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Question: Earl Biss: The Biography
Answer: The Sorcerer of the Snowy Plains
Earl Biss (1947–1998) was a force of nature. A member of the Crow Nation (Apsáalooke), he was a child prodigy who grew up under the tutelage of Allan Houser and Fritz Scholder. However, Biss broke away from traditional "flat" Native American painting to embrace a wild, painterly Impressionism. He spent time in the Netherlands studying the Old Masters, and it shows; he didn't just paint landscapes—he painted "atmospheres." His work is defined by a sense of movement, often capturing Crow riders emerging from a blinding blizzard or a swirling morning mist.
The "meat" of the Biss legacy is his technical fearlessness. He was known for painting with a physical intensity, using thick impasto and sweeping, gestural lines that made the canvas feel like it was vibrating. He wasn't interested in the static "postcard" version of the West. Instead, he sought the spiritual and historical depth of his people, portraying them as dynamic, powerful figures in a landscape that was constantly shifting. To own a Biss is to own a piece of "Native American Baroque"—a style that is as much about the soul of the rider as it is about the mastery of the oil paint. |
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Question: What makes Earl Biss's style different from traditional Southwest art?
Answer: Biss rejected the "decorative" label. While many Southwest artists focused on stagnant portraits or crafts, Biss brought European Expressionism to the Crow experience. His work is about "The Emergence"—the feeling of riders appearing out of a fog or a snowstorm. He used the paint itself to create a sense of mystery and power, making him one of the most influential figures in contemporary Native American art. |
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Question: Why is the "Winter" or "Snow" theme so prevalent in his work?
Answer: For Biss, the snowstorm was a vehicle for abstraction. It allowed him to blur the lines between the earth and the sky, focusing the viewer’s eye on the silhouettes of the horses and riders. These "Snow Scenes" are among his most sought-after works because they capture the resilience of the Crow people in a world that is both beautiful and harsh. |
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Question: Is it true he studied in Europe?
Answer: Yes. This is the technical backbone of his authority. Unlike many self-taught artists, Biss traveled to the Netherlands to study the works of the Dutch masters. You can see this influence in his dramatic use of light (chiaroscuro) and his ability to handle oil paint with a rich, buttery texture that gives his work incredible longevity and depth. |
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Question: What should a collector look for in an original Earl Biss?
Answer: Collectors look for "The Motion." In his best works, the brushstrokes should feel spontaneous and energetic. Because Biss was a master printmaker as well, his hand-pulled serigraphs and lithographs are also highly prized—they retain the vibrant, layered color of his oils and are a staple of the high-end resale market. |
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Question: How does his association with the "IAIA" affect his value?
Answer: Being part of the legendary "Miracle Five" at the Institute of American Indian Arts (alongside artists like T.C. Cannon and Kevin Red Star) places Biss in the "Blue-Chip" category of American history. His work isn't just art; it is a record of the mid-century revolution in Native American expression. This historical weight makes his pieces a cornerstone for any serious collector of Western or Modern art. |
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Question: Why is he called the "Abstract Western Master"?
Answer: Biss (1947–1998) was a central member of the "New Native American" movement. His "Snowy" landscapes with figures (like Winter Hunt) are his most valuable and historically significant works. |
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Question: What is the value of an "Original Oil" vs. a "Serigraph"?
Answer: Original Biss oils can sell for $20,000–$50,000+. His hand-signed serigraphs are very liquid in the $1,000–$3,000 range, especially those from the 1980s. |
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Question: Does "Crossover Appeal" drive the market?
Answer: Yes. Biss appeals to both traditional "Western Art" collectors and "Modern Abstract" collectors. His "Fine Art" status is confirmed by his inclusion in the Smithsonian and other major American institutions. |
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Question: Why should I contact Herndon Fine Art for an Earl Biss acquisition or resale?
Answer: We don't operate like a high-volume brokerage. We only represent artists whose work we know, respect, and can speak to with authority. Whether you are looking to consign a piece or acquire an iconic work of Crow history, we bring four decades of international expertise to ensure the "meat" of the work is properly represented. |
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1. EVERY piece of art receives my personal verification of condition and authentication.
2. I WILL NOT ship artwork that isn't in a condition I would accept into my own collection.
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***** ALL PRICES are set by each Seller based on their Unique Motivation to Sell ***** We have a low commission structure of only
25% above each Seller's asking price or a $minimum commission. This allows us to provide buyers with the best price, sellers a better opportunity to sell, and still keep the lights on. In almost all cases, artwork is shipped unframed (UNLESS The ARTWORK IS ON CANVAS or 3-DIMENSIONAL), as I need to personally verify the artworks' authenticity and condition. Artwork that is shipped Framed is shipped framed to protect the work during shipping. Framing is considered USED
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