Relevant bibliographies by topics / Native American Paintings

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Native American Paintings'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Native American Paintings"

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Rosenthal, Nicolas G. "Rewriting the Narrative." California History 96, no. 4 (2019): 54–77. http://dx.doi.org/10.1525/ch.2019.96.4.54.

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A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.
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McLerran, Jennifer. "Trappers' Brides and Country Wives: Native American Women in the Paintings of Alfred Jacob Miller." American Indian Culture and Research Journal 18, no. 2 (1994): 1–41. http://dx.doi.org/10.17953/aicr.18.2.1q7505p644l16203.

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Kim, Hochung. "The Birds of America, the U.S. Presidents, and American Paintings of Native Fauna and Flora." Journal of the Association of Western Art History 46 (February 28, 2017): 99. http://dx.doi.org/10.16901/jawah.2017.02.46.099.

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Däwes, Birgit. "“The People Shall Continue”: Native American Museums as Archives of Futurity." Anglia 138, no. 3 (2020): 494–518. http://dx.doi.org/10.1515/ang-2020-0040.

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AbstractIn the Western cultural archive from James Fenimore Cooper’s ‘noble savages’ to Gore Verbinsky’s 2013 reincarnation of The Lone Ranger, Indigenous American cultures have, for the longest time, been relegated to the past and framed in representations that either displace them into nostalgic folklore or declare them conveniently vanished. While non-Native cultural products such as literary texts, photographs, and paintings, as well as museum exhibitions have coded Indigenous identities as static opposites to modernity, and thus deprived them of a future in Western culture, contemporary Indigenous writers, artists, and curators use these same cultural channels to contest the semiotics of absence, to assert cultural sovereignty, and to empower alternative modes of knowledge. This article considers tribal museums as interventional archives of knowing – in Derrida’s sense of both “assigning residence or of entrusting so as to put into reserve” and of “consigning through gathering together signs” (1995/1996: 3; original emphasis). With examples from a Pueblo cultural context, including an exhibition at Disneyworld, Florida; the Sky City Cultural Center and Haak’u Museum in Acoma, New Mexico; as well as the Indian Pueblo Cultural Center in Albuquerque, New Mexico, I trace the ways in which Native American museums strategically undermine what Mark Rifkin has termed “settler time” (2017: 9) and claim instead presence, sovereignty, inclusion, modernity, and futurity. In their specific outlines, these exhibits serve simultaneously as archives of Pueblo cultural heritage and as construction sites of temporality itself.1
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Penney. "Siyosapa: At the Edge of Art." Arts 8, no. 4 (2019): 148. http://dx.doi.org/10.3390/arts8040148.

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The art history of Native North America built its corpus through considerations of “art-by-appropriation,” referring to selections of historically produced objects reconsidered as art, due to their artful properties, in addition to “art-by-intention,” referring to the work by known artists intended for the art market. The work of Siyosapa, a Hunkpapa/Yanktonai holy man active at Fort Peck, Montana during the 1880s and 1890s, troubles these distinctions with his painted drums and muslin paintings featuring the Sun Dance sold to figures of colonial authority: Military officers, agency officials, and others. This essay reassembles the corpus of his work through the analysis of documentary and collections records. In their unattributed state, some of his creations proved very influential during early attempts by art museums to define American Indian art within a modernist, twentieth century sense of world art history. However, after reestablishing Siyosapa’s agency in the creation and deployment of his drums and paintings, a far more complicated story emerges. While seemly offering “tourist art” or “market art,” his works also resemble diplomatic presentations, and represent material representations of his spiritual powers.
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Flint, Kate. "COUNTER-HISTORICISM, CONTACT ZONES, AND CULTURAL HISTORY." Victorian Literature and Culture 27, no. 2 (1999): 507–11. http://dx.doi.org/10.1017/s1060150399272142.

