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in her grandmothers' footsteps in passing along
Winnebago cultural practices. "During the summers we lived on the Reservation, my mother cultivating her garden and my father playing the chief's son. During the winter we used to follow the chase away off the Reservation, along rivers and forests. My father provided not only for his family then, but his father's also. We were always moving camp. As a child, my life was ideal. In all my childhood I never received a crossword from anyone, but nevertheless, my training was incessant. About as early as I can remember, I was lulled to sleep night after night by my father's or grandparent's recital of laws and customs that had regulated the daily life of my grandsires for generations and generations, and in the morning I was awakened by the same counseling. Under the influence of such precepts and customs, I acquired the general bearing of a well-counseled Indian child, rather reserved, respectful, and mild in manner."
164:. She would go on to describe how it happened as follows: "A strange white man appeared on the reservation and asked her, through an interpreter, if she would like to ride on a steam car; with six other children, she decided to try it, and when the ride was ended she found herself in Hampton. ' three years later when I returned to my mother' says Angel De Cora. 'She told me that for months she wept and mourned for me. My father, the old chief and his wife had died, and with them, the old Indian life was gone.'"
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200:, De Cora faced more challenges in enjoying success than her peers, Pyle's belief in her was so strong that he still provided her with contacts at magazines and encouraged her to illustrate and compose her own semi-autobiographical stories, "The Sick Child" and "Gray Wolf's Daughter," which were later published in the February and November 1899 issues of
284:. Her figures focused heavily on gesture, which is something that is used a lot in Native American pictographs. Because these illustrations were often accompanied with text, De Cora was able to make a traditionally Native American art form into something understandable to white Americans, without bastardizing the original artwork.
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Most of her work would portray the Native
American lifestyle through a feminized lens, which was something that was altogether unfamiliar to white Americans of the time. However, her portrayal of Native Americans was not static; she portrayed them as a changing people, and would blend Native American
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Taken from her family and placed into the
Hampton Normal and Agricultural Institute, Angel de Cora was to accomplish the U.S. federal government's vision of "educating Indian girls in the hope that women trained as good housewives would help their mates assimilate" into U.S. mainstream culture (272).
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As granddaughter to the chief of the
Winnebago tribe, De Cora existed in a position of influence since "among most plains people, power and cultural knowledge were accumulated by and dispensed through females" (35). Although De Cora's mother was French in origin, De Cora would be expected to follow
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art work, De Cora painted firelight to illuminate warm memories of her childhood life on the
Nebraska plains after she settled far from home in the east". Her oil Painting, "for an Indian school exhibit, for the Pan-American Exposition in Buffalo, New York" demonstrates the technical prowess and
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attire and thus was often a source of contention. Another disagreement between the student and her mentor was how De Cora did not wish to emulate her teacher like her peers strived to; De Cora once informed Pyle that she was an
American Indian and did not wish to paint exactly like a white man.
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In some cases, De Cora is not included in the canon of significant Native
American artists, as her artwork is now seen as "too Western in execution to be considered authentic Native American art." However, "in her day, the public crowned Angel 'the first real Indian artist.'"
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brushwork, which demonstrated Pyle's influence. Pyle and De Cora had a typical relationship a student and mentor do. However, Pyle's disregard for authenticity in traditional
Indigenous attire, despite paying careful attention to historical accuracy when depicting the typical
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emotional depth of her art. As she began to work with illustrator Howard Pyle, her style incorporated more illustration, and he encouraged her to visit the Fort
Berthold Reservation in North Dakota in order to reconnect her to Native and Indigenous customs.
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Angel De Cora, also written Angel DeCora, or Hinook-Mahiwi-Kalinaka (Fleecy Cloud
Floating in Place), was born at the Winnebago Agency in Dakota County (now Thurston), Nebraska, on May 3, 1871. She was the daughter of David Tall Decora, a
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805:. Ahlberg Yohe, Jill,, Greeves, Teri,, Silver, Laura (Editor),, Feldman, Kaywin,, Minneapolis Institute of Art,, Frist Art Museum (Nashville, Tenn.). Minneapolis, Minnesota. May 17, 2019. p. 285.
