COLLECTION NAME:
C. Szwedzicki: The North American Indian Works mediaCollectionId univcincin~28~28 C. Szwedzicki: The North American Indian Works Collection true
Record
Work Record ID:
280 work_record_id 280 Work Record ID false
Reproduction Record ID:
280 reproduction_record_id 280 Reproduction Record ID false
Work Class:
depictions work_class depictions Work Class false
Work Type:
print work_type print Work Type false
Title:
Les peintres indiens d'Amérique title Les peintres indiens d'Amérique Title false
Title Type:
collective title title_type collective title Title Type false
Title:
American Indian painters title American Indian painters Title false
Title Type:
alternate title_type alternate Title Type false
Title:
Prayer for Rain title Prayer for Rain Title false
Title Type:
constructed title title_type constructed title Title Type false
Measurements:
8.10 x 14.60 in (20.57 x 37.08 cm) on sheet 12.50 x 17.60 in (31.75 x 44.70 cm) measurements 8.10 x 14.60 in (20.57 x 37.08 cm) on sheet 12.50 x 17.60 in (31.75 x 44.70 cm) Measurements false
Measurement Type:
dimensions measurement_type dimensions Measurement Type false
Material:
paper (fiber product) material paper (fiber product) Material false
Material Type:
support material_type support Material Type false
Inscription:
Above Image Right: PLANCHE 44 [Plate Number] inscription Above Image Right: PLANCHE 44 [Plate Number] Inscription false
Creator:
Kabotie, Fred, 1900-1986 creator Kabotie, Fred, 1900-1986 Creator false
Creator Dates:
1900-1986 creator_dates 1900-1986 Creator Dates false
Creator Nationality:
Hopi (Hopitu) creator_nationality Hopi (Hopitu) Creator Nationality false
Creator Name Variant:
Day After Day (Nakayoma) creator_name_variant Day After Day (Nakayoma) Creator Name Variant false
Creator Type:
personal name creator_type personal name Creator Type false
Creator Role:
painter creator_role painter Creator Role false
Date:
1950 date 1950 Date false
Repository:
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:
ARB RB Oversize E98.A7 J18 1950 Vol. 2 id_number ARB RB Oversize E98.A7 J18 1950 Vol. 2 ID Number false
ID Number Type:
call number id_number_type call number ID Number Type false
ID Number:
44 id_number 44 ID Number false
ID Number Type:
plate number id_number_type plate number ID Number Type false
Style Period:
Indian art--North America style_period Indian art--North America Style Period false
Style Period:
Pueblo (Native American style) style_period Pueblo (Native American style) Style Period false
Culture:
Native American culture Native American Culture false
Culture:
Hopi (Hopitu) culture Hopi (Hopitu) Culture false
Subject:
Belts (Clothing) subject Belts (Clothing) Subject false
Subject:
Breechcloths subject Breechcloths Subject false
Subject:
Face painting subject Face painting Subject false
Subject:
Garters subject Garters Subject false
Subject:
Hairdressing subject Hairdressing Subject false
Subject:
Moccasins subject Moccasins Subject false
Subject:
Wristbands subject Wristbands Subject false
Subject:
Anklets (Ornaments) subject Anklets (Ornaments) Subject false
Subject:
Armbands subject Armbands Subject false
Subject:
Body painting subject Body painting Subject false
Subject:
Dancers subject Dancers Subject false
Subject:
Bells subject Bells Subject false
Subject:
Hair ornaments subject Hair ornaments Subject false
Subject:
Bandoliers subject Bandoliers Subject false
Subject:
Rattles subject Rattles Subject false
Subject:
Staffs (Sticks, canes, etc.) subject Staffs (Sticks, canes, etc.) Subject false
Subject:
Hopi dance subject Hopi dance Subject false
Subject:
Kilts subject Kilts Subject false
Subject:
Sashes (Costume) subject Sashes (Costume) Subject false
Subject:
Mantas (Clothing) subject Mantas (Clothing) Subject false
Subject:
Clowns subject Clowns Subject false
Subject:
Tablita headdresses subject Tablita headdresses Subject false
Subject:
Plants subject Plants Subject false
Subject:
Hopi Indians--Rites and ceremonies subject Hopi Indians--Rites and ceremonies Subject false
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 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:
Excerpt from American Indian Painters, Vol. 2, p. 6: Fred Kabotie is the dean of living Pueblo Indian painters. Although not the earliest in this era, he was the first to receive national recognition. He was born in Shungopavy, north of the Painted Desert, in Arizona, in 1900. His education progressed through the Home Day School, the United States boarding school at Santa Fe, and the Santa Fe high school, where he graduated. Kabotie's style is realistic and literal. In this he follows the tradition of early Hopi artists, who painted the human figure with considerable indication of modeling. Yet the modeling, as in all Indian art, is conventional and does not indicate directional light or cast shadows. His subjects are the religious ceremonies and festivals of his people. Each is portrayed with utmost fidelity to ritual and costumes. The paintings show his understanding and love of his people as well as a deeply religious temperament. Yet he does not omit the fun and humor which are also present in the ceremonies. Koshari (clowns) perform antics to delight the spectators at the same time that priests advance to the steady cadence of drums. The "Ceremonial Dance" is an excellent example of Kabotie's early work and amply illustrates his power of observation. In other paintings "Racing Katchinas" come down to earth and challenge men to a footrace. "Goblin