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LATE IN 1839, George Catlin arrived in London from New York with a collection of Native American artifacts, costumes, and some six hundred portraits and other paintings. Executed during the previous eight years in the Prairies and the Rockies, they showed the appearance, habitat and customs of various tribes. Catlin rented the Egyptian Hall, in Piccadilly, set up a wigwam made of twenty or more ornamented buffalo skins in the center, and proceeded to mount his exhibition. Initially attracting a good deal of favorable attention, it ran for two years before touring England, Scotland, Ireland, and finally France.
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Sheehi, Stephen. "A SOCIAL HISTORY OF EARLY ARAB PHOTOGRAPHY OR A PROLEGOMENON TO AN ARCHAEOLOGY OF THE LEBANESE IMAGO." International Journal of Middle East Studies 39, no. 2 (2007): 177–208. http://dx.doi.org/10.1017/s0020743807070067.

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Viewing an exhibition of civil war paintings in 1886, Lea Barakat wrote that her “country came to mind: the splendor of its ruins, the wonders of their form like the fortress of Baalbek, the ruins of Palmyra, and the scenes of Lebanon…” Native women should paint like this, she states, and “not leave a scene [of Lebanon] unpainted… They can decorate the rooms of their homes and sitting rooms with these pictures…” She concludes that “since the ladies of our country are smarter and more industrious in their handcrafts than [American] ladies,” they too can obtain a similar level of “wealth, honorable work, admiration of the masses, and praise for the virtue of their [arts and crafts]. This study is a prolegomenon to examining the topography of visual culture and modernity to which Barakat alludes. Rather than painting, this article focuses on photography produced by Arabs during the late Ottoman and early Mandate periods in Lebanon. Less concerned with using photographs to document social transformations, this study theorizes how production and deployment of the photographic image played a part in the conceptualization of a bourgeois individualist subjectivity in Lebanon, which is claimed not to exist in the Arab world.
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Jackins, Ira. "Native American Art: The Collections of the Ethnological Museum Berlin/Sun Dogs and Eagle Down: The Indian Paintings of Bill Holm." Museum Anthropology 24, no. 2-3 (2000): 58–62. http://dx.doi.org/10.1525/mua.2000.24.2-3.58.

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Davis, Mary B. "Through native eyes: American Indians write about their art." Art Libraries Journal 17, no. 4 (1992): 5–12. http://dx.doi.org/10.1017/s030747220000804x.

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During the 20th century, and particularly since its adoption of easel painting, the continuing development of American Indian art has resisted attempts to contain and circumscribe it within definitions and categories imposed by outsiders — art critics, art historians, and the authors of many of the most readily available books on the subject. Native Americans are determined not only to remain in control of their art but also to have a say in how it is interpreted. A bibliography of sources follows an introductory survey of Native American statements about Native American art.
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Kina, Laura. "Ancestral Cartography: Trans-Pacific Interchanges and Okinawan Indigeneity." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (2020): 48–70. http://dx.doi.org/10.1163/23523085-00601004.

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This article examines how Okinawan Indigenous identity is influenced by “minor” Trans-Pacific interchanges between the Native Hawaiian sovereignty movement and Native American discourses on Indigeneity. Drawing from interviews with fellow Okinawan diaspora artist Denise Uyehara, the author explores their parallel responses as fourth generation Okinawan Americans to the recent resurgence of Okinawan Indigenous cultural history, practice, and identity. Uyehara’s collaboration with Native American artists in the performance Archipelago (2012) with Adam Cooper-Terán (Yaqui/Chicano), Ancestral Cartographic Rituals (2017) in collaboration with the late Payómkawichum, Ipi, and Mexican-American artist James Luna (1950–2018), and the immersive theatre project Shooting Columbus (2017) collaboration with The Fifth World Collective, is put into conversation with Kina’s painting series Sugar and Blue Hawai‘i (2010–2013) about Hawaiian sugar plantations and her trilingual illustrated children’s book Okinawan Princess: Da Legend of Hajichi Tattoos (Bess Press, 2019) written by Hawai‘i Creole author Lee A. Tonouchi.
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Dissertations / Theses on the topic "Native American Paintings"

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Pratt, Stephanie Rose. "The European perception of the Native American, 1750-1850." Thesis, University of Plymouth, 1989. http://hdl.handle.net/10026.1/2748.

