349:. Technical skill in draftsmanship was emphasized, as was the ethnographic accuracy of subjects portrayed. Paintings were aesthetically pleasing, with contours of a certain hue often surrounded by outlines of lighter tints, to emphasize the spiritual nature of the subject. Figures were brilliantly colored with backgrounds of a "subdued palettes of greens, blues, and browns," as Ruthe Blalock Jones writes. Blue, in particular, is a color representing sorrow, loss, and memory for some Southeastern tribes, and is often a preferred background color. Implied narrative gave the Bacone style a sense of drama.
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movement was influenced by the Bacone
College, as well as art programs of Chilocco Indian School, and Haskell Indian Industrial Training Institute, all of which were located in a similar geographic region. Tribes from the Southeastern, Prairie, and Central Plains regions each have their own historical practices of pictorial representation, whether in carving or painting; however,
279:. These artists were inspired by Pueblo mural painting and pottery painting traditions. Their work often features pastoral scenes in muted colors. Collectively, these three Flatstyle movements were sometimes derided by Native artists in the 1960s as "Bambi Art," which has been criticized as nostalgic, sentimental, and limited in scope.
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This paved the way for a new style of
American Indian art, the Bacone School of traditional Indian art, or simply the Baconian style. She was the first director of the art department, and she bequeathed the title to Acee Blue Eagle at her departure in 1935. In later years, the art lodge was renamed
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The
Oklahoma and New Mexico Native American art movements in the first half of the 1900s share similar traits that define the Native American art market, including patronage, mentoring, community-based collectives, and new structures of support through education and museums. The Bacone school art
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The Bacone style differs from the two other prevalent flat styles of Native
American painting in Oklahoma of the time: Kiowa style, and the Studio style. The "Flatstyle" painting was in part made popular in the 1920s by the Kiowa style (also known as Southern Plains style) of painting by the
220:(OU), where he served as director from 1915 to 1945. However the Bacone style was specifically different from the Kiowa style because the artists used brighter colors, depicted more movement and action, and included visual perspective. The Southern Plains style had its origins in
301:, and between 1932 until 1935, she had built the structure that later became an early classroom for the art department (and is now named the Ataloa Lodge Museum). She was followed by Blue Eagle serving as the second director from 1935 to 1939.
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in the 19th century disrupted many customary art practices. Access to
Western art materials (such as easels, watercolors) gave Native artists a new means of self-expression, as well as a new way of recording history and daily practices.
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100 years of native
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Both Blue Eagle's and Crumbo's styles were also influenced by the streamlined, bold look of
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intertribal "Flatstyle" art movement, primarily from the mid-20th century in
Eastern
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both host annual arts shows with categories specifically for this style of art (the
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Race and
Ethnicity in America: From Pre-contact to the Present [4 volumes]
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style of easel painting. This style is also influenced by the art programs of
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Visions and Voices: Native
American Painting from the Philbrook Museum of Art
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Visions and Voices: Native
American Painting from the Philbrook Museum of Art
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The first Bacone College's art department director was musician/storyteller
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Treasures of Gilcrease: Selections from the Permanent Collection.
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727:"Native American Art in Oklahoma: The Kiowa and Bacone Artists."
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This article is about the art movement. For the college, see
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Morand, Anne, Kevin Smith, Daniel C. Swan, and Sarah Erwin.
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helped foster the development of the Bacone style with its
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and features a mix of Southeastern, Prairie, and Central
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on illustration board was a popular medium, as well as
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Lawson, Russell M.; Lawson, Benjamin A. (2019-10-11).
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Becoming Mary Sully Toward an American Indian Abstract
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Indian Play: Indigenous Identities at Bacone College
635:"OU Art Educator Oscar Jacobson, 84, Dies at Norman"
53:. Unsourced material may be challenged and removed.
812:. The Encyclopedia of Oklahoma History and Culture
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232:, which, under the stewardship of such artists as
1008:(exhibition publication). Oklahoma Museum of Art.
