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).

Biography of Hartley Burr Alexander

Hartley Burr Alexander (1873-1939), educator, author, poet, philosopher, was born on April 9, 1873 in Lincoln, Nebraska and raised in Syracuse, Nebraska by his father, George Sherman Alexander, a self-educated Methodist Minister from Massachusetts, and his artist-stepmother, Susan Godding Alexander. His mother, Abbey Gifford Smith Alexander died when he was three. After graduating from Syracuse High School, Alexander attended the University of Nebraska, graduating in 1897 with an A.B. degree. Alexander began his teaching career in the English Department before accepting the Harrison Fellowship at the University of Pennsylvania (1898-1900). He then transferred to Columbia University where he received his Doctor of Philosophy in 1901. In 1908 he accepted a position teaching philosophy at the University of Nebraska (1908-1927), after which he became Professor of Philosophy at Scripps College in Claremont, California.

Hartley Burr Alexander’s interests in philosophy, anthropology, and the arts synthesized with his interest in architecture. Many of Alexander’s thoughts have been cut into stone in the form of inscriptions and symbolic programs in several monuments of American architecture throughout the United States. The most notable are those he created for the Nebraska State Capitol in 1925, Memorial Stadium at the University of Nebraska, Rockefeller Center in New York City, Bertram Goodhue’s Los Angeles Public Library, and several buildings at the 1933 Century of Progress Exhibition in Chicago.

Alexander’s interest in designing architectural inscriptions began in the 1920’s. In 1919 it had been decided that a new capitol should be built in Lincoln, Nebraska. Bertram Grosvenor Goodhue was selected, and construction began in 1922. Goodhue’s design – Roman chariots prancing on a roof – so offended Alexander’s sense of what was appropriate for Nebraska that he wrote Goodhue with suggestions of more appropriate art. Goodhue was so impressed that he hired Alexander on the spot to direct the artwork and write the inscriptions for the building. It was during his work on the capitol that Alexander first worked with the tile designer Hildreth Meiere, and the sculptor Lee Lawrie. Alexander later worked with both Meiere and Lawrie on other Goodhue buildings, such as the Los Angeles Public Library; the Fidelity Mutual Insurance Building in Philadelphia; Pennsylvania State Finance Building, Chicago Century of Progress Exhibition; the City Hall and Courthouse in St. Paul, the Department of Justice Building in Washington, D.C.; the Joslyn Memorial Building in Omaha, Rockefeller Center; and others.

Several works were written by Alexander concerning his work on the Nebraska State Capitol building, such as “Nebraska’s Monumental Capitol” in Western Architect, 1923; “Lee Lawrie’s Sculptures” in Nebraska State Journal, 1923; “The Nebraska Capitol” in Goodhue Memorial Volume published by the American Institute of Architects, 1925; and Nebraska State Capitol: Synopsis of Decorations and Inscriptions, State Capitol Commission, 1926.

Alexander also worked on the inscriptions for the Ellen Phillips Samuel Memorial, Philadelphia, Pennsylvania; the Joslyn Memorial Building, Omaha, Nebraska; and the Metropolitan Life Insurance Company Home Office Building, Ottawa, Canada.

Alexander died at his home in Claremont in 1939 at the age of 66. The memorial service was held in Balch Hall Auditorium at Scripps College on July 29. Scripps College honored him posthumously with the establishment of the Hartley Burr Alexander Professorship in the Humanities.

Chronology

Biography of Hartley Burr Alexander

Hartley Burr Alexander (1873-1939), educator, author, poet, philosopher, was born on April 9, 1873 in Lincoln, Nebraska and raised in Syracuse, Nebraska by his father, George Sherman Alexander, a self-educated Methodist Minister from Massachusetts, and his artist-stepmother, Susan Godding Alexander. His mother, Abbey Gifford Smith Alexander died when he was three.

After graduating from Syracuse High School, Alexander attended the University of Nebraska, graduating in 1897 with an A.B. degree. Alexander began his teaching career in the English Department before accepting the Harrison Fellowship at the University of Pennsylvania (1898-1900). He then transferred to Columbia University where he received his Doctor of Philosophy in 1901. In 1908 he accepted a position teaching philosophy at the University of Nebraska (1908-1927), after which he became Professor of Philosophy at Scripps College in Claremont, California.

Alexander began his prolific writing career as a member of the editorial staff for G. & C. Merriam Company’s Webster’s New International Dictionary (1903-1908), where he revised the words from “bicycle” to “marriage.” While at G. and C. Merriam Company he was promoted to assistant chief of the editorial staff, revising definitions for words used in philosophy, psychology, anthropology, and mythology. Dr. Alexander’s writing career continued in the publication of several books and numerous articles. In 1904 he published articles and poems constantly, and in 1905 published “Poetry and the Individual” and “Mid Earth Life,” a collection of poems. His most important philosophical contributions include Nature and Human Nature (1923); Truth and the Faith (1929); “The Great Art which is Philosophy,” in Contemporary American Philosophy, Volume I (1930); and God and Man’s Destiny (1936).

