Home  ›  Mother Rocking Her Baby While Grandmother Clementine Hunter

Mother Rocking Her Baby While Grandmother Clementine Hunter

Written By Saturday 12 March 2022 Add Comment Edit

American painter

Clementine Hunter
Clementine Hunter - Flickr - Schlesinger Library, RIAS, Harvard University.jpg

Photograph past Judith Sedwick as part of the Blackness Women Oral History Project
Built-in December 1886 or January 1887

Hidden Loma Plantation, near Cloutierville
Natchitoches Parish, Louisiana
Died Jan 1, 1988 (aged 100)

Natchitoches Parish, Louisiana
Nationality American
Occupation Artist
Years active 1940–1980
Known for Paintings of Blackness Southern life

Clementine Hunter (pronounced Clementeen) (late Dec 1886 or early Jan 1887 – January 1, 1988) was a self-taught Black folk creative person from the Cane River region of Louisiana, who lived and worked on Melrose Plantation.

Hunter was born into a Louisiana Creole family unit at Subconscious Hill Plantation nearly Cloutierville, in Natchitoches Parish, Louisiana. She started working as a farm laborer when young, and never learned to read or write. In her fifties, she began to sell her paintings, which soon gained local and national attention for their complexity in depicting Black Southern life in the early on 20th century.

Initially she sold her first paintings for as footling as 25 cents. But by the end of her life, her work was being exhibited in museums and sold by dealers for thousands of dollars. Clementine Hunter produced an estimated 5,000 to 10,000 paintings in her lifetime.[1] Hunter was granted an honorary Doctor of Fine Arts degree by Northwestern State Academy of Louisiana in 1986, and she is the first African-American creative person to accept a solo exhibition at the present-24-hour interval New Orleans Museum of Art. In 2013, director Robert Wilson presented a new opera near her, entitled Zinnias: the Life of Clementine Hunter, at Montclair State University in New Jersey.[2]

Early life [edit]

Baptism by Clementine Hunter. Mural (item)

Clementine Hunter was born in late December 1886 or early January 1887[3] at Hidden Hill Plantation, near Cloutierville in Natchitoches Parish, Louisiana.[four] [5] She was the first of seven children[6] born to Janvier Reuben (though Clementine Hunter called him John[5]) and Mary Antoinette Adams.[5] Hunter'southward siblings were named Maria, Ida, Rosa, Edward, Simon, and John.[vii] Hunter's maternal grandmother Idole, an enslaved Black and Native American woman, was born in Virginia and brought to Louisiana.[6] [7] Her maternal granddad was chosen Billy Zack Adams.[5] Hunter's paternal granddad, who was of mixed African, French, and Irish descent, traded horses during the Civil War,[seven] [6] just died before she was born.[v] [6] Hunter knew her paternal grandmother well, a Black and Native American adult female who she chosen MéMé (pronounced May–May).[5] [half-dozen] [vii] Her parents were married on October 15, 1890, in Cloutierville at the town's Catholic church, St. John the Baptist.

She was baptized a Cosmic on March 19, 1887, in Cloutierville, and it is known that she was about 3 months former.[v] Although her exact date of nascency is unknown, she said she was born around Christmas.[five] She went past the name Clémence for the starting time part of her life, was baptized Clementiam [five] and changed her name to Clementine after moving to Melrose Plantation.[viii] Her family called her by the nickname Tébé, the French for "little baby," a nickname she carried into machismo.[v]

Hunter moved at Cloutierville when she was around five years former and sent to St. John the Baptist Catholic Church School.[5] [7] The school was segregated and enforced harsh rules, which Hunter cited equally the reason she left school at a immature age.[5] She attended school for less than a year, and never formally learnt to read or write.[5] [4] Hunter began working in the fields at viii years sometime, picking cotton aslope her male parent.[6] Throughout her life she moved effectually in the Pikestaff River Valley while her male parent looked for piece of work.[6] At certain points she lived in Robeline, Cypress, and Alexandria.[6] In 1902, around the historic period of fifteen, Hunter moved to Melrose Plantation.[seven] [5]