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During the summer of 1898, under Pyle's guidance, De Cora painted the oil painting Lafayette's Headquarters, which was one of her only works featuring non-Indigenous subjects. She employed semi-
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264:(Wicarhpi Isnala), who claimed Dakota and German descent but his true background remains partially inconclusive. Dietz also taught at the Carlisle Indian School. He and De Cora met at the
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names were chosen by a relative who was asked to name her, opened the Bible, and the word "angel" caught her eye. Her mother was a member of the influential LaMere family.
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in 1904. In addition to his art, Dietz was a notable football player, and in 1915 he became head coach of Washington State; he later was the first head coach of the
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man with French ancestry and a son of the Little Decorah, a hereditary chief. Angel was born into the Thunderbird clan. Her English and
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on 6 February 1919. She was buried in their family plot without a marker, as at the time, only blood relatives could have a headstone.
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De Cora studied at a local preparatory school in Hampton, Virginia, working for a local family. Afterward, De Cora was educated at
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Originally holding a studio in the New York City, towards the end of her career, De Cora and her husband taught art at the
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345:. Her illustrations are rare for her time period because she portrayed Native Americans wearing contemporary clothing.
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Unfortunately not much of De Cora's original paintings remain, but she illustrated her own stories published in
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At the beginning of her career, De Cora developed her tonalist style through the influence of her instructor
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and unique usage of light in their works. These mentors had a huge influence on De Cora's future works.
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Hutchinson, Elizabeth (2001). "Modern Native American Art: Angel DeCora's Transcultural Aesthetics".
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Spack, Ruth (1997). "Re-visioning Siouz women: Zitkala-Sa's revolutionary American Indian Stories".
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659:"Angel De Cora: Indigenous American and Pyle Student | Brandywine Conservancy and Museum of Art"
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The Great Confusion in Indian Affairs: Native Americans and Whites in the Progressive Era
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Smith College: Paying Tribute to Smith's First Known Native American Graduate
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Angel was kidnapped at a young age from the agency and sent to school at the
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painter, illustrator, Native American rights advocate, and teacher at
236:. Decamp left after a year, but recommended her to The School of the
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American Indian Nonfiction: An Anthology of Writings, 1760s-1930s.
185:. She studied specifically illustration at Drexel Institute (now
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Angel DeCora's lettering for The Indians' Book and Wigwam Stories
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Recovering Native American Writings in the Boarding School Press
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De Cora's art style blended Western techniques with traditional
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De Cora was one of the very few students who were accepted into
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Fire light : the life of Angel De Cora, Winnebago artist
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Angel DeCora: American Artist and Educator by Sarah McAnulty
568:. University of Virginia, Library Website. Archived from
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Firelight: The Life of Angel De Cora, Winnebago Artist.
895:. Norman: University of Oklahoma Press. pp. xxv.
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and EuroAmerican elements to demonstrate this change.
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Visual arts of the Indigenous peoples of the Americas
181:. She then studied art at the art department of the
132:. She was a well-known Native American artist before
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871:"Angel De Cora and an Innovative Use of Indian Art"
341:features illustrations by De Cora and her husband,
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483:"Angel DeCora Portrait – Ford Conservation Center"
803:Hearts of our people : Native women artists
744:"An Art of Survivance: Angel DeCora at Carlisle"
633:(Austin: University of Texas Press, 2005) p. 98
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1071:Norman: University of Oklahoma Press, 2008.
1056:Norman: University of Oklahoma Press, 2007.
