Artifacts were also created as teaching tools, toys, gifts, and to artfully decorate useful objects such as hair combs and sewing kits. These objects were usually kept quite small in consideration of the Inuit's nomadic lifestyle.
The Historic Period began in the 1770s and continued until the 1940s. It was during this time that the Inuit became increasingly exposed to southern culture through interaction with whalers, traders and missionaries. Throughout this period, these new southern visitors collected Inuit art and artifacts, with the subjects of choice being traditional scenes of Inuit culture and life in the Arctic. This dramatically affected the style and subject matter of the pieces being created.
As the Inuit were, understandably, reluctant to part with their own objects of tradition and power, they responded to this demand by producing artifacts, intentionally created for trade with outsiders. As these pieces were never meant to be carried from camp to camp, year after year, their styling became increasingly delicate and detailed. While Historic Period art still relied largely on traditional life and themes for its content, artists began selecting and presenting that content in an illustrative manner to appeal to outside audiences.
By the middle of the 1800s, most of the art created by the Inuit was aimed at a 'tourist' market. Instead of tiny pieces that would fit into the palm of your hand, larger pieces were produced and often given a base or stand - transforming the pieces into tabletop display items. Cribbage boards, dice, games, models and toys were the most popular items. It was also during this time that pencil drawings and the first watercolour paintings were introduced to the market.
The Contemporary Period of Inuit art began in 1949, when a young artist, named James Houston, introduced this art form to The Canadian Handicrafts Guild in Montreal. They encouraged him to retrun to the north to buy more carvings, and then sponsored an exhibition promoting Inuit carvings in the south. The Canadian federal government saw the potential benefit of promoting Inuit art as a way to drive economic development in the Canadian Arctic.