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・ Allan Hogg
・ Allan Holdsworth
・ Allan Holman
・ Allan Holmes
・ Allan Holmes (footballer)
・ Allan Holstensson
・ Allan Holtz
・ Allan Hookings
・ Allan Hoover
・ Allan Hope
・ Allan Hopkins
・ Allan Hopper
・ Allan Horan
・ Allan Hornyak
・ Allan Horsfall
Allan Houser
・ Allan Houston
・ Allan Hubbard
・ Allan Hubbard (businessman)
・ Allan Hubley
・ Allan Hunt
・ Allan Hunter
・ Allan Hunter (footballer)
・ Allan Hyde
・ Allan Ides
・ Allan in Wonderland
・ Allan Island (Washington)
・ Allan Ivo Steel
・ Allan J. Baker
・ Allan J. Katz


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Allan Houser : ウィキペディア英語版
Allan Houser

Allan Capron Houser or Haozous (June 30, 1914—August 22, 1994) a Chiricahua Apache sculptor, painter and book illustrator born in Oklahoma.〔("A Tribute." ) ''Allan Houser.'' Accessed 26.March.2011.〕 He was one of the most renowned Native American painters and Modernist sculptors of the 20th century.
Houser's work can be found at the Smithsonian Museum of American Art, the National Museum of the American Indian, and the National Portrait Gallery in Washington, DC. and in numerous major museum collections throughout the North America, Europe, and Japan. Additionally, Houser's ''Offering of the Sacred Pipe'' is on display at United States Mission to the United Nations in New York City.
== Childhood and school days ==
Born in 1914 to Sam and Blossom Haozous on the family farm near Apache, Oklahoma〔(HOUSER (HAOZOUS), ALLAN (1914-1994). ) Oklahoma Historical Society. Retrieved March 30, 2011〕 and Fort Sill, Native American artist Allan Houser was the first member of his family from the Warm Springs Chiricahua Apache tribe born outside of captivity since Geronimo’s 1886 surrender and the tribe's imprisonment by the U.S. government.〔 The tribe had been led in battle by the legendary spiritual leader Geronimo, who would later rely on his grandnephew Sam Haozous, Allan’s father, to serve as his translator.
In 1934, Houser left Oklahoma at the age of 20 to study at Dorothy Dunn's Art Studio at the Santa Fe Indian School in Santa Fe, New Mexico.〔 Dunn's method encouraged working from personal memory, avoiding techniques of perspective or modeling, and stylization of Native iconography. For the latter, Houser made hundreds of drawings and canvasses in Santa Fe and was one of Dunn's top students, but he found the program too constricting.

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