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:
299 work_record_id 299 Work Record ID false
Reproduction Record ID:
299 reproduction_record_id 299 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:
Let Them Live title Let Them Live Title false
Title Type:
constructed title title_type constructed title Title Type false
Measurements:
8.25 x 13.90 in (20.96 x 35.31 cm) on sheet 12.50 x 17.60 in (31.75 x 44.70 cm) measurements 8.25 x 13.90 in (20.96 x 35.31 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:
Below Image Right: Narcisco Abeyta 1938 inscription Below Image Right: Narcisco Abeyta 1938 Inscription false
Inscription:
Above Image Right: PLANCHE 63 [Plate Number] inscription Above Image Right: PLANCHE 63 [Plate Number] Inscription false
Creator:
Abeyta, Narciso Platero, 1918-1998 creator Abeyta, Narciso Platero, 1918-1998 Creator false
Creator Dates:
1918-1998 creator_dates 1918-1998 Creator Dates false
Creator Nationality:
Navajo (Dine) creator_nationality Navajo (Dine) Creator Nationality false
Creator Name Variant:
Fiercely Ascending (Hoskiel Ha So Deh) creator_name_variant Fiercely Ascending (Hoskiel Ha So Deh) 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:
63 id_number 63 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:
Navajo style_period Navajo Style Period false
Culture:
Native American culture Native American Culture false
Culture:
Navajo (Dine) culture Navajo (Dine) Culture false
Subject:
Hairdressing subject Hairdressing Subject false
Subject:
Necklaces subject Necklaces Subject false
Subject:
Blankets subject Blankets Subject false
Subject:
Bridles subject Bridles Subject false
Subject:
Horseback riding subject Horseback riding Subject false
Subject:
Horses subject Horses Subject false
Subject:
Blouses subject Blouses Subject false
Subject:
Skirts subject Skirts Subject false
Subject:
Pronghorn antelope subject Pronghorn antelope Subject false
Subject:
Plants subject Plants Subject false
Subject:
Saddles subject Saddles Subject false
Subject:
Boot moccasins subject Boot moccasins 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:
From: American Indian Painters, Vol. 2, p. 10: I do not remember just when I first saw his paintings, but I recall they made a profound impression on me. Not only were they the work of an individual creative artist who was not looking over his shoulder to see what the others were doing, they were expertly done. They did not follow the tradition of the earlier Southwest artists. His subjects were Indian, of course, but done with a technical authority, suavity, grace, and eclat that we rather associate with the sophisticated fashion artists of Paris, instead of being the work of a young Navajo from the isolated regions of northern Arizona. Of course, the young chap had been out of the reservation; but his contacts in the Indian School at Santa Fe could hardly have been those of a world capital of fashion. Certainly, the Navajo's is an old culture and civilization, but where did Ha-So-De get his amazing technical ability and worldly wisdom? It is possible that by some strange atavism, Ha-So-De might be an incarnation of some artists henchman of Kubblai Khan? His paintings, "Directing Guests", "Let Them Live", and "Children to the Day School", although simpler in composition , are strangely reminiscent of Moghul paintings of the seventeenth century. The combinations of colors and the powerful rhythm of flowing lines are, however, neither Moghul nor Chinese. In color, he prefers the strong blacks, greens, and endless varieties of reds, and burnt ochres, but seldom yellows and oranges. Naturally, his paintings have been widely exhibited from San Francisco to Paris. Narcisco Abeyta, a full blood Navajo, was born at Carreo, New Mexico in 1920. In 1939 he was awarded second prize for a poster for the San Francisco World's Fair and a couple of year later, he illustrated "Aye Chee, Son of the Desert". He has also a mural or two to his credit. He enlisted in the army and was with the 105th infantry in the invasion of Okinawa and in the attack on Iwo Jima with the 77th Division. "Let Them Live" could easily have foundered on the rock of sentimentality, but Ha-So-De shows that he is capable of expressing the most tender feeling without being maudlin. The horses can hardly be considered Navajo mustangs, but no matter. Notice with what assurance the young Navajo woman sits her steed, and the manner in which the infant fawns balance the riderless horse. (Collection, University of Oklahoma) description From: American Indian Painters, Vol. 2, p. 10: I do not remember just when I first saw his paintings, but I recall they made a profound impression on me. Not only were they the work of an individual creative artist who was not looking over his shoulder to see what the others were doing, they were expertly done. They did not follow the tradition of the earlier Southwest artists. His subjects were Indian, of course, but done with a technical authority, suavity, grace, and eclat that we rather associate with the sophisticated fashion artists of Paris, instead of being the work of a young Navajo from the isolated regions of northern Arizona. Of course, the young chap had been out of the reservation; but his contacts in the Indian School at Santa Fe could hardly have been those of a world capital of fashion. Certainly, the Navajo's is an old culture and civilization, but where did Ha-So-De get his amazing technical ability and worldly wisdom? It is possible that by some strange atavism, Ha-So-De might be an incarnation of some artists henchman of Kubblai Khan? His paintings, "Directing Guests", "Let Them Live", and "Children to the Day School", although simpler in composition , are strangely reminiscent of Moghul paintings of the seventeenth century. The combinations of colors and the powerful rhythm of flowing lines are, however, neither Moghul nor Chinese. In color, he prefers the strong blacks, greens, and endless varieties of reds, and burnt ochres, but seldom yellows and oranges. Naturally, his paintings have been widely exhibited from San Francisco to Paris. Narcisco Abeyta, a full blood Navajo, was born at Carreo, New Mexico in 1920. In 1939 he was awarded second prize for a poster for the San Francisco World's Fair and a couple of year later, he illustrated "Aye Chee, Son of the Desert". He has also a mural or two to his credit. He enlisted in the army and was with the 105th infantry in the invasion of Okinawa and in the attack on Iwo Jima with the 77th Division. "Let Them Live" could easily have foundered on the rock of sentimentality, but Ha-So-De shows that he is capable of expressing the most tender feeling without being maudlin. The horses can hardly be considered Navajo mustangs, but no matter. Notice with what assurance the young Navajo woman sits her steed, and the manner in which the infant fawns balance the riderless horse. (Collection, University of Oklahoma) 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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Let Them Live