Dr. Alexander also researched extensively in anthropological issues related to philosophy. A significant amount of his work involved recording dances, songs, poems, and sacred stories from many American Indian cultures. Between 1914 and 1917 he devoted his time to his work on the mythology of the North American Indians. It was during this time that he also wrote and directed three summertime pageants that were staged in Lincoln, Nebraska on the University campus. But, Alexander did not solely concentrate on the cultures of the North American Indian. He also created works about the peoples south of the United States, including those of Mexico, the Antilles, and Central and South America. The most significant of which was his publication of “Mythology of all Races, Latin American,” which led to his delivery of a series of lectures at the Sorbonne in Paris [lectures on the “Art and Philosophy of the North American Indians”](1925). As a result of his lecture at the Sorbonne and for his work on behalf of French war orphans, he became a member of the Societe des Americanistes de Pari s, and a recipient of the Chevalier de la Legion d’Honneur.

Alexander’s interest in native cultures manifested itself into the publication of several important works, his most important of which include his contributions to The Mythology of All Races, Vol. X (1916) and Vol. XI (1920); Odes and Lyrics (1922), a collection of poems; L’Art et la Philosophie des Indiens de l’Amerique du Nord (1926), a publication of his Sorbonne lectures; and The World’s Rim: Great Mysteries of the North American Indians (1953).

Dr Alexander also combined his interests in philosophy and anthropology in the publication of numerous poems and articles about poetry. He also had great interest in the theater, writing several operettas and plays on the subject of American Indians. Alexander was the author of several popular pageants presented in Lincoln, Omaha, and at the University of Nebraska, including “The Pageant of Lincoln” (1915), “The Gate City” (1916), and the Ak-Sar-Ben Pageant for 1922.

Hartley Burr Alexander’s interests in philosophy, anthropology, and the arts synthesized with his interest in architecture. Many of Alexander’s thoughts have been cut into stone in the form of inscriptions and symbolic programs in several monuments of American architecture throughout the United States. The most notable are those he created for the Nebraska State Capitol in 1925, Memorial Stadium at the University of Nebraska, Rockefeller Center in New York City, Bertram Goodhue’s Los Angeles Public Library, and for several buildings at the Century of Progress Exhibition at the 1933in Chicago.

In 1919, it had been decided that a new capitol should be built in Lincoln, Nebraska. Bertram Grosvenor Goodhue was selected, and construction began in 1922. Goodhue’s design – Roman chariots prancing on a roof – so offended Alexander’s sense of what was appropriate for Nebraska that he wrote Goodhue with suggestions of more appropriate art. Goodhue was so impressed, that he hired Alexander on the spot to direct the artwork and write the inscriptions for the building. It was during his work on the capitol that Alexander first worked with tile designer Hildreth Meiere, and sculptor Lee Lawrie. Alexander worked with them again on other Goodhue buildings, such as the Los Angeles Public Library; the Fidelity Mutual Insurance Building in Philadelphia; Pennsylvania State Finance Building, Chicago Century of Progress Exhibition; the City Hall and Courthouse in St. Paul, the Department of Justice Building in Washington, D.C.; the Joslyn Memorial Building in Omaha, Rockefeller Center; and others.

Several works were written by Alexander concerning his work on the Nebraska State Capitol building, such as “Nebraska’s Monumental Capitol” in Western Architect, 1923; “Lee Lawrie’s Sculptures” in Nebraska State Journal, 1923; “The Nebraska Capitol” in Goodhue Memorial Volume published by the American Institute of Architects, 1925; and Nebraska State Capitol: Synopsis of Decorations and Inscriptions, State Capitol Commission, 1926.

Between 1935 and 1939, Alexander, in addition to his teaching, remained an extremely active writer. During this period he finished a book on Indian ceremonies entitled “The Great Mysteries of the North American Indians,” and another book which was eventually entitled God and Man’s Destiny (1936). Although Oxford published God and Man’s Destiny in 1936, “The Great Mysteries of the North American Indians” was not published until 1953 by the University of Nebraska Press under the title The World’s Rim .

Alexander died at his home in Claremont in 1939 at the age of 66. The memorial service was held in Balch Hall Auditorium at Scripps College on July 29. Scripps College honored him posthumously with the establishment of the Hartley Burr Alexander Professorship in the Humanities.

Chronology