 PABLITA VELARDE, HELEN HARDIN, AND MARGARETE BAGSHAW: THREE GENERATIONS OF ASSERTION, EXPRESSION, AND INNOVATION A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ____________________________ Dr. W. Jackson Rushing, III, Chair ____________________________ Dr. Robert Bailey ____________________________ Dr. Alison Fields ____________________________ Mr. Byron Price ____________________________ Dr. Dan Swan ____________________________ Dr. Mary Jo Watson © Copyright by EMILY PAYNE 2018 All Rights Reserved. Dedication For my mom, Mary Bee Clark (1953-2015). Sending you love always. Acknowledgements This dissertation has been an undertaking that would not have been possible without the support of many mentors. I wish to give a special thanks to Dr. W. Jackson Rushing III, chair of my committee, for his valuable advice which guided my work, and his patience and encouragement, both of which kept me going. Dr. Mary Jo Watson, your passion for Native art is contagious, and I sincerely thank you for being a role model for me. Dr. Robert Bailey, Dr. Alison Fields, Mr. Byron Price, and Dr. Dan Swan, I appreciate your instruction and support and thank you for investing your time in this project. Many others deserve mention as well, for their assistance with my research. Thank you to Heather Ahtone, Diana Bird, Christina Burke, Thomas Young, and Mark White. Also, many thanks to Dan McGuinness for sharing his remembrances of Margarete Bagshaw with me. My wonderful family deserves my heartfelt thanks, as they supported me throughout my graduate career. iv Thank you, Dad, for encouraging me to follow my dreams and making me feel like Superwoman for balancing taking care of three kids and writing a dissertation. Mom, your love of design and art always inspired me. I know you are watching from above and are so happy that I finished the Ph.D. program. I told you I would! You both exposed me to art and travel from a young age, which fostered my love of art history. I cannot thank you enough. To my husband, Josh, thank you for listening to me talk about my writing and ideas for so many years, for cooking countless delicious meals for me, for giving me lots of pep talks, and most of all for being by my side always. I could not ask for a better partner to go through life with. To my kids, thank you for being patient with me when I needed to work. Mason, thank you for always offering your thoughts on the paintings I wrote about, you had some interesting insights! Lucy, thank you for the endless cups of coffee you made for me, they were always needed! Will, thank you for being a bright bundle of happiness that adds joy to my every day. I love each one of you, more than all the stars. v Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ................................................................................................................. vii Abstract ........................................................................................................................... xii Introduction ...................................................................................................................... 1 Chapter 1: Early Modern Female Native American Artists of the Southwest .............. 15 Chapter 2: Pablita Velarde .............................................................................................. 61 Chapter 3: Helen Hardin .............................................................................................. 124 Chapter 4: Margarete Bagshaw .................................................................................... 165 Conclusion .................................................................................................................... 196 Bibliography ................................................................................................................. 197 Appendix: Figures ........................................................................................................ 206 vi List of Figures Figure 1. Photo of Nampeyo holding a Sikyatki Polychrome style pot, 1891 ..........................206 2. Nampeyo, A Unique Appliquéd Storage Jar, ca. 1905 ..............................................206 3. Nampeyo (attributed), A Polacca Polychrome Seed Jar, ca. 1885-1890 ..................207 4. Nampeyo (attributed), A Surreal Polacca Polychrome, ca. 1890-1895 ....................207 5. Nampeyo (attributed), Polychrome Jar, 1898-1900 ..................................................208 6. Acoma style bird ........................................................................................................208 7. Nampeyo, A Superlative Late Figurative Jar, ca. 1918-1920 ...................................209 8. Nampeyo, A Decorative Canteen, ca. 1905 ..............................................................209 9. Fannie Nampeyo, Polychrome Jar, Migration Design, 1972 ...................................210 10. Nampeyo, Jar, 1912 ................................................................................................210 11. Dextra Quotskskuyva Nampeyo, Untitled, 1980 .....................................................211 12. Maria and Julian Martinez, Polychrome Plate, c. 1930 ..........................................211 13. Maria and Popovi Martinez and Tony Da, Untitled, 1963 ......................................212 14. Tony Da, Lidded Turtle Vessel, c. 1970 ..................................................................212 15. Tonita Peña, Comanche Dance, 1920-21. ...............................................................213 16. Tonita Peña, Cochiti Lady Baking Bread in the Oven, n.d. .....................................213 17. Tonita Peña, Basket Dance, c.1919 .........................................................................214 18. Tonita Peña, Gourd Dance. .....................................................................................214 19. Joe Herrera, Fox Hunter (Petroglyph), c. 1954 .......................................................215 20. Tonita Peña painting a mural for Public Works Art Project at the Santa Fe Indian School, 1934.. ..........................................................................................................215 vii 21. Pablita Velarde painting a mural for Public Works Art Project at the Santa Fe Indian School, 1934 ............................................................................................................216 22. Pablita Velarde, Woman Making Tortillas, c. 1932 ................................................216 23. Pablita Velarde, Santa Clara Women Before The Altar, c. 1933 ............................217 24. Pablita Velarde, Buffalo Dance, c. 1931 .................................................................217 25. Tonita Peña (Quah Ah), Buffalo Dancers with Drummer, ca. 1926 .......................218 26. Pablita Velarde, Maisel’s Trading Post Mural, 1939 ..............................................218 27. Maisel’s Trading Post, exterior and interior ............................................................219 28. Dunn study of flowers from Santo Domingo pot, c. 1932, Detail of Pablita Velarde’s mural at Maisel’s Trading Post, 1939 ......................................................................220 29. Caroline Coriz (Tesuque), Textile Pattern from an Acoma Motif, 1934, Detail of Pablita Velarde’s mural at Maisel’s Trading Post, 1939 .........................................220 30. Gustav Klimt, The Kiss, c. 1907-1908 ....................................................................221 31. Josef Hoffmann, Design for Fabric, ca. 1920 ..........................................................221 32. Detail of Pablita Velarde’s mural at Maisel’s Trading Post, Fabric pattern by Josef Hoffman .......................................................................................................................................222 33. Detail of Pablita Velarde’s mural at Maisel’s Trading Post, Mathilde Flögl, Clan, 1928, Josef Hoffman pattern ..................................................................................222 34. Pablita Velarde, Woman Making Pottery, ca. 1950 .................................................223 35. Pablita Velarde, Making Pottery at Santa Clara, 1952 ...........................................223 36. Pablita Velarde, Decorating Pottery at Santa ara, 1953 .........................................224 37. Pablita Velarde, Dance of the Avanyu and the Thunderbird, c. 1955. ....................224 38. Joe H. Herrera, Untitled, 1951, Pablita Velarde, Dance of the Avanyu and the Thunderbird, c. 1955. ..............................................................................................225 39. Pablita Velarde, Dance of the Avanyu and the Thunderbird, c. 1955, Nampeyo, A Decorative Canteen, ca. 1905, Maria and Popovi Martinez and Tony Da, Untitled, 1963 .........................................................................................................................226 40. Pablita Velarde, Thunderknives, 1957 .....................................................................226 viii 41. Pablita