Art of the American Indian frontier - the Chandler-Pohrt by David W. Penney

By David W. Penney

From Library Journal
Cocurator Penney has written this catalog for an exhibition of Pohrt and Chandlers well known choice of Woodlands, nice Lakes, Prairie, and Plains tradition artistry. In a chain of introductory essays, Penney exhibits how white-Indian touch encouraged the creation, use, and that means of paintings within the nineteenth century, in particular when it comes to garments and adornment. item different types are defined in shorter essays accompanying the superbly photographed catalog entries. extra essays by means of the creditors and Penneys cocurator places the gathering in old point of view. As a wealthy rfile of a seminal assortment, this catalog is very urged for libraries focusing on local American experiences or art.
- Eugene C. Burt, info Arts, Seattle
Copyright 1992 Reed enterprise details, Inc.
About the Author
ART --This textual content refers to an out of print or unavailable version of this name.

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Extra resources for Art of the American Indian frontier - the Chandler-Pohrt Collection

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Woman . prepare themselves long in advance (Bray 1970:209). Formal dress was also worn George Winter wrote the at social dances. following description of a spontaneous Potawatomi dance he observed in We-saw, a chief was called upon to open the dance. around the stakes and fire merely passive spectators to the dance, joined in, a heightened the . as their rich effect and beauty of the scene. head, covering the the squaws were silver body very . . . . . dozen very superbly dressed, They wore red and black blankets, ornaments, are very costly, and are worn over the gracefully, reaching nearly to the ground.

Mide garments and decorative accessories, such sashes, bandoliers, and shoulder bags, as symbols of their priests as woven office and power. Dancing in Indian dress also characterized the stemmed from the spread to transfer ( many western Great Lakes and Venum 1982). The Dream Drum to the Plains Grass Dance, whose Dream Drum woman vision of an Eastern Sioux Prairie tribes religion religion, which during the 1870s and through formal rituals of may be connected historically variations could be found among most all of the Plains and Prairie tribes during the closing decades of the nineteenth century, and whose performances plishment in battle (Howard "crow belts" derived of eastern and Dress also played an overt role 49 male values of courage and accom- Grass dancers wore distinctive "bustles" or from earlier warriors' garb and "roach" headdresses that replicated earlier styles the Paiute Prophet recalled the 1951).

The long fringes of of each moccasin completes the costume. The pony whose of hair on ornamented with spots of red and is not obliged (Boiler 1959:71). The community encouraged young men of appropriate age and promise go off to war. led war Among Woodlands and expeditions, for the most part. Plains tribes, only proven, mature Young men warfare provided one of the best means for in social esteem. La Mothe memoir: "They have two hunting. The Cadillac put tests it men to 2 prove their worth and first is rise war and the second best hunters and the best warriors are the among them" warfare signified the importance of the occasion, 4 participated eagerly because succinctly in his seventeenth-century of true men; the important, and most praiseworthy to men men most valued, most (Quaife 1947:20).

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