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:
300 work_record_id 300 Work Record ID false
Reproduction Record ID:
300 reproduction_record_id 300 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:
Taking Sheep Out title Taking Sheep Out Title false
Title Type:
constructed title title_type constructed title Title Type false
Measurements:
9.05 x 12.00 in (22.99 x 30.48 cm) on sheet 12.50 x 17.60 in (31.75 x 44.70 cm) measurements 9.05 x 12.00 in (22.99 x 30.48 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: H. Begay inscription Below Image Right: H. Begay Inscription false
Inscription:
Above Image Right: PLANCHE 64 [Plate Number] inscription Above Image Right: PLANCHE 64 [Plate Number] Inscription false
Creator:
Begay, Harrison, 1917- creator Begay, Harrison, 1917- Creator false
Creator Dates:
1917- creator_dates 1917- Creator Dates false
Creator Nationality:
Navajo (Dine) creator_nationality Navajo (Dine) Creator Nationality false
Creator Name Variant:
Warrior Who Walked Up To His Enemy (Haskay Yah Ne Yah) creator_name_variant Warrior Who Walked Up To His Enemy (Haskay Yah Ne Yah) 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:
64 id_number 64 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:
Fringe subject Fringe Subject false
Subject:
Hairdressing subject Hairdressing Subject false
Subject:
Moccasins subject Moccasins Subject false
Subject:
Necklaces subject Necklaces Subject false
Subject:
Hair ornaments subject Hair ornaments Subject false
Subject:
Staffs (Sticks, canes, etc.) subject Staffs (Sticks, canes, etc.) Subject false
Subject:
Earrings subject Earrings Subject false
Subject:
Sashes (Costume) subject Sashes (Costume) Subject false
Subject:
Silverwork subject Silverwork Subject false
Subject:
Blouses subject Blouses Subject false
Subject:
Skirts subject Skirts Subject false
Subject:
Puttees subject Puttees Subject false
Subject:
Clouds subject Clouds Subject false
Subject:
Plants subject Plants Subject false
Subject:
Palms subject Palms Subject false
Subject:
Turquoise subject Turquoise Subject false
Subject:
Buttons subject Buttons Subject false
Subject:
Navajo women shepherds subject Navajo women shepherds Subject false
Subject:
Sheep subject Sheep 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. 10: Harrison Begay hails from Greasewood Springs, Arizona, He writes, "My parents were uneducated and I knew no word of English until I was eight". He was born into a heritage of beauty and he absorbed into his soul the essence of the Navajo spirit and of the Navajo land. Alway interested in art, he began his real apprenticeship of it in Santa Fe at the Indian School. He began early to win prizes at the Gallup Ceremonials and at Navajo tribal meets. Harrison took a college preparatory course, but the war uprooted him and stopped his career. He served in Europe and Iceland for three and a half years. On his return, he studied radio technique. But he has not given up art, although he feels it wise to have a more dependable source of income. Harirson Begay pursues a definite goal and a lofty objective in painting. He believes that Indian art should be characterized by the general styles and effects developed by the forefathers. In his work he makes it a point to follow these directions, so that he retains the fundamental character of his own tribal art even though he makes use of the modern idiom and the modern scene. He accepts the Navajo tradition whole-heartedly, reverently, but also most intelligently ; he accepts "today" with understanding. As a result, he seems to have been spared the pangs of conflict between the present and the past that rend the soul of so many modern artists and that are reflected in their work. It is perhaps for this reason that the paintings of Harrison Begay reflect such harmonious balance and serenity and great inward joy. It takes more than this, however, to create a work of art. Harrison is endowed with the necessary innate spark of talent, a craftsmanship developed to a high degree, plus unerring feeling for line and color and rhythm. So far his subjects have been mainly the scenes of everyday tribal life. He has, however, done some legendary and ceremonial paintings. The beautiful sand paintings of his people fascinate him and he wants to collect sand painting designs for use in his own work. He loves to picture groups of horsemen riding at a swift pace, singing or cheering as they gallop along. Also the social dances, as well as the sacred ones, where he suggests with simple means and consummate skill, graceful movement and lilting cadence. "Taking the Sheep Out" is a charming painting from the daily life of his people. Sheep raising is the major industry of the Navajos. Their safety is left mainly to little boys and girls. Begay with his usual delicacy, pictures a determined little Navajo sister directing her small flock to pasture. The quality of both sheep and girl is as sensitive as a Marie Laurencin, and much more charming. <…> In drawing, design, and color, Harrison Begay has reached the deserved position of first place among the Mavajo artists of today. And he is winning recognition to which he is entitled. description Excerpt from American Indian Painters, Vol. 2, p. 10: Harrison Begay hails from Greasewood Springs, Arizona, He writes, "My parents were uneducated and I knew no word of English until I was eight". He was born into a heritage of beauty and he absorbed into his soul the essence of the Navajo spirit and of the Navajo land. Alway interested in art, he began his real apprenticeship of it in Santa Fe at the Indian School. He began early to win prizes at the Gallup Ceremonials and at Navajo tribal meets. Harrison took a college preparatory course, but the war uprooted him and stopped his career. He served in Europe and Iceland for three and a half years. On his return, he studied radio technique. But he has not given up art, although he feels it wise to have a more dependable source of income. Harirson Begay pursues a definite goal and a lofty objective in painting. He believes that Indian art should be characterized by the general styles and effects developed by the forefathers. In his work he makes it a point to follow these directions, so that he retains the fundamental character of his own tribal art even though he makes use of the modern idiom and the modern scene. He accepts the Navajo tradition whole-heartedly, reverently, but also most intelligently ; he accepts "today" with understanding. As a result, he seems to have been spared the pangs of conflict between the present and the past that rend the soul of so many modern artists and that are reflected in their work. It is perhaps for this reason that the paintings of Harrison Begay reflect such harmonious balance and serenity and great inward joy. It takes more than this, however, to create a work of art. Harrison is endowed with the necessary innate spark of talent, a craftsmanship developed to a high degree, plus unerring feeling for line and color and rhythm. So far his subjects have been mainly the scenes of everyday tribal life. He has, however, done some legendary and ceremonial paintings. The beautiful sand paintings of his people fascinate him and he wants to collect sand painting designs for use in his own work. He loves to picture groups of horsemen riding at a swift pace, singing or cheering as they gallop along. Also the social dances, as well as the sacred ones, where he suggests with simple means and consummate skill, graceful movement and lilting cadence. "Taking the Sheep Out" is a charming painting from the daily life of his people. Sheep raising is the major industry of the Navajos. Their safety is left mainly to little boys and girls. Begay with his usual delicacy, pictures a determined little Navajo sister directing her small flock to pasture. The quality of both sheep and girl is as sensitive as a Marie Laurencin, and much more charming. <…> In drawing, design, and color, Harrison Begay has reached the deserved position of first place among the Mavajo artists of today. And he is winning recognition to which he is entitled. Description false
Description:
(Collection, Oscar Brousse Jacobson) Text references: American Indian Painters, Vol. 2, pp. 4, 10. description (Collection, Oscar Brousse Jacobson) Text references: American Indian Painters, Vol. 2, pp. 4, 10. 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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Taking Sheep Out