![]() By 1912 Hewett had hired Crescencio and Julian as laborers. In the early years of the twentieth century, paintings made by Alfredo Montoya, Crescencio Martinez, and Julian Martinez, at San Ildefonso Pueblo came to the attention of Edgar Lee Hewett and other Museum of New Mexico archaeologists working on Ancestral Puebloan villages in the region. Students were encouraged to depict the complex relationships between the spiritual and human worlds as conveyed in the dance plazas.īy 1937 Dunn and her fellow teacher and future husband, Max Kramer, had tired of the constant bureaucratic opposition to her methods and resigned. She believed that her role was to help students in depicting their own innate knowledge of their indigenous art and culture. Dunn found sources and inspiration in rock art, ceramic decoration, mural and hide paintings. She encouraged students to paint things they knew from memory and to be true to themselves. She, like Edgar Lee Hewett, believed that the graphic stylization practiced by the Puebloan painters was the only authentic style of painting for Native American artists to follow. When Dunn began teaching at the Studio, she encouraged and advocated for what was by then an established style of painting. She hired Julian Martinez, Awa Tsireh, Velino Herrera, and Abel Sanchez to paint murals in the school cafeteria in order to create a more welcoming environment. Faris accepted her proposal and Dunn began teaching at the school in 1932. Later, while finishing her degree in Chicago she wrote a proposal to then SFIS Superintendent Chester Faris to teach art there. Dunn first traveled to the Southwest in 1928 and that fall she began teaching second grade at Santo Domingo Pueblo. There, she absorbed the visual language and rich symbolism of the museum’s excellent collections of Hopi and other Puebloan artifacts. Dunn studied at the Art Institute of Chicago and she discovered Native American art at the Field Museum of Natural History. Her tenure came at an opportune time of change as Bureau of Indian Affairs (BIA) administrators sought to remedy the terrible conditions found in most of their boarding schools. For the students, art was a pathway for gaining recognition, making a good income, and for overcoming the longing for home.ĭorothy Dunn served as an art teacher at the Santa Fe Indian School (SFIS) from 1932 to 1937. The Studio at the Santa Fe Indian School was a meeting place for Indigenous and Euro-American cultures that often conflicted in their social order and values. Patronage from non-Natives encouraged the students and provided them with a cash income, something novel for most of them. They knew that patrons sought such ceremonial scenes and they knew to stick with public dances that were open to outsiders. Dunn encouraged students to paint “what they know.” The young artists did just that, depicting hunting, riding, and domestic scenes, and following the lead of their predecessors, scenes of ceremonial dances. The Studio Style designation comes from almost two decades later, following the success of art teacher Dorothy Dunn and her Native American students at the Bureau of Indian Affairs Santa Fe Indian School (now the Institute of American Indian Arts, IAIA).įor students attending the school, their paintings were a means to bridge the cultural, emotional, and spiritual distance from their families and villages. Paintings made by these San Ildefonso artists came to the attention of Edgar Lee Hewett and other archeologists working on Ancestral Puebloan villages in the region. The seminal group included Alfredo Montoya, Crescencio Martinez, and Julian Martinez, who was the husband of renowned potter Maria Martinez. What is now commonly referred to as the Santa Fe Studio Style had its inception around 1908 among a small group of largely self-taught painters from San Ildefonso Pueblo, near Santa Fe New Mexico. ![]() Courtesy of the Museum of Northern Arizona, Flagstaff, Cat. Gerald Nailor, T he Yellow Corn Maiden’s Prayer to the Dawn, 1948, watercolor on paper, 12 in. Click on the menu icon at the top right to access the student-authored pages. The site accompanies the Museum of Northern Arizona exhibition “Transcending Duality: The Santa Fe Studio Style,” curated by MNA Fine Arts Curator Alan Petersen. Jennifer McLerran’s Fall 2018 Northern Arizona University course Museum Studies 460/560: Topics in Museum Studies. This website was created by students in Dr. ![]()
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