Hunter's father, Janvier "John" Reuben was hired as a wage laborer by John H. Henry, the current owner of Melrose.[v] Hunter also worked for a wage as a agricultural laborer, harvesting 150 to 200 pounds of cotton a day, making 75 cents.[5] In the fall, she would also harvest pecans, working six days a calendar week for months of the yr.[five] While in her teens, Hunter took informal classes at dark with other workers at Melrose Plantation.[5] [nine] Her female parent, Mary Antoinette Reuben, died in 1905 at Melrose.[7]

When Hunter was nearly xx in 1907, she give birth to her showtime child, Joseph Dupree, called Frenchie.[5] Hunter's starting time partner was Charles Dupree, a Creole man virtually fifteen years Hunter'southward senior.[7] Charles is rumored to have built a steam engine with having only seen a picture and was well known for his highly skilled labor.[7] [5] Their second child, Cora, was born a few years later.[five] [6] [7] Charles Dupree and Clementine Hunter never married, and Dupree died in 1914.[five] [6] [7]

In 1924, Clementine married Emmanuel Hunter, a Creole woodchopper at Melrose six years her senior.[seven] Until Clementine Hunter married Emmanuel, she spoke only Creole French, and he taught her American English.[five] [6] The two lived together in a workers' cabin at Melrose Plantation and had 5 children, although two were stillborn.[v] [6] [7] Hunter's children were named Agnes, Male monarch, and Mary, although she called Mary "Jackie".[v] On the morning before giving nativity to one of her children, she harvested 78 pounds of cotton wool, went domicile and chosen for the midwife.[6] She was back working a few days subsequently.[vii]

In the late 1920s, Hunter began working as cook and housekeeper for Cammie Henry, the wife of John H. Henry.[vii] [10] She was known for her talent adapting traditional Creole recipes, sewing intricate clothes and dolls, and tending to the business firm's vegetable garden.[seven] Before long, Melrose evolved into a salon for artists and writers in this menstruation, hosted by Cammie Henry.[v] [6] [7] In the late 1930s, Clementine Hunter began to formally paint, using discarded tubes from the visiting artists at Melrose.[v] [7] [6]

In the early 1940s, Hunter's husband Emmanuel became terminally ill and crippled.[five] [half dozen] She was now the sole fiscal provider for the family, working full time, while caring for Emmanuel, and painting tardily at night.[seven] Emmanuel died in 1944, leaving Hunter to work and intendance for her children alone.[v]

During this period in the early 1940s, Hunter adopted Mary Francis LaCour, an xi-year-one-time daughter whose parents couldn't intendance for her.[v] Hunter cared for the girl, teaching her how to paint, the ii displaying her creations exterior of Hunter's home.[five] In her teens, Mary Francis moved to California to alive with her father.[v] In 1951, Mary Francis died at less than 20 years former.[5]

Painting career [edit]

Hunter has become i of the nigh well-known self-taught artists. Hunter is described as a memory painter considering she documented Black Southern life in the Cane River Valley in the early on 20th century. She was entirely self-taught and received virtually no formal educational activity, art or otherwise.[11] Although she was commencement recognized for her painting skills in 1939, Hunter speaks nigh painting long before then.[11] [12] [xiii] Her most famous piece of work depicts brightly colored depictions of important events like funerals, baptisms, and weddings and scenes of plantation labor like picking cotton or pecans, and domestic labor. Nevertheless, Hunter'due south paintings vary in field of study and style, including many abstruse paintings and still life paintings of zinnias.[2]

Hunter painted from retention, stating: "I but get it in my mind and I but go ahead and paint but I tin can't look at nothing and paint. No trees, no nothing. I just brand my own tree in my mind, that's the mode I paint."[8]

