Pueblo Indian Painting: Tradition and Modernism in New Mexico, 1900-1930 (Hardcover) [SOLD]

From the Back Cover:  A painting arose in the first three decades of the twentieth century, born out of a dynamic encounter between the Pueblo and Euro-American communities in and around Santa Fe, New Mexico. Traditional Pueblo art had been created to support community values and was integral to the ritual and daily life of the people, but the painting style that developed after 1900 was novel in every way, involving new subject matter, new media, and a new audience of Euro-American artists, intellectuals, and art patrons The young Pueblo artists who created the new genre merged their ancient Pueblo traditions with the aesthetic principles of Euro-American modernism to create an entirely new art form emblematic of the changing relationship between the two cultures.

In Pueblo Indian Painting, renowned art historian J. J. l3rody presents the first complete history of this vibrant art. Based on the extensive Pueblo painting collections of the School of American Research in Santa Fe, the book traces the lives and examines the achievements of seven key artists: Fred Kabotie and Otis Polelonema of Hopi, Velino Shije Herrera (Ma-Pe-Wi) of Zia, and Awa Tsireh (Alfonso Roybal), Crescendo Martinez (Ta'e), Oqwa Pi (Abel Sanchez), and Tonita Pena (Quah Ah) of San Ildefonso. Brody also explores the role played by the individuals who supported and promoted the Pueblo artists' work, including writers Mary Austin and Alice Corbin Henderson, archaeologist Edgar Lee Hewett, artist and scholar Kenneth M. Chapman, painter John Sloan, and art patrons Mabel Dodge Luhan and Amelia Elizabeth White.

A painting arose in the first three decades of the twentieth century, born out of a dynamic encounter between the Pueblo and Euro-American communities in and around Santa Fe, New Mexico. Traditional Pueblo art had been created to support community values and was integral to the ritual and daily life of the people, but the painting style that developed after 1900 was novel in every way, involving new subject matter, new media, and a new audience of Euro-American artists, intellectuals, and art patrons The young Pueblo artists who created the new genre merged their ancient Pueblo traditions with the aesthetic principles of Euro-American modernism to create an entirely new art form emblematic of the changing relationship between the two cultures.

In Pueblo Indian Painting, renowned art historian J. J. l3rody presents the first complete history of this vibrant art. Based on the extensive Pueblo painting collections of the School of American Research in Santa Fe, the book traces the lives and examines the achievements of seven key artists: Fred Kabotie and Otis Polelonema of Hopi, Velino Shije Herrera (Ma-Pe-Wi) of Zia, and Awa Tsireh (Alfonso Roybal), Crescendo Martinez (Ta'e), Oqwa Pi (Abel Sanchez), and Tonita Pena (Quah Ah) of San Ildefonso. Brody also explores the role played by the individuals who supported and promoted the Pueblo artists' work, including writers Mary Austin and Alice Corbin Henderson, archaeologist Edgar Lee Hewett, artist and scholar Kenneth M. Chapman, painter John Sloan, and art patrons Mabel Dodge Luhan and Amelia Elizabeth White.