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of my own race and to apply this, as far as possible, to various forms of industries and crafts.” She introduced progressive art education methods and integrated “Indian history, not as the white historian has pictured it in words, but as some of us have heard it from the Indian storytellers by the light of the campfire.”
Following the closure of Carlisle in 1918, De Cora contracted the so-called Spanish influenza in 1919, succumbing to the global pandemic at age forty-nine.
Through her life of advocacy, teaching, and publishing, De Cora envisioned a future for Native Americans in design: “The only difference between me and the women on reservations is that I have chosen to apply my native Indian gift in the white man’s world.” She looked forward to the day when “America will be proud to have her Indians make beautiful things for all the world.”
SOURCES Angel De Cora, “Autobiography,” The Red Man 3, no. 7 (Mar 1911): 278–85 >carlisleindian.dickinson. edu/publications/red-man-vol-3-no-7; Linda Waggoner, Fire Light: The Life of Angel De Cora, Winnebago Artist
ANGEL DE CORA Title page for Mary Catherine Judd, Wigwam Stories, 1908. The title page credits the artist in both in her colonized and Native names.
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(Norman, OK: University of Oklahoma Press, 2008); Elizabeth Hutchinson, “Modern Native American Art: Angel De Cora’s Transcultural Aesthetics,” Art Bulletin 83, no. 4 (Dec 2001): 740–56 >jstor.com/stable/317723.