The Southwestern Historical Quarterly, Volume 94, July 1990 - April, 1991 Page: 484

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Southwestern Historcal Quarterly

might have shed some light on the enigma of Custer. Raising up a
leader, especially a military leader, whose self-esteem depends so fully
on public acclaim is arguably a democratic nation's most self-destructive
habit.
The first title in the University of Oklahoma Press "Western Biogra-
phies" series, Cavalier in Buckskin made a big splash, boasting automatic
Book of the Month Club and History Book Club status. Relatively
short, extremely well-written, and obviously well-researched (although
lacking the scholarly trappings of footnotes or endnotes and including
a four-page guide to only the most essential sources), this study will
long rank as the place to begin one's own search for the amazingly du-
rable "Yellow Hair."
Universzty of Texas at Austn T. MICHAEL PARRISH
Haddock: A Painter's Life. By Ernesto Mayans. (Seattle: University of
Washington Press, 1989. Pp. xvi+193. Acknowledgments, fore-
word, introduction, color plates, b & w plates, bibliography, index.
$45.)
Haddock: A Painter's Life by Ernesto Mayans is a beautifully produced,
well-illustrated volume that calls attention to an obscure but deserving
artist. A recluse, Arthur Haddock (1895-1980) spent a lifetime paint-
ing landscapes in the American West and Southwest. Ernesto Mayans,
owner of an art gallery in Santa Fe, met Arthur Haddock in 1979 and
began exhibiting his work.
With the exception of a few self-portraits, Haddock avoided figure
studies and concentrated on simple but elegant views of mountains,
mesas, rocks, and trees. He was a keen observer of both subtle and dra-
matic changes in light, atmosphere, color, and form. Mayans acknowl-
eges Haddock's obvious influences: the colorful and painterly work of
Van Gogh and the dynamic landscapes of Haddock's longtime friend
Maynard Dixon.
A native of California, Haddock began painting as an American Im-
pressionist. Taking his palette and easel to paint the redwoods, Had-
dock absorbed the lessons of painting landscapes in plemn azr. Haddock
continued his artistic quest through the 192os and 1930s painting views
of New Mexico, Arizona, and Nevada. His work did not go unnoticed.
During that time his work was exhibited in several museum exhibitions.
His one man show in 1946 at the Haggin Museum in Stockton was the
last exhibition of his work until it was "rediscovered" thirty years later.
In 1947 Haddock moved to Santa Fe where he continued to paint until
his death in 1980.

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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 94, July 1990 - April, 1991, periodical, 1991; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101214/m1/548/ocr/: accessed September 24, 2016), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.