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32 S*
dian life in line and color comes naturally. As a youth, while fulfilling the manifold duties around an Indian household, he studied diligently, from white men's books and under the tutelage of the tribe's wise men. The books taught him the rudiments of education; the old men inculcated in him the trilogistic pattern of true Indian living: courage, honesty, moderation.
Early in life, Crumbo knew he would be an artist. Long before he entered the Indian schools, and later the Universities of Wichita and Oklahoma, he had mastered the essentials of Indian art: Religion, dancing, song, history, folklore. He taught dancing to Indians, became one of the few exponents of the Indian flute, and eventually taught art to students of many races.
From that point on, fame came rapidly. In 1938 Crumbo was appointed Art Director of Bacone College, the only college for American Indians in the nation. Crumbo original paintings hang in such top-ranking permanent exhibits as the Philnrook and Gilcrease Museums in Tulsa; the Museum of Natural History in New York; the Universities of Wichita and Oklahoma; the Corcoran Art Gallery; the San Francisco Art Museum, and others. In 1945 he won the coveted Julius Rosenwald Fellowship, capping a six-year winning streak of 14 first prize awards, plus a half dozen scholarships.
Crumbo's campaign to lift an entire race from oblivion and poverty is just getting underway, but already it has produced results. With only
word-of-mouth advertising of his project, letters come in every day from points across the country asking for information about his plans, where the prints will be on sale, what other types of Indian-made articles will be available, and when.
Meanwhile, Crumbo is lining up top talent from various Indian tribes. | He hopes to produce a diversified line of Indian products ready to introduce to a large public. Part of the proceeds from print sales will go for advance publicity of these items. A considerable portion will also go for educating and training his "discoveries'" among the tribes. Several Indian youths he has encouraged show remarkable skill in art. With only a brief training period under their belts, they could, if they chose, obtain jobs in competition with the best professional silk screen overlay artists.
The publicity value of these "discoveries" for Indians in general is readily apparent. One or two in each tribe will bring recognition to other artists and craftsmen in the same tribe. Within a few more months, Crumbo hopes to have "discovered" at least a hundred deserving and talented Indians. Their creations will be shown to the nation, and they will be able to set up in business with a fair chance at success.
With good markets for the output of several artisans in each tribe, Indian economy should start looking up. With money in his pocket, the Indian will live better, dress better, send his children to school, and eventually "stand with his feet on the ground and his head in the sky."