COLLECTION NAME:
|
C. Szwedzicki: The North American Indian Works
mediaCollectionId
univcincin~28~28
C. Szwedzicki: The North American Indian Works
Collection
true
|
|
Work Record ID:
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249
work_record_id
249
Work Record ID
false
|
Reproduction Record ID:
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249
reproduction_record_id
249
Reproduction Record ID
false
|
Work Class:
|
depictions
work_class
depictions
Work Class
false
|
Work Type:
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print
work_type
print
Work Type
false
|
Title:
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Les peintres indiens d'Amérique
title
Les peintres indiens d'Amérique
Title
false
|
Title Type:
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collective title
title_type
collective title
Title Type
false
|
Title:
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American Indian painters
title
American Indian painters
Title
false
|
Title Type:
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alternate
title_type
alternate
Title Type
false
|
Title:
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Kiowa
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Title Type:
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constructed title
title_type
constructed title
Title Type
false
|
Measurements:
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10.25 x 8.50 in (26.04 x 21.59 cm) on sheet 17.60 x 12.50 in (44.70 x 31.75 cm)
measurements
10.25 x 8.50 in (26.04 x 21.59 cm) on sheet 17.60 x 12.50 in (44.70 x 31.75 cm)
Measurements
false
|
Measurement Type:
|
dimensions
measurement_type
dimensions
Measurement Type
false
|
Material:
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paper (fiber product)
material
paper (fiber product)
Material
false
|
Material Type:
|
support
material_type
support
Material Type
false
|
Inscription:
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Below Image Left: Asah
inscription
Below Image Left: Asah
Inscription
false
|
Inscription:
|
Above Image Right: PLANCHE 13 [Plate Number]
inscription
Above Image Right: PLANCHE 13 [Plate Number]
Inscription
false
|
Creator:
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Asah, Spencer, ca. 1905-10--1954
creator
Asah, Spencer, ca. 1905-10--1954
Creator
false
|
Creator Dates:
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1905-1954
creator_dates
1905-1954
Creator Dates
false
|
Creator Nationality:
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Kiowa (Tepkinago)
creator_nationality
Kiowa (Tepkinago)
Creator Nationality
false
|
Creator Name Variant:
|
Little Boy (Lallo)
creator_name_variant
Little Boy (Lallo)
Creator Name Variant
false
|
Creator Type:
|
personal name
creator_type
personal name
Creator Type
false
|
Creator Role:
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painter
creator_role
painter
Creator Role
false
|
Date:
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1950
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Repository:
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Archives and Rare Books Library, University Libraries, University of Cincinnati, Cincinnati, Ohio
repository
Archives and Rare Books Library, University Libraries, University of Cincinnati, Cincinnati, Ohio
Repository
false
|
Repository Type:
|
current repository
repository_type
current repository
Repository Type
false
|
ID Number:
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13
id_number
13
ID Number
false
|
ID Number Type:
|
plate number
id_number_type
plate number
ID Number Type
false
|
ID Number:
|
ARB RB Oversize E98.A7 J18 1950 Vol. 1
id_number
ARB RB Oversize E98.A7 J18 1950 Vol. 1
ID Number
false
|
ID Number Type:
|
call number
id_number_type
call number
ID Number Type
false
|
Style Period:
|
Plains Indian
style_period
Plains Indian
Style Period
false
|
Style Period:
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Indian art--North America
style_period
Indian art--North America
Style Period
false
|
Culture:
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Kiowa (Tepkinago)
culture
Kiowa (Tepkinago)
Culture
false
|
Culture:
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Native American
culture
Native American
Culture
false
|
Subject:
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Leggings
subject
Leggings
Subject
false
|
Subject:
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Moccasins
subject
Moccasins
Subject
false
|
Subject:
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Armbands
subject
Armbands
Subject
false
|
Subject:
|
Beadwork
subject
Beadwork
Subject
false
|
Subject:
|
Feather headdresses
subject
Feather headdresses
Subject
false
|
Subject:
|
Cuffs (Clothing)
subject
Cuffs (Clothing)
Subject
false
|
Subject:
|
Bridles
subject
Bridles
Subject
false
|
Subject:
|
Hides and skins
subject
Hides and skins
Subject
false
|
Subject:
|
Horseback riding
subject
Horseback riding
Subject
false
|
Subject:
|
Horses
subject
Horses
Subject
false
|
Subject:
|
Quivers
subject
Quivers
Subject
false
|
Subject:
|
Arrows
subject
Arrows
Subject
false
|
Subject:
|
Bows (Weapons)
subject
Bows (Weapons)
Subject
false
|
Related Work:
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Jacobson, Oscar Brousse, 1882-1966. Les peintres indiens d'Amérique / [par] O. B. Jacobson [et] Jeanne d'Ucel. Nice (France): C. Szwedzicki, 1950.
related_work
Jacobson, Oscar Brousse, 1882-1966. Les peintres indiens d'Amérique / [par] O. B. Jacobson [et] Jeanne d'Ucel. Nice (France): C. Szwedzicki, 1950.