Katchinas" suddenly appear from the Kiva (underworld) to chastise unruly children. "The Kat-china Dance" often reproduced in art magazines is really a prayer for rain, in which the gods purify the people and bless the crops. When the Indian Tower, adapted from prehistoric structures at Mesa Verde and Havenweep, was built at Desert view, on the south rim of the Grand Canyon, Kabotie was commissioned to design and paint the symbolical decorations. One of them depicts Hay-a-pa-o (the man eagle) who personifies the Powers and Forces of the Hopi cosmogony ; another, Muying-wa, represents the principles of germination and growth. There is also a large circular design of the oldest Hopi myth, the story of the first man to navigate the Colorado River, who became the first Snake Priest and originated the famous dance held every year on one of the mesas. From 1937 to 1945 Kabotie was a teacher in the Hopi high school at Oraibi. During 1945-46, with the advantage of a Guggenheim Fellowship, he devoted himself to creative work and experimentation in new methods. The immediate effect has been some changes in style and the introduction of backgrounds, clouds, and sky in the compositions. Whatever effect these departures may have on his future productions, his fame rests secure upon what he has already accomplished. description Excerpt from American Indian Painters, Vol. 2, p. 6: Fred Kabotie is the dean of living Pueblo Indian painters. Although not the earliest in this era, he was the first to receive national recognition. He was born in Shungopavy, north of the Painted Desert, in Arizona, in 1900. His education progressed through the Home Day School, the United States boarding school at Santa Fe, and the Santa Fe high school, where he graduated. Kabotie's style is realistic and literal. In this he follows the tradition of early Hopi artists, who painted the human figure with considerable indication of modeling. Yet the modeling, as in all Indian art, is conventional and does not indicate directional light or cast shadows. His subjects are the religious ceremonies and festivals of his people. Each is portrayed with utmost fidelity to ritual and costumes. The paintings show his understanding and love of his people as well as a deeply religious temperament. Yet he does not omit the fun and humor which are also present in the ceremonies. Koshari (clowns) perform antics to delight the spectators at the same time that priests advance to the steady cadence of drums. The "Ceremonial Dance" is an excellent example of Kabotie's early work and amply illustrates his power of observation. In other paintings "Racing Katchinas" come down to earth and challenge men to a footrace. "Goblin Katchinas" suddenly appear from the Kiva (underworld) to chastise unruly children. "The Kat-china Dance" often reproduced in art magazines is really a prayer for rain, in which the gods purify the people and bless the crops. When the Indian Tower, adapted from prehistoric structures at Mesa Verde and Havenweep, was built at Desert view, on the south rim of the Grand Canyon, Kabotie was commissioned to design and paint the symbolical decorations. One of them depicts Hay-a-pa-o (the man eagle) who personifies the Powers and Forces of the Hopi cosmogony ; another, Muying-wa, represents the principles of germination and growth. There is also a large circular design of the oldest Hopi myth, the story of the first man to navigate the Colorado River, who became the first Snake Priest and originated the famous dance held every year on one of the mesas. From 1937 to 1945 Kabotie was a teacher in the Hopi high school at Oraibi. During 1945-46, with the advantage of a Guggenheim Fellowship, he devoted himself to creative work and experimentation in new methods. The immediate effect has been some changes in style and the introduction of backgrounds, clouds, and sky in the compositions. Whatever effect these departures may have on his future productions, his fame rests secure upon what he has already accomplished. Description false
Description:
Excerpt from American Indian Painters, Vol. 2, p. 6: During tha early 1930s, Kabotie received much favorable comment in art publications, among them the School Art Magazine the American Magazine of Art, and the International Studio .London Fred Kabotie illustrated "Tey-Tey Tales" by Elizabeth DeHuff and "Field Mouse Goes to War" by Edward Kennerd. He served as member of the jury for the second Annual Exhibition of Indian paintings at Philbrook Art Museum in Tulsa, in 1947, having won first prize in Pueblo group there the year before. description Excerpt from American Indian Painters, Vol. 2, p. 6: During tha early 1930s, Kabotie received much favorable comment in art publications, among them the School Art Magazine the American Magazine of Art, and the International Studio .London Fred Kabotie illustrated "Tey-Tey Tales" by Elizabeth DeHuff and "Field Mouse Goes to War" by Edward Kennerd. He served as member of the jury for the second Annual Exhibition of Indian paintings at Philbrook Art Museum in Tulsa, in 1947, having won first prize in Pueblo group there the year before. Description false
Description:
(Collection, University of Oklahoma) Text references: American Indian Painters, Vol. 2, pp. 4, 6. description (Collection, University of Oklahoma) Text references: American Indian Painters, Vol. 2, pp. 4, 6. 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

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Prayer for Rain