The Last Pueblo, 1973.
Fritz Scholder (Luiseño, 1937–2005)
Acrylic on canvas, 29 1/2 x 39 1/2 in. Crocker Art Museum, gift of Loren G. Lipson, M.D., 2013.79.1.

“I’ve always contended that whatever my current interests are, they show up in my work. This is not a conscious thing, but it has always been there. My life and my art are inseparable, and it is natural for me to express what I am involved with at the time.”(1)

What separated Scholder from other artists offering social critique was the isolation of the figure in his color fields. His paintings were emotional and meant to speak over time to universal values. With this process, Scholder exhibits the lessons of Bay Area Figuration and especially the influence of Wayne Thiebaud and Gregory Kondos, with whom he studied in Sacramento. Scholder’s sardonic wit registers only after we realize the pathos of his subjects.

(1) Charlene Acevedo, Interview with Fritz Scholder, Fritz Scholder: Paintings and Monotypes (New York: Alexander Gallery, 1991).

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Artists You Should Know: Fritz Scholder

Fritz Scholder was reluctant to self-define as Native American, though his work has become associated with the fight for Native American rights.

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