Misplaced Pages

#913086

26-620: Stephen Mopope (1898–1974), the oldest in the group, was born on the Kiowa Reservation in Oklahoma Territory . His relatives, including his great-uncles Silver Horn and Fort Marion ledger artist Ohettoint, recognized his artistic talent at an early age and taught him traditional Kiowa painting techniques. Jack Hokeah (ca. 1900/2-1969) was orphaned at a young age and raised by his grandmother. Later in life, San Ildefonso Pueblo potter Maria Martinez adopted him as

52-596: A Choctaw nun. In a move that contradicted US federal policy at the time, Susan Peters, the Kiowa agency field matron, arranged for Mrs. Willie Baze Lane, an artist from Chickasha, Oklahoma , to teach painting classes for young Kiowas in Anadarko. Recognizing the talent of some of the young artists, Peters convinced Swedish-American artist, Oscar Jacobson , director of the University of Oklahoma 's School of Art to accept

78-484: A 19th-century Omaha tipi featured steamboats. Traditional Plains calendars are called winter counts because among most Plains tribes they feature a single pictogram that defined the entire year. Prior to using the Gregorian calendar , Lakota people counted years from first snow to first snow. Kiowas were unique in choosing two images per year– one for the winter and one representing the summer Sun Dance. Before

104-409: A French printer to produce Kiowa Art, a portfolio of 24 pochoir prints of paintings by Asah, Hokeah, Tsatoke, Mopope, and Smoky of intertribal dancers, ceremonies, musicians, and Kiowa daily life. When they participated in the 1932 Venice Biennale , their exhibit "was acclaimed the most popular exhibit among all the rich and varied displays assembled." The Kiowa Six are considered significant in

130-699: A beadwork artist. Since her paintings are the rarest, they have become the most collectible of the group. While Jacobson did not wish to dictate subject matter to the six artists, he actively promoted their work. He arranged for their work to be shown at the Denver Art Museum . In 1928, Jacobson entered their watercolor paintings in the 6th International Congress for Art Education, Drawing, and Applied Arts in Prague , Czechoslovakia , where they received international acclaim. Their work continued to be exhibited throughout Europe. In 1929, Jacobson collaborated with

156-474: A house rented by Lois Smoky's parents. Jacobson provided studio space for the group, but felt that he did not want to interfere with the direction their painting was taking. Dr. Edith Mahler, an art professor at OU provided painting instruction and critiques. In the fall of 1927, James Auchiah joined the program at OU. Lois Smoky returned home in 1927, leaving the program. She married and was devoted to her family. Although she did not continue painting, she became

182-417: A new style of painting that portrayed ceremonial and social scenes of Kiowa life and stories from oral history , which is characterized by solid color fields, minimal backgrounds, a flat perspective, and emphasis on details of dance regalia. Stephen Mopope Stephen Mopope (1898–1974) was a Kiowa painter, dancer, and Native American flute player from Oklahoma . He was the most prolific member of

208-471: A son and he lived with her family for a decade in New Mexico . Monroe Tsatoke (1904–1937) was born near Saddle Mountain, Oklahoma . His father Tsatokee ("Hunting Horse") was his first artistic influence. James Auchiah (1906–1974) was born near present-day Medicine Park, Oklahoma . His grandfather was Red Tipi, a ledger artist, medicine man , and bundle keeper. Spencer Asah (ca. 1905/1910-1954)

234-534: A tribe might paint but highly skilled individuals might be commissioned by others to create artwork. Before the 20th century, when a Kiowa man needed to repaint his lodge, he would invite 20-30 friends to paint the entire tipi in a single day. He would then treat them all to a feast. Many tribes throughout North America, besides those on the Plains, also painted hides, following different aesthetic traditions. Subarctic tribes are known for their painted caribou hides. On

260-745: Is a reoccurring motif of stylized feathers in several concentric circles. It visually connects a feather warbonnet to the sun. Traditionally, men painted representational art. They painted living things. Plains Indian male artists use a system of pictographic signs, characterized by two-dimensionality, readily recognizable by other members of their tribe. This picture writing could be used for anything from directions and maps to love letters. Images were streamlined and backgrounds were minimal for clarity. Representational painting typically fell into two categories: heraldic accounts or calendars. Men recorded their battle and hunting exploits on hide tipi liners, robes, and even shirts. Figures were scattered across

286-535: The Blackfeet , sale. Followers of the Ghost dance religion painted visionary designs on their clothing. Arapaho and Lakota ghost dance shirts were painted with crows, magpies , turtles, and cedar trees. Buffalo hides, as well as deer, elk, and other animal hides, are painted. Clothing and robes are often brain-tanned to be soft and supple. Parfleches, shields, and moccasin soles are rawhide for toughness. In

SECTION 10

#1732790206914

312-1113: The American Indian George Gustav Heye Center in New York. Mopope's granddaughter Vanessa Jennings is a Kiowa/Apache/Pima beadwork artist and regalia maker. Mopope's work can be found in the following public art collections: On 2 February 1974, Mopope died at Fort Cobb, Oklahoma . Plains hide painting Plains hide painting is a traditional North American Plains Indian artistic practice of painting on either tanned or raw animal hides. Tipis , tipi liners, shields, parfleches , robes, clothing, drums, and winter counts could all be painted. Art historian Joyce Szabo writes that Plains artists were concerned "with composition, balance, symmetry, and variety." Designs can be similar to those found in earlier rock art and later quillwork and beadwork . Plains women traditionally paint abstract, geometric designs. Bright colors were preferred and areas were filled with solid fields of color. Cross-hatching