Cammie Henry created an artists' colony after the decease of her husband at Melrose Plantation.[3] [14] Numerous artists and writers visited, including Lyle Saxon, Roark Bradford, Alexander Woollcott, Rose Franken, Gwen Bristow, and Richard Avedon.[8] Ofttimes, the paint and brushes left by New Orleans artist Alberta Kinsey are cited equally the kickoff materials Hunter used to paint with on a window shade.[15] [3] [16] Nonetheless, it'south articulate from Hunter'southward cloth work that she was producing narrative and expressionist piece of work earlier painting.[5] [6] Additionally, Hunter'due south own accounts of her early career contradict the story of Kinsey'due south influence, Hunter has spoken about painting earlier than 1939.[11] [12] [xiii]

Hunter began selling paintings after the expiry of her husband, Emmanuel Hunter.[v] On the outside of the motel where she lived was a sign that read: "Clementine Hunter, Creative person. 25 cents to Await."[viii] Clementine Hunter'due south start shows were in 1945 in Rosenwald Grant, Brownwood, and Waco Texas.[8] In 1949, a show of Hunter's paintings at the New Orleans Arts and Crafts Show garnered attention outside of the Cane River Valley.[8] An article was published about Hunter in Look magazine in June 1953, giving her national exposure.

Hunter gained support from numerous individuals associated with Melrose Plantation, including François Mignon, a friend of Cammie Henry and Clementine Hunter.[4] He supplied her with paint and materials, and promoted her widely.[8] Hunter's paintings were displayed in the local drugstore, where they were sold for one dollar.[eight]

In 1956, Hunter and François Mignon coauthored Melrose Plantation Cookbook, featuring photographs of Melrose Plantation, illustrations drawn past Hunter, and recipes.[17] [three] Hunter was skilled at reinterpreting traditional dishes, which were passed down in her family by oral tradition.[three]

Hunter'southward largest work is a serial of murals in the African Business firm at Melrose Plantation. Built the early 19th century by enslaved people at Melrose Plantation, the African House is a Creole hybridization of diverse African, French, Native American building traditions.[eighteen] [xix] [20] Yet, fiddling is known about its structure and early on uses, however information technology is known that it served as a storehouse and during Cammie Henry'south ownership as a residence for artists.[21] In 1949, Clementine Hunter's starting time show in the Cane River Valley was hosted by Mignon in the upstairs expanse of the African House.[11] Hunter painted Murals in the Yucca house and the main Melrose Plantation house.[6] [seven] In 1955, Hunter and François Mignon collaborated to produce the series of paneled murals that describe the history of the Cane River Valley and reflect the artist'southward life.[vii] The mural consists of 9 rectangular panels, each painted in Hunter's home studio.[7] Completed over three months, the murals were finished Hunter was sixty-viii years old.[seven]

Hunter's paintings inverse throughout her lifetime. Her early on work, such equally "Pikestaff River Baptism" from 1950, features more globe tones and muted colors.[vi] Before the patronage and support from François Mignon and others, Hunter used pigment left by visiting artists at Melrose Plantation, therefore she was working inside other artists' palettes.[22] Additionally, Hunter would oftentimes thin out her supply of paint with turpentine, creating more than of a watercolor effect, which caused many Hunter scholars to believe she had a watercolor experimental phase.[7] Beginning in the 1950s, her painting style was altered by arthritis in her hands.[11] From this menstruation on, she leaned more towards abstract and impressionist piece of work, with less fine detail, because information technology was difficult for her to paint.[11] In 1962, her friend James Pipes Annals encouraged her to get even more abstract, painting works like Clementine Makes a Quilt.[11] However, by 1964, Hunter returned to more than narrative works.[xi] In the 1980s, every bit she approached one hundred years old, she began painting on smaller, more than handheld objects like jugs.[11]

In late 1971, lx of Hunter'southward paintings were shown at an exhibition at Louisiana State University.[23]

Quiltmaking [edit]

Hunter lived in communities of Blackness sharecroppers and tenant farmers where she learned to sew clothes and household items.[6] Before she began painting, she would stitch clothes for family, would make quilts, weave baskets.[6] François Mignon recognized Hunter's talents with fabric and sewing earlier he saw any of her painted works.[24] On December 19, 1939, Mignon recorded in his journals that Clementine (Mignon called her Clemence) offset showed him dolls she created with embroidered features.[24] Additionally, he wrote that she was exceptionally talented at making fringe and tin can spin cotton fiber.[24] James Register as well recorded Clementine Hunter's exceptional skill at making fringe in an article in the Natchitoches Times in 1972.[half-dozen] She could also brand hand-tied lace curtains.