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611:. University of Washington Press. pp. 9–10.
409:have extensive collections of Bacone School art.
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759:The Encyclopedia of Oklahoma History and Culture
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584:List of Native American artists from Oklahoma
1016:. Tulsa, OK: Philbrook Museum of Art, 1996.
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822:Ataloa Lodge Museum in honor of its founder.
369:competitive art show from 1947 to 1957. The
171:Haskell Indian Industrial Training Institute
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403:National Cowboy and Western Heritage Museum
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259:), built upon the accomplishments of the
113:Learn how and when to remove this message
837:Brewer, Graham Lee; Tulsa (2019-07-21).
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243:The Studio style, as taught at the
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783:Smithsonian National Postal Museum
632:Broady, Joe (September 20, 1966).
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371:Five Civilized Tribes Museum
299:Mary "Ataloa" Stone McLendon
216:at the School of Art at the
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605:Deloria, Philip J. (2019).
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240:), evolved into easel art.
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1002:Silberman, Arthur (1978).
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694:Wyckoff, Lydia L. (1996).
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393:award, respectively). The
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868:. ABC-CLIO. p. 17.
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379:Cherokee Heritage Center
283:Bacone College influence
1012:Wyckoff, Lydia L., ed.
359:Philbrook Museum of Art
1272:American art movements
245:Santa Fe Indian School
218:University of Oklahoma
163:Chilocco Indian School
1226:Jose Encarnacion Peña
1166:Southern Plains style
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1064:Related art movements
413:Bacone school artists
253:Gerónima Cruz Montoya
1100:Plains hide painting
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261:San Ildefonso school
222:Plains hide painting
167:Ponca City, Oklahoma
47:improve this article
1193:Lois Smoky Kaulaity
640:The Daily Oklahoman
579:Native American art
500:Ruthe Blalock Jones
383:Park Hill, Oklahoma
311:Ruthe Blalock Jones
755:"Blue Eagle, Acee"
455:Citizen Potawatomi
375:Muskogee, Oklahoma
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810:www.okhistory.org
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36:This article
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1178:Spencer Asah
1079:Studio style
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649:– via
644:. Retrieved
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549:Jerome Tiger
478:Albert Harjo
451:Woody Crumbo
391:Jerome Tiger
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303:Woody Crumbo
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269:Fred Kabotie
249:Dorothy Dunn
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45:Please help
40:verification
37:
1231:Tonita Peña
1188:Jack Hokeah
1147:Fred Beaver
1124:Esther Hoyt
1110:Silver Horn
942:18 November
843:www.hcn.org
460:John Gritts
429:Fred Beaver
353:Development
247:, first by
234:Silver Horn
203:"Flatstyle"
165:, north of
143:printmaking
1256:Categories
1236:Awa Tsireh
1105:Ledger art
1093:Influences
981:References
915:Wyckoff 40
906:Wyckoff 54
897:Wyckoff 55
848:2020-06-22
816:2020-06-22
788:2020-04-24
764:2020-04-24
646:2020-04-24
540:Terry Saul
387:Cecil Dick
347:watercolor
307:Potawatomi
277:New Mexico
230:Ledger art
103:April 2020
73:newspapers
1173:Kiowa Six
1058:Flatstyle
562:Dick West
487:Joan Hill
210:Kiowa Six
159:Modernist
573:See also
557:Seminole
495:Cherokee
473:Cherokee
437:Seminole
377:and the
335:Art Deco
319:Delaware
151:Oklahoma
135:painting
504:Shawnee
343:gouache
315:Shawnee
273:Arizona
192:removal
185:History
139:drawing
87:scholar
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339:Casein
323:Peoria
169:, and
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590:Notes
238:Kiowa
173:, in
145:is a
94:JSTOR
80:books
1018:ISBN
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944:2020
870:ISBN
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675:ISBN
613:ISBN
401:and
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