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Fenn also donated Sharp’s Montana cabin, the “Absarokee Hut,” to the Center, thus collectively making the museum a focal point for Sharp studies.\u003cbr style=\"color: #333333; font-family: Arial, sans-serif; font-size: 14px; font-variant-numeric: normal; font-variant-east-asian: normal;\"\u003e\u003cbr style=\"color: #333333; font-family: Arial, sans-serif; font-size: 14px; font-variant-numeric: normal; font-variant-east-asian: normal;\"\u003e\u003cspan style=\"color: #333333; font-family: Arial, sans-serif; font-size: 14px; font-variant-numeric: normal; font-variant-east-asian: normal;\"\u003e This volume by Peter H. Hassrick marks a fresh inspection of who Sharp was, how and where he was trained as a painter, why he selected the nation’s western Native population as a primary subject, what impact his imagery had on audiences across the continent, and how his production as a painter of  what he referred to as the “real Americans” differed from that of his contemporary peers. 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