Hunter's quilts and tapestries are clear examples of her artistic talent before she began painting, and feature subjects and her colour palette that are central to the majority of her artwork. Many of her quilts are titled "Melrose Quilt" or "Melrose Plantation" Textile or Tapestry as many of them draw buildings on the Melrose grounds. The Melrose Plantation Textile, which is hand appliquéd and sewn, is from 1938 or 1939, and is thematically like to her painted works.[7] Most of Hunter'south textile work is owned in private collections; however, a photograph of Hunter in her home shows her using one of her Chevron as a couch covering.[25] Each square is hand sewn together. Many of Hunter's quilts are non batted, which signals that they are designed to hang as a tapestry, rather than serve a household function.[11]

Hunter made several quilts that are more abstract. One Chevron Quilt is at the New Orleans Museum of Art.[26] Some of the squares of chevron are alternating solid colors, while other squares are pieces of bit patterned textile.[26] Although Hunter's abstruse paintings made in 1962 and 1936 are generally regarded as a break in her catechism, her early material work and paintings play with abstraction and impressionism.[vi] Additionally, Shelby Gilley's drove of Hunter'due south "Crazy Quilts" or Chevron quilts are dated as 1960, and the Chevron Quilt at the New Orleans Museum of Art is dated 1951, before her collaboration with James Register.[six] [27] [26]

Legacy and honors [edit]

A managing director of the Museum of American Folk Art in Washington, D.C. described Hunter as "the well-nigh celebrated of all Southern contemporary painters."[28]

Inscription on gravestone reads. Distinctive signature, backwards C interlocking with H. Clementine Hunter, Born Natchitoches Parish, Died January 1, 1988, Age 101 Years.

Inscription on Clementine Hunter'south Gravestone

Hunter was the first African-American artist to have a solo exhibition at the Delgado Museum (now the New Orleans Museum of Art). In Feb 1985, the museum hosted A New Orleans Salute to Clementine Hunter'southward Centennial, an showroom in honor of her one-hundredth birthday.[29] She achieved pregnant recognition during her lifetime, including an invitation to the White Business firm from U.Southward. President Jimmy Carter and messages from both President Ronald Reagan and U.Southward. Senator J. Bennett Johnston, Jr.[30]

Radcliffe Higher included Hunter in its Black Women Oral History Project, published in 1980.[8] An interview with Hunter is part of the Black Women Oral History Projection records, 1976–1997, housed at Harvard University, Radcliffe Institute, Schlesinger Library.[31] In the Mildred H. Bailey Collection of Interviews at Northwestern State University of Louisiana, at that place are digitized interviews with Hunter and those closest to her.[32]

Northwestern State University of Louisiana granted her an honorary Doctor of Fine Arts degree in 1986.[5] The following twelvemonth, Louisiana governor Edwin Edwards designated her every bit an honorary colonel, a state honor, and aide-de-military camp.[8]

A biography, Clementine Hunter: Cane River Artist (2012), was co-written by Tom Whitehead, a retired journalism professor who knew Hunter well. \

Hunter has been the subject area of biographies and creative person studies, and inspired other works of art. In 2013, composer Robert Wilson presented a new opera about her: Zinnias: the Life of Clementine Hunter, at Montclair Country University in New Jersey.[ii] Shinnerrie Jackson's i-woman musical Own't I a Woman? honors the lives of four influential African American women, including Hunter.[33] [34]