248:, both of whom were known for their outdoor
232:to study life drawing under the tutelage of
308:De Cora created the title-page designs for
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833:: CS1 maint: location missing publisher (
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375:At the age of 47, Angel De Cora developed
360:Hearts of Our People: Native Women Artists
158:Hampton Agricultural and Industrial School
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692:Montana: The Magazine of Western History
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1448:19th-century Native American artists
1438:20th-century Native American artists
1368:20th-century American women painters
602:, UNP - Nebraska, pp. 243–251,
383:while staying at a friend's home in
529:Indian History of Winneshiek County
409:cover illustration by De Cora, 1911
1453:19th-century Native American women
1443:20th-century Native American women
1408:Native American women illustrators
1388:Winnebago Tribe of Nebraska people
683:Waggoner, Linda M. (Spring 2013).
179:Burnham Classical School for Girls
172:Education, mentors, and early work
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562:Kilinaka, Hinook-Mahiwi- (1910).
532:. Decorah, Iowa: Bailey and Sons.
437:Illustration by De Cora and Dietz
423:Frontispiece by De Cora and Dietz
335:Yellow Star: A Story of East West
321:Carlisle Indian Industrial School
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333:and illustrated books. The 1911
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1106:Angel DeCora – an autobiography
565:Angel de Cora: An Autobiography
262:William Henry "Lone Star" Dietz
1478:19th-century American painters
1363:20th-century American painters
451:Illustrations by De Cora, 1901
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1468:19th-century American artists
1433:Native American women artists
387:, and ultimately died in the
1403:Native American illustrators
998:Resources in other libraries
974:Resources in other libraries
364:Minneapolis Institute of Art
1413:Painters from Massachusetts
1353:American women illustrators
891:Waggoner, Linda M. (2008).
742:Gere, Anne Ruggles (2004).
596:"Angel De Cora (Winnebago)"
323:in Carlisle, Pennsylvania.
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526:Hexom, Charles P. (1913).
79:Northampton, Massachusetts
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993:Resources in your library
969:Resources in your library
748:American Indian Quarterly
389:Cooley Dickinson Hospital
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1398:Native American painters
1393:Native American curators
1383:Drexel University alumni
1458:American women curators
608:10.2307/j.ctt1w76tq5.36
260:De Cora was married to
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339:Elaine Goodale Eastman
282:Native American styles
266:St. Louis World's Fair
130:Carlisle Indian School
47:Hinook-Mahiwi-Kalinaka
1373:Artists from Nebraska
1358:American illustrators
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1016:(4). JSTOR: 740–756.
928:"Smith College: News"
837:) CS1 maint: others (
760:10.1353/aiq.2004.0096
1418:Smith College alumni
1233:Precolonial painting
1171:Art history timeline
572:on January 12, 2011.
298:Dwight William Tryon
228:and enrolled at the
1067:Waggoner, Linda M.
343:William Henry Dietz
270:Washington Redskins
238:Museum of Fine Arts
122:Angel De Cora Dietz
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1176:Individual artists
663:www.brandywine.org
489:. October 29, 2022
220:When De Cora left
124:(1871–1919) was a
61:Thurston, Nebraska
1463:American curators
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1186:Women in the arts
1077:978-0-8061-3954-8
1062:978-0-8061-3798-8
955:Library resources
875:NatalieCurtis.org
366:, Minneapolis, MN
353:Group exhibitions
314:The Indians' Book
246:Edmund C. Tarbell
230:Cowles Art School
187:Drexel University
162:Hampton, Virginia
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1228:Photography
937:October 20,
668:October 20,
585:, p. .
493:January 18,
385:Northampton
194:Howard Pyle
134:World War I
86:Nationality
57:May 3, 1871
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140:Background
53:1871-05-03
1295:By region
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276:Art style
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147:Winnebago
126:Winnebago
1428:Tonalism
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1269:clothing
1238:Textiles
1213:Ceramics
1206:By media
712:24416303
627:Tom Holm
551:: 25–42.
331:Magazine
329:Harper's
302:tonalist
256:Personal
151:Ho-Chunk
114:Tonalism
110:Movement
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688:(PDF)
458:Notes
371:Death
337:, by
1281:Maya
1073:ISBN
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939:2021
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