MARC record from Internet Archive

LEADER: 04924cam 22008174i 4500
001 ocm45137632
003 OCoLC
005 20220812112639.0
008 001002t20012001wauabf b s001 0deng
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016 $a009115242
019 $a45629989
020 $a0295980842$q(alk. paper)
020 $a9780295980843$q(alk. paper)
020 $a1550548425$q(Vancouver)
020 $a9781550548426$q(Vancouver)
035 $a(OCoLC)45137632$z(OCoLC)45629989
042 $apcc
043 $an-cn-bc$an-us-ak
050 00 $aE99.H2$bW75 2001
055 02 $aE99*
082 00 $a704.03/972$221
084 $acci1icc$2lacc
100 1 $aWright, Robin Kathleen,$eauthor.
245 10 $aNorthern Haida master carvers /$cRobin K. Wright.
264 1 $aSeattle :$bUniversity of Washington Press ;$aVancouver :$bDouglas & McIntyre,$c[2001]
264 4 $c©2001
300 $axiii, 385 pages, 16 unnumbered pages of plates :$billustrations (some color), maps ;$c29 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 359-369) and index.
520 1 $a"The art of the Haida of the Queen Charlotte Islands and Alaska ranks among the most sophisticated and spectacular art traditions of the world. While Haida art has long been recognized as central to the development of the highly formalized northern Northwest Coast style of design, it has often been viewed as somewhat static and anonymous. Robin K. Wright highlights for the first time the distinctive achievements of several of the most important Northern Haida artists and analyzes the art historical developments and stylistic changes in pole carving." "Northern Haida Master Carvers traces the making of the monumental poles from the days of first white contact to the present, illuminating the variations in style that resulted from historical, cultural, and individual circumstances. Wright examines the work of the earliest named Haida pole carver, Sqiltcange, and separates the carvings that can be attributed to the legendary Albert Edward Edenshaw from the large body of work produced by his nephew, Charles Edenshaw. She identifies the work of the little-known artist, Duncan ginaawaan, Albert Edward Edenshaw's brother-in-law, and his clan-relative, Dwight Wallace, both from Klinkwan, Alaska. She discusses the legacy of the nineteenth-century artists carried on through the work of their twentieth and twenty-first century descendants and artistic heirs: Jim Hart, Robert Davidson, Charles Edenshaw's great-grandson; Freda Diesing and Donald Yeomans, descendants of Simeon Sdiihldaa, and John and Lee Wallace, descendants of Dwight Wallace."--Jacket.
505 00 $tForeword /$rJim Hart --$tThe First gyaa.aang --$tThe Early Contact Period, 1774 to 1799 gannyaa, gu.uu, yaahl daajee, and the Maritime Fur Traders --$tThe Early Nineteenth Century, 1800 to 1853 Old 7idansuu, Sqiltcange, and gwaaygu 7anhlan --$tThe Mid- to Late Nineteenth Century, 1853 to the 1880s gwaaygu 7anhlan, da.a xiigang, ginaawaan, and gid k'waajuss --$tThe Late Nineteenth Century, the 1880s and 1890s da.a xiigang, gyaawhllns, gwaay t'iihld, skil kingaans, and skilee --$tThe Twentieth-Century Legacy --$tHaida Language Orthography.
650 0 $aHaida artists.
650 0 $aHaida sculpture.
650 0 $aTotem poles$zNorthwest Coast of North America.
650 6 $aArtistes haida.
650 6 $aSculpture haida.
650 6 $aMâts totémiques$zNord-Ouest, Côte (Amérique du Nord)
650 7 $aHaida artists.$2fast$0(OCoLC)fst00950269
650 7 $aHaida sculpture.$2fast$0(OCoLC)fst00950275
650 7 $aKunsthandwerk$2gnd
650 7 $aSchnitzerei$2gnd
651 7 $aNordamerika$zNordwest$2gnd
651 7 $aHeyda$gIlmenau$2gnd
650 7 $aArt haida.$2ram
650 7 $aSculpture haida.$2ram
650 7 $aArt haida$xOuvrages illustrés.$2ram
650 7 $aSculpture haida$xOuvrages illustrés.$2ram
650 7 $aMâts totémiques$zÉtats-Unis (nord-ouest)$2ram
651 7 $aIndianer.$2swd
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938 $aBaker and Taylor$bBTCP$n00050311
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948 $hNO HOLDINGS IN IME - 411 OTHER HOLDINGS