Hunter'due south work tin be constitute in numerous museums such as the Dallas Museum of Fine Fine art, the American Folk Art Museum, Minneapolis Institute of Arts, the Ogden Museum of Southern Art, the New Orleans Museum of Art, and the Louisiana State Museum.[fourteen]

Clementine Hunter'due south World is a 2017 documentary directed by noted Hunter scholar Art Shiver.[35] The film celebrates Hunter'due south life and artwork through the lens of photographs, oral histories, and the newly resorted African House Murals.[35] In addition to the picture show, the Smithsonian National Museum of African American History & Culture created an exhibition centering on Hunter chosen "Clementine Hunter: Life on Melrose Plantation."[36] According to Smithsonian American Art curator Tuliza Fleming, the 22 works by Hunter is the largest collection past a single artist at the museum.[30]

In 2019, Louisiana State Legislators passed a resolution that designated October 1 as Clementine Hunter Day.[37] Loletta Jones-Wynder, the director of the Creole Heritage Eye at Northwestern Country Academy of Louisiana, created the resolution to award Hunter's legacy and touch on the Land of Louisiana.[37]

Forgeries [edit]

Equally Hunter became increasingly more than famous over her lifetime, and began selling her painted works for more than money, forged paintings started becoming a problem.[10] Relatives of Clementine Hunter and Cammie Henry created forgeries, although very few.[six] [38] Although in that location were many Hunter fakes, William and Beryl Toye were the nearly prolific.[10] In 1974, William J. Toye was charged with forging twenty-two Hunter paintings by the New Orleans police.[10] [7] [v] [6] Toye was able to laissez passer these paintings off every bit Hunter originals because he recreated her distinctive signature, a backwards C and an H interlocking.[v] William Toye'south wife Beryl claimed that she purchased the paintings direct from Hunter at Melrose Plantation in the 1960s.[5] [10] Toye's case never went to trial, despite verification from Hunter herself that she had not painted the works.[5] In 1996, Toye was accused of forging Matisse and Degas paintings, selling them to an auction house in Billy Rouge.[v] [10] Toye likely began forging Hunter paintings once again in 1999, selling them or using them as a grade of payment for doctor's bills or as collateral for a banking concern loan until the mid 2000s.[v]

Toye sold many his fakes to New Orleans art and antiques dealer, Robert Lucky Jr.[5] Lucky intentionally lied to his customers about the origins of 50 to one hundred Hunter paintings, reselling paintings that were returned every bit fakes.[5] [ten] In 2000, Robert Lucky Jr. took payment for a Hunter painting that he never gave to the customer, and was charged and arrested.[5] Some noted Hunter collectors defenseless on his scheme, such as Robert Ryan who returned some paintings bought from Lucky, demanding a refund.[five] Shelby Gilley and Tom Whitehead, scholars, collectors, and friends of Hunter, likewise figured out that the bulk of Hunter fakes were coming from Lucky, leading them to open an investigation.[5] [10] Whitehead had bought a total of seventeen fake Clementine Hunter paintings from Lucky, spending a full of $55,000.[38]

In 2005, Tom Whitehead, Shelby Gilley, and Jack Brittain hired Frank Preusser, an art authentication expert, to investigate these forgeries.[5] Preusser analyzed the materials used in the paintings in question, compared to those sold by Lucky and determined that they were in fact inconsistent materials.[5] The investigation uncovered paintings sold by William Toye, which were consistent with the fakes sold by Robert Lucky Jr., as Toye began selling the fakes directly to buyers in 2005.[v] At that time, Beryl Toye was selling Hunter fakes for $3,500 a painting at a New Orleans auction house.[38]

