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The Musée de l'Homme's Foureau Robe and Its Moment in the History of Blackfoot Painting

Arni Brownstone
Plains Anthropologist
Vol. 46, No. 177 (August 2001), pp. 249-267
Published by: Maney Publishing on behalf of the Plains Anthropological Society
Stable URL: http://www.jstor.org/stable/25669728
Page Count: 19
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The Musée de l'Homme's Foureau Robe and Its Moment in the History of Blackfoot Painting
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Abstract

Of the numerous pictographic records kept by Plains Indians since the beginning of the nineteenth century, most are pictorial narrative paintings. Their primary subject is personal war exploits. Fuller understanding of these paintings and their larger social meaning depends on our ability to identify their age and cultures of origin. The search for the cultural origins of the Foureau painted bison robe in the Musée de l'Homme rests on the principle that each Plains tribe left a distinct stylistic signature on its paintings. The Foureau robe is compared with seven similar paintings. Five distinct formalistic traits uniting these works are identified and discussed. The data associated with these traits suggest that the robe and analogous paintings were executed by the Blackfoot between 1820 and 1845.

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