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The thesis on which I have based my research proposes that while the European perception of the Native American from 1750 to 1850 came to be mediated via all the visual arts, it was specifically via the graphic media that the proliferation of imagery concerning the Native American developed certain iconic and representational conventions and that these consistently overwhelmed other sources of information, from experience to written interpretation. The ubiquity of certain modes of presentation, of figure-types, and of synecdoches which stood for the Native American (e.g. feather decoration or the tomahawk) resulted almost entirely from graphic methods of visual elucidation. The tyranny of such visual types lies not only in their effective re-constitution of known, familiar imagery but also in the qualitative characterization of the Native American figure. In their reduction of the figure to symbolic and emblematic patterns of content, these few visual tokens belied the greater, complex reality of Native American existence, and left the European perception of it in a static position. It is only through the collation and analysis of all the various modes of visual expression, both graphic and ‘high’ art instances, that these tokens of the visual representation of the Native American can be discerned and their proliferation be analysed as a determinant in the ‘construction’ of the Native American.
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Guardiano, Nicholas. "Transcendentalist Aesthetics in Emerson, Peirce, and Nineteenth-Century American Landscape Painting." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/914.

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My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways.
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Elliott, Katherine Lynn. "Epic encounters: first contact imagery in nineteenth and early-twentieth century American art." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/355.

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Since the early nineteenth-century when Americans began recording their short history in earnest, European explorers have held a central role in the nation's historical narrative, standing alongside the Founding Fathers as symbols of American ingenuity, determination, and fortitude. The nineteenth century also saw an explosion in the number of representations of first contacts between native populations and European and Euro-American explorers. These works range from fine art examples to illustrations in the popular media and were produced by artists across the artistic spectrum. Despite the popularity of the First Contact subject and its longevity within American art history, the importance of these images has, as of yet, been unexplored. This dissertation examines First Contact images created in America during the nineteenth and early twentieth-century by artists Robert Walter Weir, George Catlin, Thomas Moran, Albert Bierstadt, and Charles M. Russell. I argue that the subject's popularity can be attributed not just to their importance as depictions of epic moments of transition in national and cultural history, but to the openness, or the mutability, of the subject itself. The first meeting of two people is an event of great possibility and potential, but, as this extended examination of the subject demonstrates, it can also be transformed to communicate vastly different messages at different moments in history. As Americans simultaneously struggled to create a past, understand the present, and visualize the future, the First Contact subject, with its focus on the ambiguous meeting of two cultures, allowed a site in which to grapple with central questions and anxieties of the period, even as it depicted the past. They are thus complicated paintings that speak not to the facts of contact, but to the purposes served by these constructions and corrupted histories. Reading these First Contact paintings can help to illuminate a nineteenth-century understanding of history and also begin to elucidate the troubled legacy of Native/white relations since Columbus first encountered the New World.
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Farber, Jeffrey W. "Natural interactions : a commentary on our relationship with nature." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391229.

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The objective of this creative project is to develop a series of paintings in oil on canvas that focus on the issue of mankind's crumbling relationship with the natural world. The paintings will be produced through a process that begins with an intuitive abstract approach and will later develop layered representational imagery. My technique of painting involves initially choosing and mixing colors without regard to the finished painting, allowing the subconscious to determine the direction that the painting will take. Upon completion of the under painting, I begin creating stencils and layering imagery that provoke thought concerning nature and our place in it. This collection of paintings is representative of the process I have developed through a wide variety of influences, and is a means of communicating my concern for the ever dwindling natural environment and our connection to it.<br>Department of Art
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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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Krieger, Ela [Verfasser], Isabel [Akademischer Betreuer] Wünsche, Isabel [Gutachter] Wünsche, Paul [Gutachter] Crowther, and Julia [Gutachter] Timpe. "The Role and the Nature of Repetition in Jasper Johns’s Paintings in the Context of Postwar American Art / Ela Krieger ; Gutachter: Isabel Wünsche, Paul Crowther, Julia Timpe ; Betreuer: Isabel Wünsche." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2019. http://d-nb.info/1194646638/34.

