Sentinels (Large Yellow)

2006

G. Peter Jemison

Associated Names
G. Peter Jemison

Artist, Seneca Nation of Indians, Heron Clan, born 1945

This painting displays a composition of curved and linear shapes, forming an intricate abstract pattern of golden-yellow lines. The abstract forms suggest a landscape with undulating lines reminiscent of topographical maps. Standing among the yellow lines are three tall brown sunflowers with their flowers facing the ground. There is another small figure at the bottom of the image that is hard to identify but appears to be made of crossed sticks. All of these figures cast dark blue shadows behind them. At the top of the painting there is a row of trees, some green and healthy while others are thin, brown, and leafless. Around the trees are mountains capped with snow. Above them is a sliver of light blue sky.
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The National Gallery of Art has acquired its first work by G. Peter Jemison (Seneca Nation of Indians, Heron Clan, b. 1945), a deeply respected and influential Native American artist. Sentinels (Large Yellow) (2006) reflects the relationship of Native Americans to the land and the continuing stewardship of the Creator’s gifts. By visualizing land-based knowledge systems, Jemison’s art celebrates the multifaceted culture, beliefs, and history of the Haudenosaunee, or Six Nations, that comprise the Iroquois Confederacy.

Jemison’s overall practice embodies Orenda, a traditional Haudenosaunee belief that every living thing and every part of creation contains a spiritual force. This belief is evident in Jemison’s landscapes, with the remains of summer plantings casting shadows against the winter snow. Dried sunflowers, a reminder of the natural markers of the seasons, figure prominently in Sentinels (Large Yellow). The white linear patterns that cover the sunny landscape echo those used in Seneca beadwork and create a link between people and the land. These designs flatten the visual plane and disturb the hierarchies of foreground, middle ground, and background—an idea often expressed in Native American landscape compositions to signify balance. To connect the subject of the land with the materials of the artwork, Jemison added leaves into the handmade paper that he collaged near the bottom middle of the canvas. In addition, he glued small individual leaves onto the canvas and then painted over them.

Jemison received his fine art education from the University of Siena, Italy, before earning a B.S. in Arts Education from Buffalo State College, where he was awarded an Honorary Doctorate in Fine Arts in 2003. The artist refers to himself as a “cultural arts worker” whose practice balances curatorial pursuits, activism, speaking engagements, writing, editing, and art making. His leadership on behalf of his fellow Native Americans has also extended to administrative roles, including his position as founding director of the American Indian Community House Gallery in New York from 1978 to 1985. He has since served as Historic Site Manager at Ganondagan in Victor, New York, the center for preservation and learning about Haudenosaunee culture. In addition, Jemison is a Seneca Faithkeeper, served as the Indian Tribes representative on the Federal Advisory Council on Historic Preservation during the administration of President George W. Bush, acts as the Seneca Nation representative for the Native American Graves, Protection and Repatriation Act committee, and is a trustee for the National Museum of the American Indian.


Artwork overview

More About this Artwork

The top three-quarters of this horizontal landscape painting is filled with roiling, deeply shadowed clouds that tower over a line of buffalo crossing a grassy meadow below. Small in scale, the buffalo form a line that extends away from us at a diagonal into the distance to our right. Sunlight creates a bright reflection on the stream where the frontmost buffalo crosses, but the other animals are nearly backlit in the raking light. Trees, with branches whipping in the wind, rise along the left side of the painting, and the mountainous landscape to our right is lost in darkness under heavy clouds. The clouds above lighten from navy blue in the lower right corner of the sky to slate blue and white at the center of the painting. Small patches of blue sky are visible between a few breaks in the clouds, and sunlight falls on a cliff-like mountain face in the distance beyond the trees to our left. Another bank of parchment-colored clouds in the upper left corner, closer to us, contrasts with the glimmering light highlighting some of the clouds nearby.

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This painting displays a composition of curved and linear shapes, forming an intricate abstract pattern of golden-yellow lines. The abstract forms suggest a landscape with undulating lines reminiscent of topographical maps. Standing among the yellow lines are three tall brown sunflowers with their flowers facing the ground. There is another small figure at the bottom of the image that is hard to identify but appears to be made of crossed sticks. All of these figures cast dark blue shadows behind them. At the top of the painting there is a row of trees, some green and healthy while others are thin, brown, and leafless. Around the trees are mountains capped with snow. Above them is a sliver of light blue sky.

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Artwork history & notes

Provenance

The artist; purchased January 2022 through (K Art, Buffalo, NY) by NGA

Associated Names


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