Awa Tsireh, also known by his family name Alfonso Roybal and his Tewa Indian name Cattail Bird, emerged as one of the earliest Pueblo artists to gain significant recognition within the vibrant Santa Fe, New Mexico art community. This esteemed Pueblo painter not only captivated audiences with his distinctive art but also inspired a generation of Native American artists, solidifying his legacy in American art history.
Born Alfonso Roybal on February 1, 1898, at the San Ildefonso Pueblo, Awa Tsireh hailed from a family deeply immersed in the arts. His maternal grandfather was a Diné (Navajo) individual adopted into the Pueblo, linking him to diverse cultural influences. His father was the nephew of the renowned pottery painter Cresencio Martinez, and his mother was also a skilled pottery maker. Growing up, Tsireh received his education within his village and found early inspiration in his uncle’s work, quickly developing graphic skills that soon surpassed his mentor’s. Though his formal schooling concluded at grade school, his rich cultural heritage and informal artistic training provided a profound wellspring for his burgeoning talent.
Early Recognition and Artistic Development
A pivotal moment in Awa Tsireh’s career occurred in 1917 when Alice Corbin Henderson, wife of artist William P. Henderson, discovered several of his works in a souvenir shop. Deeply impressed, Henderson sought out the artist and became a crucial early patron, fostering immense respect for his work and that of his peers. Despite paintings often selling for no more than a dollar, Tsireh’s early commercial success served as a powerful encouragement for other Pueblo artists, prompting them to adapt their traditional painting and design skills to the new medium of watercolor on paper. This period marked a significant shift in Native American art practices.
His growing reputation led Edgar L. Hewett to commission Awa Tsireh to document Indian ceremonies through his art. This commission brought him into daily contact with other prominent Indian painters, including Hopi artist Fred Kabotie and Velino Shije Herrera of Zia, at the School of American Research, then a branch of the Museum of New Mexico. There, they shared studios with artist William P. Henderson, fostering a collaborative environment. By the 1920s, the School of American Research formally sponsored Awa Tsireh, enabling him to dedicate himself entirely to painting, a testament to his burgeoning talent and the institutional support he garnered.
The Santa Fe Indian School and the Southwest Movement
Concurrently, Elizabeth Willis DeHuff, the wife of the Superintendent of the Santa Fe Indian School, played an instrumental role in nurturing the artistic talents of young Native Americans. Overcoming the Bureau of Indian Affairs’ prohibition on arts training, DeHuff, a trained teacher, established art classes in her own home. Her students, drawn from various area tribes, included emerging talents such as Fred Kabotie, Otis Polelonema, Velino Shije Herrera, and Awa Tsireh. As an instructor, DeHuff’s efforts were pivotal in representing and promoting the visual arts of the region’s indigenous peoples, contributing significantly to the development of the Southwest Movement in Native American painting.
The work of DeHuff’s students received critical acclaim, notably displayed at the Museum of New Mexico in 1919. This exhibition further solidified the reputation of artists like Herrera and Tsireh, leading museum director Edgar Lee Hewett to hire them for various roles at the museum and the School of American Research, providing crucial institutional validation and support for their artistic careers.
Personal Life and Artistic Evolution
In 1920, Awa Tsireh married a woman from his village, and they welcomed a son the following year. Tragically, both his wife and child passed away soon after, a profound loss that deeply affected Tsireh, leading him to move back in with his parents. Despite this personal sorrow, his artistic career continued to flourish.
By the 1930s, Awa Tsireh’s work had been showcased in major Indian art exhibitions in cities like Chicago and New York, establishing his national reputation. His painting style evolved from a form of naive realism, depicting genre and dance scenes with remarkable precision, to more abstract phases. These later works incorporated stylized animal forms and subtle landscape elements as “props,” demonstrating a continuous exploration of form and subject. He primarily worked with India ink, known for its brilliant and distinctive palette, along with watercolor, transparent colored ink, and pencil, showcasing his versatility and mastery of different mediums.
Beyond Painting: Silversmithing and Lasting Impact
While primarily celebrated as a painter, Awa Tsireh also developed skills as a silversmith. The exact timing and source of his training in silversmithing remain largely unknown, but by 1931, newspaper accounts frequently described him as a multifaceted artist—a painter, silversmith, and dancer. Around 1930, he began working at the Garden of the Gods Trading Post in Colorado Springs, Colorado, a position he maintained for the next two decades, further diversifying his artistic output.
His metalwork, much like his painting, was characterized by meticulous craftsmanship. He utilized silver, copper, nickel silver, and aluminum, frequently incorporating gemstones, demonstrating an innate understanding of materials and design. Awa Tsireh’s profound influence extended to many other artists. They were inspired by his expansive range of subject matter, the exquisite delicacy of his craftsmanship, his nuanced color variations, and his steadfast commitment to preserving indigenous design elements in a contemporary context.
Sadly, by 1950, as reported in El Palacio magazine, Awa Tsireh had ceased his painting, silversmithing, and other related artistic endeavors due to deteriorating eyesight, unsteady hands, and other personal challenges. He passed away on March 30, 1955, at the San Ildefonso Pueblo, leaving behind an invaluable artistic legacy. Today, his significant contributions to American art are preserved in numerous institutions, including the esteemed Smithsonian American Art Museum. His artistic spirit continued through his family, notably his nephew, José Disiderio “J.D.” Roybal, who also became a respected painter, carrying forward the artistic traditions of the San Ildefonso Pueblo.
Conclusion
Awa Tsireh, also known as Alfonso Roybal, stands as a monumental figure in the history of Native American art. His pioneering efforts to translate traditional Pueblo themes and aesthetics into modern painting mediums, coupled with his innovative approach to design and craft, paved the way for future generations of indigenous artists. His work not only captured the essence of Pueblo life and ceremony but also earned him national and international acclaim, ensuring that his artistic vision and profound influence continue to resonate within the art world. Through his paintings and metalwork, Awa Tsireh left an indelible mark, enriching the cultural tapestry of the American Southwest and beyond.