In 2009, Federal Bureau of Investigation Special Agent Randolph Deaton assembled a team of noted fine art authentication experts, to begin a formal investigation into the forgeries.[5] The squad included Joseph Barabe of McCrone Assembly, a scientific assay company and James Martin a forensic art proficient of Orion Belittling.[v] The group used several methods to analyze Hunter's original works to compare to the alleged forgeries, including an assay of paint cracks, paint age, painting style.[5] However, one of the virtually important clues that a painting was a Hunter original were her fingerprints on the back of the oil paintings.[5] [38] [half dozen] Hunter did not use an easel, so the backs and borders of her paintings are smudged with pigment, different the forgeries by Toye who used an easel to paint his fakes.[6]

In September 2009, the FBI adamant that William Toye was the one producing the forgeries and raided his dwelling house.[10] [16] [38] Toye, who was defendant of selling forged paintings iii times over the course of 4 decades, pleaded guilty in federal court on June 6, 2011.[10] [xiii] [five] The couple was charged with mail fraud and conspiracy to commit post fraud.[38] The price for Hunter paintings ranged between a few thousand dollars to $xx,000, co-ordinate to Tom Whitehead.[39] Both William and Beryl Toye were sentenced to two years probation and a $426,393 fine for the price of the fakes sold.[5] Robert Lucky Jr. was charged with post fraud and pled guilty, was sentenced to twenty-v months in prison and a $326,893 fine.[5]

This investigation was crucial to protecting Hunter's legacy, as many of the fakes were shown in museums in private collections effectually the globe.[5] Additionally, very few FBI forgery cases investigate folk artists or outsider artists, so this case helped to legitimize the value of self-taught artists.[5]

Selected works and collections [edit]

  • Funeral Procession, ca. 1950, Savannah College of Art and Blueprint[40]
  • Untitled, 1981, National Museum of Women in the Arts, Washington, D.C.
  • The Wash, ca. 1950s, Minneapolis Institute of Art, Minneapolis, MN
  • Picking Cotton fiber, ca. 1950s, Minneapolis Constitute of Art, Minneapolis, MN
  • The Annunciation and the Adoration of the Wise Men, 1957, Museum of Fine Arts, Boston, MA
  • Cotton Pickin', 1948, American Folk Fine art Museum, New York, NY
  • Sat Night, 1965, American Folk Art Museum, New York, NY
  • Funeral, 1957, Muscarelle Museum of Art, Williamsburg, VA
  • Carbohydrate Cane Syrup Makin', 1979, Muscarelle Museum of Art, Williamsburg, VA
  • Baptism, Late 1950s, Muscarelle Museum of Fine art, Williamsburg, VA
  • Window Shade, 1950s, National Museum of African American History and Civilisation, Washington, D.C.

Studies and other related books [edit]

  • Mildred Hart Bailey, 4 Women of Cane River (1980)
  • Shelby R. Gilley, Painting by Center: The Life and Art of Clementine Hunter, Louisiana Folk Artist (2000), St. Emma Press
  • Clementine Hunter, Clementine Hunter: A Sketchbook (2014), University of New Orleans Printing. ISBN 978-1-60801-036-3
  • Mary Due east. Lyons, Talking with Tebé (1998), Houghton Mifflin. ISBN 9780395720318
  • François Mignon, illustrated past Clementine Hunter, Melrose Plantation Cookbook (1956), ASIN B000CS68QA
  • Fine art Shiver, Tom Whitehead (editors), Clementine Hunter: The African Business firm Murals (2005), Northwestern Land Academy of Louisiana Press. ISBN 0-917898-24-ix
  • Art Shiver, Tom Whitehead (co-authors), Clementine Hunter Her Life and Art (2012), LSU Printing. ISBN 978-0-8071-4878-5
  • James Register, illustrated past Clementine Hunter, The Joyous Declension (1971), Mid-South Press, Shreveport, Louisiana
  • James Wilson, Clementine Hunter: American Folk Artist (1990), Pelican Publishing Company

Run into also [edit]

  • Mose Tolliver
  • Outsider art
  • Folk Art
  • Southern fine art
  • Melrose Plantation

References [edit]

