Original Dan Namingha Acrylic "Kachin Mana" Reduced30% For Sale

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Dan Namingha (1950-), Hopi-Tewa

Kachin Mana

Acrylic on Canvas

Reduced 30%

C. 1980

Comes with a Certificate of Authenticity

48" x 60"

Ships Free to 48 Contiguous States - for all other Shipping Arrangements, please contact us for a shipping quote.

Notes from Len Wood's INDIAN TERRITORY Gallery:

Hello, and welcome! You are viewing a beautiful and authentic Original Dan Namingha Acryclic on Canvas, entitled "Kachin Mana", signed by the artist at the bottom right corner.

This piece comes from a top-quality private estate collection, and was published in Contemporary Western Artists by Peggy & Harold Samuels, in 1982. (see photos attached of book - pgs 378-379).

This prized Dan Namingha piece is now available here on through our family owned and operated, 40-year gallery, Len Wood's INDIAN TERRITORY, in Laguna Beach, California (since 1969). We allow you to view this piece in person prior to offerding or purchasing at our gallery (open Tuesday-Saturdays, 10-5 PST).

We package and ship everything in our gallery with top-notch professionalism. Shipment is via UPS Freight with Signature Required, unless otherwise specified or arranged (Please contact us for details / different shipping quotes if not using UPS Ground with Signature Required).

Biography from AskArt:

Dan Namingha was born in 1950 in Keams Canyon, Arizona. He studied art at the University of Kansas in Lawrence, at the Institute of American Indian Arts in Santa Fe, and The American Academy of Art in Chicago.Namingha, whose ancestry is Hopi-Tewa, carries a strong family tradition of artistic expression into its fifteenth generation. His great-great-grandmother, Nampayco, is credited with rekindling the art of Hopi Pottery, which his mother and sister continue. Namingha's uncles carve some of three-hundred variations of Hopi kachinas - doll-sized, wooden renderings of ceremonial dancers who are messengers of the spirit world.Namingha's studies at art schools and at the Institute of American Indian Arts, led him toward the new movements that encouraged experimentation with traditional art forms. That sense of freedom is what he found so alluring in the art of the Abstract Expressionists, which he first discovered at the age of ten in an encyclopedia on his Arizona reservation. The works of Picasso and Klee, for example, which borrow petroglyphs and icons from indigenous cultures that the artists themselves did not understand, beguiled the young Namingha. By imitating those masters he learned to transform, with deep understanding and authority, the symbols of his own visionary culture into contemporary art. By drawing on his 3500-year-old culture as well as his experience of modern America, Namingha gives us American art not only at its source but also at its best.Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California.

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