The "Flat" style of painting, used by many Southwest Native American artists, was typical of early ledger art —paintings drawn by American Indians on ledger paper. It was also found on the teepees of Plains Indian tribes and, with a slight stretch of the imagination, can even be traced to the early rock art of the first inhabitants of the Southwest.
In 1932, Dorothy Dunn, a 29-year-old art teacher, established the Studio School at the Santa Fe Indian School, where she taught many soon-to-be-famous artists the "flat" painting style technique. Among the people who attended her school was Pablita Velarde from Santa Clara Pueblo, who became one of the best-known Native American painters.
At a Santa Fe Indian Market, Velarde saw a young exhibitor from Tesuque working in the style. She was impressed with his work and introduced herself to him. His name was Thomas Tapia, and as you can imagine, he was excited that someone so well-known and respected liked his work. Velarde became a mentor to him and encouraged him to continue developing his style. Many artists were beginning to move towards realistic and modern painting, and she felt there was value in the traditional approach.
He continued to paint and later began using his talent to make pottery, decorating it with the same simple drawings.
Tapia was the son of Tomas Vigil (1889-1960), an early Tesuque painter, but was self-taught. His association with Velarde refined his work. He has won numerous first-place awards from the Santa Fe Indian Market and the Heard Museum.
Most of his painting subjects are Pueblo dancers; he claims to have danced every dance he painted. He begins his work by drawing the dancer's image on a pencil mat board and then using the finest watercolor brush to complete the work. This painting is dated 2004.