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Broughton, Katherine. "Cuentos de resistencia y supervivencia: Revitalizando la cultura maya a traves del arte publico en Guatemala." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556561584195135.

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Joseph, Darel. "The Adversity Pop Culture Has Posed." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1877.

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I am a collage artist working with multiple mediums such as paint, photography, video, audio, and performance. As a New Orleans’ native, I have a unique history that is unflattering, for my history echoes that of America’s historical misdeeds. I make sociopolitical art because I am of a historically oppressed people. I make art that celebrates my diverse culture that is a collage of Native American, African, and New Orleans’ French Creole.
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"Creating to Compete: Juried Exhibitions of Native American Painting, 1946-1960." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.14852.

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abstract: In the middle of the 20th century, juried annuals of Native American painting in art museums were unique opportunities because of their select focus on two-dimensional art as opposed to "craft" objects and their inclusion of artists from across the United States. Their first fifteen years were critical for patronage and widespread acceptance of modern easel painting. Held at the Philbrook Art Center in Tulsa (1946-1979), the Denver Art Museum (1951-1954), and the Museum of New Mexico Art Gallery in Santa Fe (1956-1965), they were significant not only for the accolades and prestige they garnered for award winners, but also for setting standards of quality and style at the time. During the early years of the annuals, the art was changing, some moving away from conventional forms derived from the early art training of the 1920s and 30s in the Southwest and Oklahoma, and incorporating modern themes and styles acquired through expanded opportunities for travel and education. The competitions reinforced and reflected a variety of attitudes about contemporary art which ranged from preserving the authenticity of the traditional style to encouraging experimentation. Ultimately becoming sites of conflict, the museums that hosted annuals contested the directions in which artists were working. Exhibition catalogs, archived documents, and newspaper and magazine articles about the annuals provide details on the exhibits and the changes that occurred over time. The museums' guidelines and motivations, and the statistics on the award winners reveal attitudes toward the art. The institutions' reactions in the face of controversy and their adjustments to the annuals' guidelines impart the compromises each made as they adapted to new trends that occurred in Native American painting over a fifteen year period. This thesis compares the approaches of three museums to their juried annuals and establishes the existence of a variety of attitudes on contemporary Native American painting from 1946-1960. Through this collection of institutional views, the competitions maintained a patronage base for traditional style painting while providing opportunities for experimentation, paving the way for the great variety and artistic progress of Native American painting today.<br>Dissertation/Thesis<br>M.A. Art History 2012
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Books on the topic "Native American Paintings"

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Conway, Thor. Painted dreams: Native American rock art. NorthWord Press, 1993.

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Brodsky, Beverly. Buffalo: With selections from Native-American song-poems : illustrated with original paintings. Fitzhenry & Whiteside, 2006.

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ill, Sloan Lois, ed. Native American rock art: Messages from the past. Thomasson-Grant, 1994.

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Buffalo: With selections from Native American song-poems : illustrated with original paintings. Marshall Cavendish, 2003.

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National Museum of the American Indian, George P. Horse Capture, and Emil Her Many Horses, eds. Song for the Horse Nation: Horses in Native American Cultures. Fulcrum Publishing, 2006.

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David, Sucec, ed. Sacred images: A vision of Native American rock art. Gibbs Smith, 1996.

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Edge of the Cedars Museum (Blanding, Utah). Spirit windows: Native American rock art of Southeastern Utah. State of Utah, Natural Resources, Division of Parks and Recreation, 1992.

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Enrique, Hambleton, ed. The cave paintings of Baja California: Discovering the great murals of an unknown people. Sunbelt Publications, 1997.

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Martin, Ned. American Indian Horse Masks. Hawk Hill Press, 2006.

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Christine, Normandin, ed. Spirit of the cedar people: More stories and paintings of Chief Lelooska. DK Pub. in association with Callaway Editions, 1998.

