Patrick Swazo Hinds 'Eagle Dancers' Lithograph, 1972

Patrick Swazo Hinds (Tesuque Pueblo, 1924-1974). "Eagle Dancers" stone lithograph on paper, 1972. Edition number 62 of 70. Hand-signed at lower left; dated and numbered at lower center. Patrick Swazo Hinds (Tesuque Pueblo, 1924-1974). "Eagle Dancers" stone lithograph on paper, 1972. Edition 62 of 70. Hand-signed at lower left; dated and numbered at lower center. Printed as part of "Pueblo Dancers" by master printer Harry Westlund at the Tamarind Institute, Albuquerque, New Mexico. Published by Art Consultants, Ltd., Phoenix, Arizona. A pair of Eagle Dancers is depicted against a field of sky blue and desert ochre, their outstretched arms fitted with feathered wings. The composition sets the twinned dancers against a white disc, edged in a zigzag band and spinning rings. The figures wear kilts, sashes, and moccasins in golden yellow, their faces turned in mirrored profile. The Eagle Dance honors the bird as messenger between earth and sky, its wingbeats invoking rain and blessing. Size: 29.75" W x 22.25" H (75.6 cm W x 56.5 cm H) Artist's bio: "Patrick Swazo Hinds was a renowned artist and painter whose work combined Native motifs with a modern style that became an expression of his heritage and culture. As a child, he was adopted and moved to California where he pursued his education in art. He attended Hill and Canyon School of Arts in Santa Fe, New Mexico; California College of Arts and Crafts in Oakland; Mexico City College; and the Art Institute of Chicago. He also served in the U.S. Marines during the Korean War, and later worked as a teacher before becoming a full-time artist. Over his lifetime, Swazo Hinds's works have been shown in numerous exhibitions, including at the San Francisco Museum of Modern Art, and are in the permanent collections of the Institute of American Indian Arts and the National Museum of the American Indian. As an important person in the California art scene, Swazo Hinds departed from the traditional style and painted highly abstracted pieces that emphasized his connection to his Pueblo culture, which he visited every summer after his adoption. He stated, 'I have worked hard to learn to paint and now I have chosen to paint the Indian . . . and his religion and his culture as I understand it. I can paint an Indian as ugly as I want, because there is pain, there is sorrow, there is suffering. I can paint him beautiful, because that is there, too.'" (Autry Museum of the American West website) Item # 203529

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