When Dad began painting full-time, he was fascinated with iconic Southwestern figures. Of Choctaw heritage but raised in a farming community, Dad frequented pow-wows and honky tonks, wearing a turquoise ring and watchband...along with his Tony Lamas and Stetson.
Dad frequented Southwestern art exhibits, but soon grew tired of them as his focus changed to honing his skills rather than honoring his heritage. Most of his cowboy paintings from that era were delegated to a shed in the back yard, and he eventually burned all but one of them. (Eventually I may post it, as it's quite good, but because he cringed at it, I'll do him the respect of holding off.)
The works featuring Native Americans, however, were mainly done in pastels, and they got to stay around. For his props, he built miniature canoes and teepees with hide and rabbit-skin glue.
In the 1980's, Dad moved from traditional, historical depictions to more spiritual reflections; he acquired many horned skulls, a peace pipe, hawk feathers and medicine stick and began to explore both extant lore and his own imagination.
Coming full circle, a couple of years ago he again became fascinated with cowboys & Indians. He painted many stylized pieces reflecting General Custer, his boyhood hero, EJ, and native american warriors.
Appropos to a full life immersed in the Southwest narritive, the day of his death he was given a sage and cedar ceremony by a Comanche elder, and later visited by the Bradley Boys, Stetsons, boots and all.