Painting (native) “This painting took its original inspiration from the designs made by students of the 1978 Summer Native Art Class.“It was edited, redesigned, and painted by Karen Harris, Ernie T. Monias, and Sid Harris, and it represents the essential unity of diverse Native cultures.“The fire is the life given to us by the sun. We share this life, as relatives, with the plants and animals that nourish us and teach us about our place on this earth.“The Cree syllables say: ‘This talk together has been good.’” – taken from a piece of paper in hard copy of database.
Red Horse 'Xunktanka Stanewe'. During the spring of 1876, Red Horse moved his band from the region of the Cheyenne River traveling through the Rosebud Valley and met with a large contingent of Sioux assembling on the west bank of the Little Bighorn river. As a head chief within the council lodge of the largest recorded Sioux camp, Red Horse fought both Custer and Reno. In 1881 at the Cheyenne River Agency, S.D., Red Horse created 41 ledger drawings illustrating his part in the famed battle. His story was published by the Bureau of American Ethnology in their Tenth Annual Report. (Harbaugh, P., 1982)
Wild Horse 'Xunktanka Wohitika'. An Oglala chief, Wild Horse was said to have been the brother of cousin of the great chief and leader, Crazy Horse, of whom no documented photograph is known. (Harbaugh, P., 1982)
Dimensions
23 X 19 cm
Size Overall
51 X 41 cm
Medium
Black and white photograph
Condition
Severe bowing back of both vertical edges away from mat.
American Horse 'Wasechum Taschunka' (1840-1908). 'Wasechum Taschunka' took on the name American Horse following the death of his uncle ate the Battle of Slim Buttes. During the reservation days, he was considered a notable progressive and became a head Oglala spokesman. As an orator and diplomat, he represented his people in numerous negotiations with the federal government. Following the tragedy of Wounded Knee he became the leader of a unified Sioux delegation which traveled to Washington seeking a more equitable treatment for the Sioux. In his later years he traveled with Buffalo Bill and the Wild West Show. (Harbaugh, P., 1982)
James (Jock) W. G. MacDonald was born in Thurso, Scotland in 1867. He studied at Edinburgh College of Art, and later worked as a fabric designer. He taught at Lincoln School of Art; Vancouver School of Art; School of Decorative and Applied Arts, Vancouver; Provincial Institute of Technology and Art, Calgary; and at Ontario College of Art after 1947. MacDonald was a member of Canadian Group of Painters and Painters Eleven. He died in Toronto in 1960. The artist was conducting independent experiments in Vancouver while the others worked in Winnipeg and Toronto. He had painted 'automatics' by 1934 and completely abstract or non-objective works by 1935 or 1936. (Painting in Canada: A History. Harper J. Russel. U of Toronto Press, 1977. P 327) Jock MacDonald was one of Canada's first painters to explore the relationship between abstraction and landscape. What MacDonald did is take the formal qualities of his subjects and isolate or abstract them form the landscape. (The History of Painting in Canada. Barry Lord. Toronto: NC Press, 1974. P 205-7)
Dimensions
23.5 X 33.5 cm
Size Overall
45 X 52.5 cm
Medium
watercolor
Condition
Slight cockling of surface.
Primary Support
paper
Secondary Support
mat, plexiglass, backing board; frame - wood and plaster with gild