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Book chapters on the topic "Native American Paintings"

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Bender, Herman. "The Thunderbird in Native American Rock Art." In Anthropomorphic Images in Rock Art Paintings and Rock Carvings. Archaeopress Publishing Ltd, 2020. http://dx.doi.org/10.2307/j.ctv1228gc6.21.

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Bender, Herman E. "Manitou or Spirit Stones and Their Meanings, Personification and Link to the Native American Cultural Landscape in North America." In Anthropomorphic Images in Rock Art Paintings and Rock Carvings. Archaeopress Publishing Ltd, 2020. http://dx.doi.org/10.2307/j.ctv1228gc6.19.

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Van Horn, Jennifer. "Masquerading as Colonists." In Power of Objects in Eighteenth-Century British America. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469629568.003.0005.

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This chapter studies a series of portraits of young women dressed for the masquerade, completed by English artist John Wollaston in Charleston, South Carolina. Although Wollaston painted the sitters in historic costume appropriate for a public masked ball, no masquerades were held in the British North American colonies. Instead, these fictional portrayals allowed colonial women to vicariously participate in the sexually riotous assemblies. For male colonists, the paintings underlined the need to contain women’s sexuality. In a colonial environment, many feared women’s proximity to native Americans would spur savage behaviors and compromise civil society. Most of the portraits feature young women about to be married, connecting their masked visages with the metaphor of a woman in courtship who masked her affections to attain the best husband. Wollaston’s adoption of mask iconography also resonates with the tumultuous 1760s, marked by the growing political crisis between Great Britain and her American colonies, when colonists questioned the nature of their identity as imperial subjects and feared British duplicity.
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"Chapter 6. ‘‘A fine painting . . . but not Indian’’: Oscar Howe, Dick West, and Native American Modernism." In Native Moderns. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822388104-009.

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Baigell, Matthew. "The New Nation." In A Concise History of American Painting and Sculpture. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-2.

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Tone-Pah-Hote, Jenny. "Circulating Silver." In Crafting an Indigenous Nation. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469643663.003.0003.

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Silversmiths made objects that were beautiful and that could render important symbols of the Native American Church. They communicated ideas and images that served as public representations of this religion as Native people exchanged these objects. The emergence and spread of Peyotism from the Kiowa, Comanche, and Apache reservation began to generate new Kiowa and American Indian identities. The jewellery and emerging identities parallel one another. Kiowas and others communicated these changes through painting, photography, clothing, and through jewellery itself.
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"4. Lilly Martin Spencer’s Domestic Genre Painting in Antebellum America." In Picturing a Nation: Art and Social Change in Nineteenth-Century America. Yale University Press, 1994. http://dx.doi.org/10.37862/aaeportal.00093.007.

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Tharaud, Jerome. "Introduction." In Apocalyptic Geographies. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691200101.003.0001.

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This chapter provides a background on the relationship of religious media and the landscape in the antebellum United States in order to rethink the meaning of space in American culture. It traverses a range of genres and media including sermons, landscape paintings, aesthetic treatises, abolitionist newspapers, slave narratives, novels, and grave markers. It also traces the birth of a distinctly modern form of sacred space at the nexus of mass print culture, the physical spaces of an expanding and urbanizing nation, and the religious images and narratives that ordinary Americans used to orient their lives. The chapter investigates the efforts of Protestant evangelical publishing societies to teach readers to use the landscape to understand their own spiritual lives and their role in sacred history. It talks about the “evangelical space” that ultimately spread beyond devotional culture to infuse popular literature, art, and politics.
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"6. Masculinity, Nostalgia, and the Trompe l’Oeil Still-Life Paintings of William Harnett." In Picturing a Nation: Art and Social Change in Nineteenth-Century America. Yale University Press, 1994. http://dx.doi.org/10.37862/aaeportal.00093.009.

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"Introduction: The Popularity of Geology." In The Anatomy of Nature: Geology & American Landscape Painting, 1825–1875. Princeton University Press, 2002. http://dx.doi.org/10.37862/aaeportal.00117.004.

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