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Northwest Coast Indian Art: An Analysis of Form
The 50th anniversary edition of this classic work on the art of Northwest Coast Indians now offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists about the impact of this book.
The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world's artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories.
In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published "Northwest Coast Indian Art: An Analysis of Form." This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists' styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration.
The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field
The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world's artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories.
In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published "Northwest Coast Indian Art: An Analysis of Form." This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists' styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration.
The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field
144 pages, Paperback
First published January 1, 1965
18 people are currently reading
400 people want to read
About the author
Bill Holm
16 books3 followersBill Holm (born 1925) is a U.S. artist, author and art historian specializing in the visual arts of Northwest Coast Native Americans as well as a practitioner and teacher of the Northwest Coast art style. He is Professor Emeritus of Art History, and Curator Emeritus of Northwest Coast Indian Art at the Burke Museum of Natural History and Culture. His 1965 book Northwest Coast Indian Art: An Analysis of Form has for decades been the standard introductory text in the field.
His eight books have won scholarly acclaim and recognition with four Washington State Governor's Writers Awards, and two special Governor's awards. His achievements as an artist were celebrated in a 2000 book, Sun Dogs and Eagle Down, The Indian Paintings of Bill Holm. In 2001, he was honored with a certificate of appreciation from the Tlingit, Haida, and Tsimshian people of Southeast Alaska through the Sealaska Heritage Institute.
https://en.wikipedia.org/wiki/Bill_Ho...
His eight books have won scholarly acclaim and recognition with four Washington State Governor's Writers Awards, and two special Governor's awards. His achievements as an artist were celebrated in a 2000 book, Sun Dogs and Eagle Down, The Indian Paintings of Bill Holm. In 2001, he was honored with a certificate of appreciation from the Tlingit, Haida, and Tsimshian people of Southeast Alaska through the Sealaska Heritage Institute.
https://en.wikipedia.org/wiki/Bill_Ho...
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Displaying 1 - 13 of 13 reviews
April 14, 2023
A university education develops in one a predilection of certains ways of acquiring knowledge. Many years ago, when I wanted to raise chickens, I went straight to the library and came out with a stack of recommended books. At around the same time, when I wanted to brew my own beer, I entered the same library and came home with another stack of books. This is not how everybody acquires knowledge; there are many others and they all work reasonably well. But it is mine. When I discovered that I very much enjoyed looking at and thinking about Northwest Indian art, it occurred to me that I didn't know very much about it and would doubtless appreciate it more were I to become educated. My home bookshelf now has a small section devoted to my books on Haida and Tlingit and Bella Coola and Kwakiutl and Tsimshian art. I have learned much about the history, the influences, the spiritual significance, the colours, the applications, and the attendant stories of this art. And I've learned quite a bit about the people who've made/make it, as well. In reading Bill Holm's excellent book, I waded into water over my head. Holm (1925-2020) was an anthropologist, a professor of art history, and the curator of the Northwest Indian Art collection at the Burke Museum of Natural History and Culture in Seattle. In 2003, the museum created the Bill Holm Center for the Study of Northwest Native Art. He wrote eight books in his career. This one ("An Analysis of Form") has sold over 100,000 copies which, within its discipline, is a very big deal! I think I have read a half-dozen books on this subject and I estimate I have a half-dozen more on my to-be-read shelf. It might have been wiser to save Holm's book until I knew more about the whole subject, as I found it heavy going. At one time, there was a sad paucity of literature about this subject. Now there is much more. Holm probably stimulated a great deal of that increase.
May 9, 2023
I honestly enjoyed this book a lot more than I thought I would. This is NOT a boring monograph. This is a simple, engaging text with beautiful color illustrations that examines the art principles behind traditional Pacific Northwest art. I am not an artist, nor am I from this region. I am sure some nuances sailed right past me, yet I intend this comment as praise - because even as just a random curious reader I was able to thoroughly enjoy this book from cover to cover.
September 29, 2012
Very good technical introduction to art from the Northwest Coast of North America. This covers art by the Tlingit, Haida, Bella Coola, Bella Bella, Kwakiutl, and Tsimshian tribes. The various components are discussed, along with the principles that govern the art. The way the components fit together is also covered. These principles were reverse-engineered, as there weren't many -- any at all? -- traditional artists still alive when this was written in the 1960's.
My major complaint with this book is with the examples. There were lots of examples -- all black&white photos or hand drawings. Since color is a vital part of this art, I wish the examples were actually in color. Also, the examples are provided to illustrate the discussion in the text, but there often isn't a clear indication of what part of the picture is being used. I wish the examples had circles and arrows and a paragraph making it very clear what portion was under consideration. Also also, I wish the examples had been kept together with their associated text, all on the same page. They were usually pretty close, but page flipping was usually required. This would have greatly increased the page count, so I understand why it wasn't done -- but it would have made for a better book.
All that aside, this is an excellent, essential book for understanding this art. It was the first I read on the subject, so I don't know if it was the best place to start.
