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Pictorial document on one single, large sheet of amate paper (composed of about 17 pieces that have been adhered together). There are 12 Nahuatl inscriptions in light black ink, oriented in various directions. The place name San Pedro Atlapolco occurs several times, which is why the document is believed to have originated in that community, and to record the foundation of its church. The drawing of ink and watercolor depicts a church under construction in the center of the community. Native men dressed in loose tunics, belted at the waist, carry loads of construction materials toward the building site. In front of the building, a friar is seated at a table with a pen and several pages of writing. Behind him, native nobles gesture in support, and in front native women kneel and form the audience. This document is part of the Techialoyan corpus, a group of pictorial documents produced by and for native communities in the State and Valley of Mexico, in the 18th century (see Diana Fane, ed., Converging Cultures: Art and Identity in Spanish America, New York: Brooklyn Museum in association with Harry N. Abrams, Inc. Publishers, 1996, p. 82-3).
"Fall Corn Dance" is an opaque watercolor over graphite drawing on a textured wove paper. The artist's signature, "Mootzka", is located at the bottom right corner of the image in black watercolor. The media is generally in good condition but there is some cracking in the dark blue skirts, the yellow stripes of the flag, the green in the feather headdresses, and in most of the red areas. There is also cracking in the brown drum and belt of the figure in pink. An previous acidic mat caused an orange-brown mat burn around the image.
Also known as Lewis Lomay.(1913-1996) Native American watercolor painting, depicting scenes from everyday life and ceremonial dances, arose in the 1920s, stimulated by growing interest among white patrons. Drawing from a long tradition of painted hides, pottery, and wall murals, artists incorporated native painting styles with the European-derived medium of watercolor to create a new Native American art form. At the heart of this movement were various self-taught artists from the southwestern United States, particularly from Hopi and Pueblo cultures. In 1930 the Brooklyn Museum was one of the first museums in the country to feature an exhibition of watercolors by Native American painters from the Southwest. Here Louis Lomayesva (b. 1913) depicts the dancers and drummers of the Hopi Corn Dance. Representing life , corn is the most important symbol for the Hopi. Like many of his contemporary Native American watercolor artists watercolorists, Lomayesva omitted the background in his images , thereby emphasizing the figures while adding a timeless quality. At the same time, his paintings mirror reality, as seen in the fine details of the woven designs on the dancers' shawls and belts.
Watercolor painting of a Pueblo dancer about to climb a ladder leaning against a kiva. Awa Tsireh is also called Alfonso Roybal.
Spirit of the Ancestors-I began making paper collages during the summer of 2000 and found the experience totally exhilarating. All of my previous artworks had been painstakingly pre-planned before I got down to the actual creation of them, especially my weavings and button blankets. But I found that, for me, collage making was very spontaneous... the pieces almost made themselves while I watched. - Clarissa Hudson