338-635: The Anadarko Boarding School, was the longest surviving of the seven schools for Native American children in Oklahoma operated by St. Patrick's Mission. There, the five Kiowa artists received formal art instruction from a Choctaw nun, Sister Mary Olivia Taylor (1872–1931). Monroe Tsatoke did not attend St. Patrick's and did not receive formal art training until the Anadarko Agency field matron, Susan Peters , took an interest in

364-759: The First International Art Exposition in Prague , Czechoslovakia. Dr. Jacobson arranged for their work to be shown in several other countries and for Kiowa Art , a portfolio of pochoir prints and artists' paintings, to be published in France. Mopope was commissionined to paint murals in the US Department of the Interior building in Washington, DC, along with five other Native aristists, including James Auchiah. Mopope's mural

390-482: The Kiowa students into a special program at the school, in which they were coached and encouraged by Edith Mahier . The Kiowa Six included Mopope as well as fellow artists Spencer Asah , James Auchiah , Jack Hokeah , Lois Smoky and Monroe Tsatoke . Auchiah was the last to join the group at OU in 1926. In 1928, the Kiowa Six made their debut into the international fine arts world, when they participated in

416-417: The development of Native American painting by bridging the era of Ledger Art to flat-style Southern Plains painting. While not the first Native Americans to be successful in the international mainstream art world, their careers proved inspirational to many Native artists in the 20th century. Inspired by the narrative, representational qualities of Plains hide painting and ledger art , the Kiowa Six created

442-660: The group of artists known as the Kiowa Six . Stephen Mopope was born on 27 August 1898 near the Redstone Baptist Mission on the Kiowa Reservation in Indian Territory . Qued Koi was his Kiowa name, which translates as "Painted Robe," and is sometimes spelled, "Wood Coy." His maternal grandfather was Appiatan, a famed Kiowa warrior, and his great-uncles were Silver Horn and Oheltoint (Ohettoint), both of whom were accomplished artists. Oheltoint

468-657: The hide and semi-transparent images sometimes overlapped each other. Narrative hides were often read right to left, with the protagonist emerging from the right. Allies are on the right with enemies on the left. Men and horses were commonly painted, and other popular motifs included footprints, hoofprints, name glyphs, bullets, and arrows. An 1868 Blackfoot buffalo hide features the protagonist no fewer than eight times. Painted hides also commemorate historical events, such as treaty signings. After 1850, hide painting grew in complexity with finer lines and additional details added. Introduced technologies influenced hide painting, and

494-483: The late 19th century when buffalo became scarce, winter counts were painted in buffalo hides. The annual pictograms could be arranged in a linear, spiral, or serpentine pattern. Visions and dreams could inspire designs. Buckskin covers for circular rawhide hide shields, in particular, are inspired by men's visions and can include paintings of humans, animals, or spirit beings, reflecting the owner's personal powers and providing protection. Designs could be obtained from

520-439: The past, Plains artists used a bone or wood stylus to paint with natural mineral and vegetable pigments. Sections of buffalo rib could be ground to expose the marrow, which was absorbent and worked like a contemporary ink marker. Swelling cottonwood buds provided brown pigment. Lakota artists used to burn yellow clay to produce ceremonial red paint. Lakotas associated blue pigments with women. In earlier times, all members of

546-468: The warriors who received the visions or from medicine men. Cheyenne men who received visions were allowed to make four shields with the design. Among the Kiowa and Kiowa-Apache about 50 possible shield designs existed. Tipis could be painted with visionary designs. The design and related power belonged to the tipi-owner, which could be transferred by inheritance, marriage, or, among some tribes such as

SECTION 20

#1732790206914

572-548: The young Kiowa artists and established an art club. Peters arranged for Mrs. Willie Baze Lane of Chickasha, Oklahoma , to give them painting lessons. Susie Peters , while working at the Indian Agency, encouraged Oscar Jacobson , the director of the University of Oklahoma 's art department to create a special program for the Kiowa artists. In 1926, Asah, Hokeah, Tsatoke, and Mopope moved to Norman , Oklahoma. They were soon joined by Lois Smoky in 1927 and lived together in

598-620: Was 6 by 60 feet and portrayed a Kiowa ceremonial dance. He joined the Native American Church and created stylized paintings that combined ceremonial implements with religious imagery. Besides being a visual artist, he was a highly accomplished dancer and flute-player. Mopope's work was part of Stretching the Canvas: Eight Decades of Native Painting (2019–21), a survey at the National Museum of

624-509: Was a last resort used only when paint was scarce. Negative space was important and designs were discussed by women in terms of their negative space. Dots are used to break up large areas. Buffalo robes and parfleches were frequently painted with geometrical patterns. Parfleches are rawhide envelopes for carrying and storing goods, including food. Their painted designs are thought to be stylized maps, featuring highly abstract geographic features such as rivers or mountains. The "Feathered Sun"

650-524: Was born in Carnegie, Oklahoma . His father, a buffalo medicine man, provided Asah with the traditional cultural background to inspire his art. Lois Smoky (1907–1981), born near Anadarko , was the youngest of the group and the only woman. Five of the artists attended the St. Patrick's Mission School in Anadarko, serving Kiowa, Comanche and Apache children. Operating from 1872 to 1996, the school, also known as

676-650: Was one of the Fort Marion ledger artists . Mopope's paternal grandfather was a Spanish captive, adopted by Kiowa chief Many Bears. When Mopope was a young child, his relatives observed him drawing pictures in the sand, so the artists in his family taught him how to paint on hides in the traditional manner. His grandmother was also instrumental in his early education. In 1916, Mopope attended St. Patrick's Indian Mission School in Anadarko, Oklahoma , where he received further art instruction under Sister Olivia Taylor,

#913086