Clipped From The Lawton Constitution

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 - Mr. Lincoln, Mr. surgery. History Of Indian...
Mr. Lincoln, Mr. surgery. History Of Indian Painting Traced At Jaycee Luncheon surgery. Mr. sur- By BILL CKAWJL-'ORD Staff Writer INITIAL recognition of Ihe true significance of Indian painting in its purest form came from Europe. And it was through the first ''old masters" of modern Indian painting in Southwest Oklahoma llial this was brought about, according to Mrs. Harry Roulh. Addressing members, of the Junior Chamber of 'Commerce at a luncheon meeting Wednesday at the Hotel Lawtonian, Mrs. Routh traced the history of Oklahoma Indian painting and told o[ the state's first "old masters" in the modern American Indian art revivals. "Word came lo Dr. Oscar Brousse 'Jacobson, then head ot the art department at the University of Oklahoma in 1927, That a group of five Indians was struggling near Anadarko to preserve the painting expression of their ancestors," she related. They were called ihc "Kiowa Boys" and ihcir names were Monroe Tsa-toke, James Auchiah, Sloven Mopopp. Jack Ho-ke-ah and Spencer Asah. The OU art instructor invited the Indian artists to study at the university. By 1929. Dr. Jacobson had compiled a portfolio of color reproductions of their art--water colors. The portfolio with, explanatory text was published in Nice by a French firm. "This was practically the first knowledge the outside world had of traditional American Indian painting and first acclaim was spontaneous," Mrs. Routh said. CULTURAL art centers in the United States then began lo take a closer look at us original art. 1 the early Indian painter -used Following his graduation from j models, followed no color theory Bacone college in 1929, the late i and gauged no true prospective. Accc Blue Eagle joined the Kiowa painters studying at OU. Perhaps the greatest Indian artist, Blue Eagle (Creek-Pawnee and . one-quaricr whitel was born four ] miles north o[ Anadarko at Rock j Springs Baptist Mission-, (Hc was the only one of Oklahoma's "old masters" to br-comc a lecturing artist and earn his living at painting. Thus, the first six Indian artists of Oklahoma were horn within a 75-mile radius of Lawton.1 In 1935, Acee Blue Eagle eslab- lished ihe first accredited school of Indian art in the nation at Ba- conc college. "It is high time Oklaho'mans start advertising Indian art and artists." Mrs. Routh stated. "We haven't bragged nearly as- 'much about our Indian cultural activity as New Mexico, and actually we have more to brag about, ''American Indian art is primarily foik art. It is an expression of the social, economic and religious activities of a given society or people. 1 ' In the early days, Indians used various forms of powdered minerals, sand, clay and meals for their colors, the speaker explained. Water or buffalo fat formed Ihcir mixing bases. Shells, buffalo horns or pottery were their paint cups. THEIR brushes were Hal, spongy bone taken from the knee of Ihc buffalo. Traditional Indian t painting always was done on dry | surfaces -- elk and deer and buffalo skins, rocks, cave walls, pottery. Introduced by Fred Stefiin, 'Jaycee program chairman for the month. Mrs. Routh also displayed some Indian art and handicraft. OVISIt ;i period of. years, the Lawton woman has searched for Indian material and lore in the eastern research ccnlcrs at Boston, Mass.. Peabody Museum at Harvard university. Smithsonian and Congressional Library, Washington. D.C. With her husband and a small parly, including an interpreter, Mrs. Routh traveled up several rivers, including the Sambu. in jungles of Darion Province, eastern Panama and northwest Colombia to investigate the art and living customs of Ihe Sambu. Choco and Cunas Indians. The group also contacted several Jr. Guatemala and Old Mexico. New Mrs. Routh also pointed out that I Great Lakes. Mayan tribes traveled j n t o Mexico and to the bay of FOUJI- day including many tribes living along the Canadian side of the Objects were seldom rounded out by using light and shade. And background -often was left to ihc imagination. j "Since the Indian omitted such things as trees, sky or vegetation in the background, he decided produce abstract symbols I o r them." Mrs. Roulh noted. "So will always be able to recognize a typical Indian painting, remember these things: It is flat, two- dimensional. decorative, often indicates a strong feeling of design, has a definite pattern and is

Clipped from
  1. The Lawton Constitution,
  2. 05 May 1960, Thu,
  3. Page 6

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  • Clipped by ki4802 – 13 Sep 2013

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