"Dragonfly, Bear, and Eagle" exemplifies the true meaning of authentic American art. Ranging from practical artifacts to less practical art pieces, the Ralph E. Olson collection of Native American art captures the essence of various Native American peoples in North America.
Only a small portion of Olson's extensive collection is on display at the Bayly Art Museum; however, the selections for view are strikingly different and generally indicative of cultures both north and south of the Canadian border.
Olson started the collection as a hobby in his suburban Chicago and gained national recognition as the compilation eventually grew into a large-scale trade effort with other collectors.
The exhibit concentrates mainly on art from northwestern coastal and western Canadian peoples as well as southwestern pieces. Many of the works are representative of the natural environment in which they were created.
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"Model Totem Pole," crafted in southern Alaska, serves as an example of how art represents lifestyle and culture. Created as a small-scale version of the prevalent symbol of family history, the totem pole is a model for the less portable true-to-life version.
The piece is an artifact of the Tlingit peoples carved from cedar wood with muted paint colors. The elongation of the animals' facial shapes draws the eye upward. Sharp edges are prominent, particularly in the form of a bird's beak, the focal point of the pole.
Another native Alaskan piece, "Bowl in Shape of Bear," is both a practical object and an aesthetic artifact. While the bowl could have served as a functional item, its unwieldiness suggests it was a primarily artistic endeavor. The bear is solid-looking with exaggerated features and disproportionate hands and feet. Possibly symbolic of some sort of offering, the animal seems to be both extending the bowl and coveting it at the same time.
"Canoe Model," created circa 1890, is another small-scale version of a cultural necessity. The recognizable Native American mode of transportation is made of cedar wood with yellow, green and red designs. The model reflects the everyday life of the trade-based economy of the northwestern Canadian Haida peoples.
Two figures of a bear and a human man sit facing each other, echoing each other's posture and, for the most part, facial expressions. The passengers are possibly representations of the shaman and his corresponding animal spirit, but the bear almost appears to be sticking out his tongue. The subtle facial details distinguish the two figures giving the bear a mischievous smirk and the man a dutiful solemnity. The piece is a possible indication of man's relationship with nature and the natural world.
"Bandolier Bag" is a more intricate work made from different materials than the solid wooden representations used in earlier creations. The bag resembles a modern-day purse and uses cotton, thread, wool, glass beads, metal cones and leather. The diverse array of materials mark a departure from more subdued and less delicate works. The bag is an obvious symbol of social status and is one of the more flamboyant items in the exhibit. Diamond shapes are prominent and a thick decorative strap, in addition to delicate metal cones, adds interest to the accessory.
Reflecting another medium present in the exhibit is "Indians, Soldiers, and Animals." Made from muslin cloth circa 1900, the piece depicts three scenes in bright colors. The first scene illustrates a large tribal meeting, and the other two scenes show women among an American soldier and a Native American man with his knife pointing towards a bear. The piece is vertically arranged, drawing the audience from more peaceful scenes to more violent and disturbing images further down the cloth.
More realistic images are displayed in the form of Edward S. Curtis' photo engravings. Two engravings from around the turn of the twentieth century portray sweeping images set against natural backgrounds. "Three Chiefs" shows three noble-looking Native American men in the midst of vast plains on horseback beneath the ominous sky, while "Walpi" presents a New Mexican village atop crumbling peaks and displays a barren and mystical atmosphere.
A later piece with less symmetrical images than the majority of the exhibit's works is the "Navajo Pictorial Rug." The rug uses red, orange and brown and employs a patchwork of linear and horizontal movement. Animals and deities are depicted in chaotic arrangement, adding a natural and spiritual element to the work.
"Dragonfly, Bear, and Eagle" presents an interesting and identifiable element of American artwork to the public. The collection is an important vehicle for communicating the importance of an often-overlooked part of genuine American art history.
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