Related Work
false
|
Description:
|
From: American Indian Painters, Vol. 1, p. 14: Spencer Asah is fat and round as a sack of grain. His eyes are large and soft as a doe's; his mouth is always smiling - well nearly always. His Indian name "Lollo" which means "Little Boy" fits him perfectly, for, at forty, his face is like that of a dark cherub. He is good natured and kind, so good natured that he overcame his natural indolence and became an artist originally to please the Field Matron. Being jolly and easy going, he was often on the receiving end of horseplay and practical jokes by his colleagues when they were younger. Spencer Asah was born in 1905. His is a pure blood Kiowa, scion of distinguished medicine men. He in turn is now custodian of one of the famous "medicine bundles" of the Kiowas, a responsibility that makes him a little uncomfortable, I believe. Once he showed me a cherished possession, a pictorial calendar of his tribe covering seventy years of Kiowa history. Asah spent his childhood in the usual Indian manner. He attended Saint Patrick's Indian School and showed an early interest in art as well as in dancing. Considering his bulk, he is an amazing good dancer and was an excellent baseball player. He was one of the five original Kiowa art students to come under the influence of the art teachers at the University of Oklahoma. He spent two winters in Norman, but as soon as spring approached, he became restless and disappeared into the unknown. Since none of the original Kiowas had the necessary entrance requirements for University study, they were given instruction rather informally, or shall we say, "illegally". At no time did they attend the art classes. They received criticism and encouragement individually. The aim was to prevent their being "contaminated" with the white man's art. When we finally succeeded in getting the project for the murals at the Federal Building at Anadarko, Asah did part of the panels. He also worked on murals in the Historical Building in Oklahoma City. He taught art for some years. Asah's painting always remained closer to the early tribal tradition than most of the other artists of his tribe. His work has few details and is somewhat angular. It has a decided primitive flavor. The painting "Warrior on Pinto" is an excellent example of his work at the height of his career. All the original modern Kiowa artists worked on colored paper, using the paper as an integral part of their color scheme. Thus the uncompromising black and white of the Indian pony and the warbonnet, and the deep brown of the Indian's body, against a background of sage green, produced a delightful harmony. The "pinto" is archaic and the rider hardly at ease. No matter, the result is entirely satisfying and very Indian. (Collection Oscar Brousse Jacobson)
description
From: American Indian Painters, Vol. 1, p. 14: Spencer Asah is fat and round as a sack of grain. His eyes are large and soft as a doe's; his mouth is always smiling - well nearly always. His Indian name "Lollo" which means "Little Boy" fits him perfectly, for, at forty, his face is like that of a dark cherub. He is good natured and kind, so good natured that he overcame his natural indolence and became an artist originally to please the Field Matron. Being jolly and easy going, he was often on the receiving end of horseplay and practical jokes by his colleagues when they were younger. Spencer Asah was born in 1905. His is a pure blood Kiowa, scion of distinguished medicine men. He in turn is now custodian of one of the famous "medicine bundles" of the Kiowas, a responsibility that makes him a little uncomfortable, I believe. Once he showed me a cherished possession, a pictorial calendar of his tribe covering seventy years of Kiowa history. Asah spent his childhood in the usual Indian manner. He attended Saint Patrick's Indian School and showed an early interest in art as well as in dancing. Considering his bulk, he is an amazing good dancer and was an excellent baseball player. He was one of the five original Kiowa art students to come under the influence of the art teachers at the University of Oklahoma. He spent two winters in Norman, but as soon as spring approached, he became restless and disappeared into the unknown. Since none of the original Kiowas had the necessary entrance requirements for University study, they were given instruction rather informally, or shall we say, "illegally". At no time did they attend the art classes. They received criticism and encouragement individually. The aim was to prevent their being "contaminated" with the white man's art. When we finally succeeded in getting the project for the murals at the Federal Building at Anadarko, Asah did part of the panels. He also worked on murals in the Historical Building in Oklahoma City. He taught art for some years. Asah's painting always remained closer to the early tribal tradition than most of the other artists of his tribe. His work has few details and is somewhat angular. It has a decided primitive flavor. The painting "Warrior on Pinto" is an excellent example of his work at the height of his career. All the original modern Kiowa artists worked on colored paper, using the paper as an integral part of their color scheme. Thus the uncompromising black and white of the Indian pony and the warbonnet, and the deep brown of the Indian's body, against a background of sage green, produced a delightful harmony. The "pinto" is archaic and the rider hardly at ease. No matter, the result is entirely satisfying and very Indian. (Collection Oscar Brousse Jacobson)
Description
false
|
Reproduction Rights Statement:
|
These images are for non-profit, educational use. For more information see Fair Use statement at https://digitalproje
reproduction_rights_statement
These images are for non-profit, educational use. For more information see Fair Use statement at https://digitalprojects.libraries.uc.edu/fairuse/.
Reproduction Rights Statement
false
|