Alexander, Hartley Burr, 1873-1939

Hartley Burr Alexander taught philosophy at the University of Nebraska from 1908 until 1927 when he joined the Scripps College, Claremont, Calif., founding faculty as professor of philosophy, a position he held until his death in 1939. He wrote numerous books on poetry, history and philosophy and was a special advisor to the U.S. Dept. of Agriculture. He was an authority on architectural inscriptions and decoration, acting as consultant on the design of the Nebraska State Capitol in 1925, the Los Angeles Public Library, Fidelity Mutual Life Building in Philadelphia, Metropolitan Life Insurance Building in New York City, the Century of Progress International Exposition of Chicago in 1933, Dept. of Justice building in Washington, D.C. and Rockefeller Center in New York City.

Professor of philosophy, University of Nebraska.

Hartley Burr Alexander, anthropologist, poet, philosopher, educator and authority on North American Indian mythology, is perhaps best known as author of the symbolism and inscriptions on the Nebraska State Capitol and other buildings across the United States. He was born in Lincoln, Nebraska; raised in Syracuse, New York; and lived in Lincoln, where he was a professor of philosophy at the University of Nebraska. He was inducted into the Nebraska Hall of Fame in 1989.

Hartley Burr Alexander was born in Lincoln, Neb. in 1873, graduated from the University of Nebraska in 1897, and received his doctorate from Columbia University in 1901. He taught philosophy at the University of Nebraska from 1908 until 1927, when he joined the Scripps College, Claremont, Calif. founding faculty as professor of philosophy, a position he held until his death in 1939. He wrote numerous books on poetry, history and philosophy and was a special advisor to the U.S. Dept. of Agriculture. He was an authority on architectural inscriptions and decoration, acting as consultant on the design of the Nebraska State Capitol in 1925, the Los Angeles Public Library, Fidelity Mutual Life Building in Philadelphia, Metropolitan Life Insurance Building in New York City, the Century of Progress International Exposition of Chicago in 1933, and Rockefeller Center in New York City.

Biographies of the Artists

The following brief biographies refer to artists whose original works are deposited in this collection. In an attempt at consistency, names are listed and spelled as found in J.J. Brody, Pueblo Indian Painting: Tradition and Modernism in New Mexico, 1900-1930 (Santa Fe, NM: School of American Research, 1997). Researchers should be advised that artists' names (Native and/or European) and spellings may differ slightly from publication to publication.

Awa Tsireh (Alfonso Roybal) (San Ildefonso, 1898-1955) Awa Tsireh was influenced by his uncle, Crescencio Martinez, a key first-generation Native Modern artist. He received art training while at the San Ildefonso Day School, and the anthropologist Edgar Hewitt commissioned works from him. By the 1920s his work was receiving recognition on the art market. During his career he worked closely with Fred Kabotie (Hopi) as well as other San Ildefonso artists. See Molly Mullin, "Awa Tsireh," in American Indian Biographies: Revised Edition, ed. Carole Barrett and Harvey Markowitz (Pasadena, CA: Salem Press, 2005).

"San Juanito Garcia" (unknown) One item in the collection is attributed to this artist. See box 3, item 5: "Drawing by San Juanito Garcia, Santo Domingo, #24." The name has been placed in quotations because no published reference to this artist has been located. The name could refer to either Jose Garcia (Santo Domingo, 1914-?) or Lorenzo Garcia (Santo Domingo, ?-?).

Fred Kabotie (Naqavoy'ma) (Hopi, 1900-1986)Fred Kabotie is a central figure in Native American Modern painting. He attended the Santa Fe Indian School c. 1920 and received art instruction from Elizabeth DeHuff, the progressively-minded wife of the superintendent. He graduated from Santa Fe High School (a non-Indian school) in 1924. As a painter, Kabotie was very successful on the art market. He also worked as an art educator, muralist, and community leader. The two examples of his work in this collection are especially compelling.

Kills Two (Oglala Sioux, 1869-1927) Kills Two, who lived on the Rosebud Reservation in South Dakota, worked primarily in watercolor on hide and muslin. According to various sources, he was employed as a police officer on the reservation. See Patrick D. Lester, "Kills Two," Biographical Directory of Native American Painters (Tulsa, OK: Sir Publications, 1995).

Julian Martinez (Po-Ca-No) (San Ildefonso, 1897-1943) In 1904, Julian Martinez married the internationally acclaimed San Ildefonso potter, Maria (Montoya) Martinez. Through their collective pottery production (Maria building the pots, Julian decorating them), they created some of the most influential and technically astounding works of Native American Modern art. Both artists were strongly influenced by the findings of early twentieth century archaeological excavations of pre-Columbian pottery in the San Ildefonso area. As seen in the examples in the Hartley Burr Alexander Collection, Julian Martinez was also an accomplished easel painter.

Oqwa Pi (Abel Sanchez) (San Ildefonso, 1899-1971) Oqwa Pi was educated at the Santa Fe Indian School, where he painted murals in addition to working with watercolors. According to one source, he "served as lieutenant governor, and later as governor, of his pueblo" (Jeanne Snodgrass, American Indian Painters: A Biographical Directory (New York: Museum of the American Indian, 1968), 135).

Tonita Peña (San Ildefonso, 1893-1949) Peña was a major figure in the Native American Modern painting movement. She began receiving art instruction at an early age at the San Ildefonso Day School (1899-1905). In addition to working as a painter, Peña was a mother and art educator, and was employed as a muralist by the Works Progress Administration in the 1930s. She is primarily known for her works in watercolor, and painted domestic and dance scenes. Peña's work significantly influenced key artists of the Santa Fe school, including Pablita Velarde. See Cheryl Claassen, "Peña, Tonita," in American Indian Biographies: Revised Edition, ed. Carole Barrett and Harvey Markowitz (Pasadena, CA: Salem Press, 2005).

Otis Polelonema (Hopi, 1902-1981) A contemporary of Fred Kabotie, Polelonema attended the Santa Fe Indian School from 1914-1920 and graduated from Santa Fe High School. Like Kabotie, Polelonema received art instruction from Elizabeth DeHuff, wife of the school superintendant, who encouraged the students to draw on traditional knowledge and sources in their work. He was also employed by the Works Progress Administration.

Romando Vigil (Tse Ye Mu) (San Ildefonso, 1902-1978) Sources consulted for this project were in conflict as to Romando Vigil's art training. He is described as attending the Santa Fe Indian School (The Biographical Directory of Native American Painters), where he potentially could have received art training, and as having no formal art training (Margaret Archuleta and Rennard Strickland, Shared Visions: Native American Painters and Sculptors in the Twentieth Century (New York: The New Press, 1991)). He was apparently employed for a time by the Walt Disney Studios. See Patrick D. Lester, "Vigil, Romando," Biographical Directory of Native American Painters (Tulsa, OK: Sir Publications, 1995).

Thomas (Tomas) Vigil (Pan Yo Pin) (Tesuque, c. 1889-1960) Thomas Vigil was educated at St. Catherine's School from 1904 to 1907. See Patrick D. Lester, "Vigil, Thomas," Biographical Directory of Native American Painters (Tulsa, OK: Sir Publications, 1995).