  1. ^ Catlin, Roger. "Cocky-Taught Creative person Clementine Hunter Painted the Bold Hues of Southern Life". Smithsonian Magazine . Retrieved Apr 21, 2020.
  2. ^ a b c Jennifer Moses, "Looking for Clementine Hunter'due south Louisiana", The New York Times, June xvi, 2013, accessed Jan 17, 2015.
  3. ^ a b c d e Shelby R. Gilley, Painting past Eye: The Life and Art of Clementine Hunter, Louisiana Folk Artist. St. Emma Press (2000).
  4. ^ a b c "Clementine Hunter biography. Archived March 25, 2012, at the Wayback Machine Nader's Gallery, Shreveport, Louisiana.
  5. ^ a b c d eastward f g h i j g fifty grand due north o p q r s t u v w ten y z aa ab air conditioning ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg Shiver, Art. (2012). Clementine Hunter : Her Life and Art. Whitehead, Tom. Baton Rouge: LSU Press. pp. xvi. ISBN978-0-8071-4879-2. OCLC 811507091.
  6. ^ a b c d east f m h i j k l m n o p q r s t u 5 w x y z aa ab Gilley, Shelby R. (2000). Painting past middle : the life and fine art of Clementine Hunter, Louisiana folk creative person. Baton Rouge, La.: St. Emma Press. pp. 39, 45, 49, 58, 73, 75, 131. ISBN0-9704221-0-five. OCLC 46313974.
  7. ^ a b c d due east f g h i j m l thou northward o p q r south t u v westward x y z Wilson, James L. (James Lynwood) (1988). Clementine Hunter, American folk artist. Gretna: Pelican Pub. Co. pp. xx, 30, 31, 35, fifty. ISBN0-88289-658-X. OCLC 17509029.
  8. ^ a b c d eastward f g h i j James Lynwood Wilson, Clementine Hunter: American Folk Artist, Pelican Publishing Company (1990), ISBN 0-88289-658-X. Retrieved June 9, 2011.
  9. ^ Hunter, Clementine. Audiotape interview past Mildred Bailey, 1976.
  10. ^ a b c d e f g h i j Campbell Robertson, "For a Longtime Forger, Adding I Last Touch" The New York Times (June 8, 2011). Retrieved June eight, 2011.
  11. ^ a b c d e f g h i j Shiver, Art. (2012). Clementine Hunter : Her Life and Fine art. Whitehead, Tom. Baton Rouge: LSU Press. pp. xv, 43, 58, 61, 77. ISBN978-0-8071-4879-two. OCLC 811507091.
  12. ^ a b Oaks, John (May 8, 1985). "Due south'southward Very Own Grandma Moses Nears 100". Fort Worth Star-Telegram.
  13. ^ a b c "Defendant Admits to Selling Counterfeit Clementine Hunter Paintings", KATC, Lafayette, Louisiana (June six, 2011). Archived March 14, 2012, at the Wayback Machine.
  14. ^ a b Allured, Janet. "Clementine Hunter". Know Louisiana . Retrieved March 22, 2018.
  15. ^ Janet McConnaughey, "La human admits selling forged folk artist paintings" [ permanent expressionless link ] The Washington Examiner (June 6, 2011). Retrieved June 8, 2011.
  16. ^ a b Ruth Laney, Clementine Hunter Fakes" Archived August 9, 2011, at the Wayback Machine Country Roads, Baton Rouge, Louisiana (January 2010). Retrieved June 8, 2011.
  17. ^ "Melrose Plantation Cookbook". National Museum of African American History and Culture . Retrieved Apr 22, 2020.
  18. ^ "African architecture - Influences of Islam and Christianity". Encyclopedia Britannica . Retrieved April two, 2020.
  19. ^ "Detail of African house at Melrose plantation in Natchitoches Louisiana in 1940". Louisiana Digital Library . Retrieved April three, 2020.
  20. ^ Layton, Robert; Shennan, Stephen; Rock, Peter G. (2006). A Future for Archaeology: The Past in the Present. Psychology Press. pp. 131–133. ISBN978-1-84472-126-nine.
