Arni Brownstone
Biographic Data
| ID | 5590865 |
|---|---|
| NAME | Arni Brownstone |
| GIVEN NAMES | Arni |
| FAMILY NAME | Brownstone |
| SIGNATURE | BROWNSTONE A |
| AFFILIATIONS | Royal Ontario Museum |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2007 |
| H-INDEX | 1 |
Big Nose and His Painted Elk Skin
In the late nineteenth and early twentieth centuries a number of veteran Plains Indian warriors were commissioned to paint their war histories and provide accompanying verbal explanations of the depicted events. These important sources of primary information add significantly to our understanding of earlier, poorly documented war exploit paintings and rock art. As well, a look at the formalistic qualities of these commissioned works against the b…
The Musée de l’Homme’s Foureau Robe and Its Moment in the History of Blackfoot Painting
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 del ’Homme rests on the princip…
The Musée de l’Homme’s Foureau Robe and Its Moment in the History of Blackfoot Painting
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 del ’Homme rests on the princip…
Big Nose and His Painted Elk Skin
In the late nineteenth and early twentieth centuries a number of veteran Plains Indian warriors were commissioned to paint their war histories and provide accompanying verbal explanations of the depicted events. These important sources of primary information add significantly to our understanding of earlier, poorly documented war exploit paintings and rock art. As well, a look at the formalistic qualities of these commissioned works against the b…
The Musée de l’Homme’s Foureau Robe and Its Moment in the History of Blackfoot Painting
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 del ’Homme rests on the princip…
Big Nose and His Painted Elk Skin
In the late nineteenth and early twentieth centuries a number of veteran Plains Indian warriors were commissioned to paint their war histories and provide accompanying verbal explanations of the depicted events. These important sources of primary information add significantly to our understanding of earlier, poorly documented war exploit paintings and rock art. As well, a look at the formalistic qualities of these commissioned works against the b…
Archaeology and Natural History (2 works) · Archaeology and Rock Art Studies (2 works) · Art (2 works) · Art history (2 works) · History (2 works) · Painting (2 works) · Anthropology (1 works) · Archaeological Research and Protection (1 works) · Archaeology (1 works) · Genealogy (1 works)