My major complaint with this book is with the examples. There were lots of examples -- all black&white photos or hand drawings. Since color is a vital part of this art, I wish the examples were actually in color. Also, the examples are provided to illustrate the discussion in the text, but there often isn't a clear indication of what part of the picture is being used. I wish the examples had circles and arrows and a paragraph making it very clear what portion was under consideration. Also also, I wish the examples had been kept together with their associated text, all on the same page. They were usually pretty close, but page flipping was usually required. This would have greatly increased the page count, so I understand why it wasn't done -- but it would have made for a better book.
All that aside, this is an excellent, essential book for understanding this art. It was the first I read on the subject, so I don't know if it was the best place to start.
April 22, 2019
If you only have one book on Northwest Coast aboriginal art, this really is THE book you need. It is a classic on the history, symbolism, uses, and especially the principles of form and organization in Northwest Coast art. It also has a useful bibliography. I don't have the 50th Anniversary Edition, I have an older hardcover edition, but Holm's material doesn't change between the two.
December 11, 2025
I enjoyed Hilary Stewart’s Looking at Indian Art of the Northwest Coast art recently, and this was a worthwhile follow-up. If that book was about the vocabulary of design components and motifs, this one was a grammar, reconstructing the underlying rules of form and composition by a careful analysis of surviving examples.
It also helped articulate what I think draws me to this art (and other forms of traditional art and vernacular architecture): I admire the ability to create something new and beautiful, while adhering to a communal set of standards that evolved over time, rather than constantly grasping for absolute novelty. As Holm writes:
“It is difficult to understand how these Indian artists, scattered among the inlets of the rugged northern coast, mastered the complexities of the design system to such a degree that only an occasional piece in the vast museum collections of today deviates from that system. Yet almost every specimen is unique, further attesting to the virtuosity of the native artists, who were able to achieve originality within the framework of rigidly observed rules.”
It also helped articulate what I think draws me to this art (and other forms of traditional art and vernacular architecture): I admire the ability to create something new and beautiful, while adhering to a communal set of standards that evolved over time, rather than constantly grasping for absolute novelty. As Holm writes:
“It is difficult to understand how these Indian artists, scattered among the inlets of the rugged northern coast, mastered the complexities of the design system to such a degree that only an occasional piece in the vast museum collections of today deviates from that system. Yet almost every specimen is unique, further attesting to the virtuosity of the native artists, who were able to achieve originality within the framework of rigidly observed rules.”
August 3, 2017
My copy is the original book, bought in a used bookstore (and a beautiful copy it is!), not the 50th anniversary, but this was the one that turned up when I searched, so this is what I used. Not exactly a fun read, dry and technical, but a nice, brief refresher course on Native Northwest Coast art, which was what I wanted.
August 8, 2025
The regimented form of Salish art -- and expression within that form -- is impressive, but could be better explained through (more) annotated photos.
"The corners of ovoids are points of tension, as are all formline corners. Junctures with other forms and with formlines usually take place near the corners."
"The corners of ovoids are points of tension, as are all formline corners. Junctures with other forms and with formlines usually take place near the corners."
November 13, 2018
This book is the rosetta stone for understanding Native NW formline design--and 50 years ago when it was first published was groundbreaking work. It provided a language to discuss form and is a must for any serious student of their art.
February 18, 2017
An excellent resource for the arts educator who wishes to portray the work of the North West Indigenous Peoples in an authentic light. Fantastic illustrations and descriptors!
April 6, 2016
To be clear up front, this is a narrowly-focused book. Although it had the side effect of jumpstarting a renaissance of the art style, this isn't a how-to manual. It's also not a cultural primer, though it contains plenty of cultural material -- this isn't going to teach you the significance of a raven or a beaver within the style. Rather, it's a truly epic attempt to determine, through careful examination of hundreds upon hundreds of pieces, how line, shape, and color worked together in Native American art of the Northwest coast.
At the time that Holm wrote this book, the style was essentially dead; he reported being unable to find a single informant who had been trained in the style -- one of the reasons he had to work backwards from specific pieces to general principles. Now, however, there's a thriving art community of artists and artisans among the Tlingit, Haida, and other tribes that work within or derive from the classic style. Certainly Holm doesn't deserve all, or even most of the credit for that (nor would he claim it), but this book is ground zero for the revitalization of the style.
At the time that Holm wrote this book, the style was essentially dead; he reported being unable to find a single informant who had been trained in the style -- one of the reasons he had to work backwards from specific pieces to general principles. Now, however, there's a thriving art community of artists and artisans among the Tlingit, Haida, and other tribes that work within or derive from the classic style. Certainly Holm doesn't deserve all, or even most of the credit for that (nor would he claim it), but this book is ground zero for the revitalization of the style.
July 12, 2011
This is one of the most practical and at the same time esoteric studies of Northwest Coast Art. In it, the author Bill Holm, give you line by line, color by color analysis of what makes this art. Superb research for a fundemental building block to any Northwest Coast Art book collection.
February 11, 2014
This book helped me learn the names for different templates for common themes in northwest coastal native art. I am particularly interested in a group of people from the Queen Anne Islands, the Haida people. There are ample examples and photos of Haida artifacts and information.
July 2, 2008
This was the first book I read when learning formline style - and turned out to be the most useful for both reference and inspiration.
Displaying 1 - 13 of 13 reviews