  21. ^ "African House at Melrose Plantation | National Trust for Celebrated Preservation". savingplaces.org . Retrieved April 3, 2020.
  22. ^ "Places They Remember: The Art of Clementine Hunter and Sarah Albritton". www.louisianafolklife.org . Retrieved April i, 2020.
  23. ^ Coles, Bert (December 7, 1971). "Clementine Hunter Painting Exhibit Opening in Library". The Daily Reveille, Vol. 76 No. 51 . Retrieved April 21, 2020.
  24. ^ a b c Binder 260, Folio 118-nineteen. in the Francois Mignon Papers #3889, Southern Historical Collection, The Wilson Library, Academy of North Carolina at Chapel Colina. https://finding-aids.lib.unc.edu/03889/#d1e91
  25. ^ "The life of folk artist Clementine Hunter, the start African American woman to exhibit in the New Orleans Museum of Art: Folk Art America". world wide web.folkartlife.com . Retrieved Apr 2, 2020.
  26. ^ a b c "Chevron Quilt". New Orleans Museum of Art . Retrieved March 6, 2020.
  27. ^ ManagedArtwork.com. "Chevron Quilt_ Clementine Hunter_ textile_ quilt_ folk art_ outsider art | Clementine Hunter | Gilley's Gallery". www.gilleysgallery.com . Retrieved March 31, 2020.
  28. ^ "Celebrating Clementine Hunter | Fine Fine art And Antique Appraiser". Retrieved October 29, 2020.
  29. ^ "My Darling Clementine". The Maroon Loyola University Vol 63 no. 17. February 15, 1985. Retrieved Apr 21, 2020.
  30. ^ a b Catlin, Roger. "Self-Taught Artist Clementine Hunter Painted the Assuming Hues of Southern Life". Smithsonian Magazine . Retrieved April 21, 2020.
  31. ^ "Blackness women oral history project interviews - The Ceremonious Rights History Project: Survey of Collections and Repositories (The American Folklife Center, Library of Congress)". www.loc.gov . Retrieved March thirty, 2018.
  32. ^ Parrie, J. G. "Clementine Hunter Tapes". University Libraries . Retrieved April 21, 2020.
  33. ^ "Shinnerrie Jackson and Core Ensemble Bring Ain't I a Woman to the Morrison Series". San Francisco Classical Vox . Retrieved April 22, 2020.
  34. ^ "Shinnerrie Jackson: 'Own't I a Adult female?'". Grand Forks Herald . Retrieved April 22, 2020.
  35. ^ a b "Clementine Hunter's Globe". Retrieved April 21, 2020.
  36. ^ Times, Natchitoches. "Locals nowadays for 'Clementine Hunter's Globe' screening in Washington, D.C | Natchitoches Times". Retrieved April 21, 2020.
  37. ^ a b Times, Natchitoches. "October. 1 to be known every bit Clementine Hunter Twenty-four hours in Louisiana | Natchitoches Times". Retrieved April 21, 2020.
  38. ^ a b c d e f John Ed Bradley, "The Talented Mr. Toye", Garden & Gun (April/May 2010). Retrieved June 13, 2011.
  39. ^ Richard Burgess, "Guilty plea in art forgeries", The Abet Arcadiana (June 7, 2011). Retrieved June fifteen, 2011.
  40. ^ "Funeral Procession". Collections. Savannah Higher of Art and Blueprint. Archived from the original on Feb 11, 2017. Retrieved February 9, 2017.

External links [edit]

  • Jennifer Moses, "Looking for Clementine Hunter's Louisiana" The New York Times (June xiv, 2013). Retrieved June 17, 2013
  • "Clementine Hunter: A Sketchbook", University of New Orleans Press/Ogden Museum of Southern Art
  • three artworks by or after Clementine Hunter at the Art UK site
  • Ashleigh Barice, "Artist in focus: Clementine Hunter", Fine art Great britain, March 9, 2017
  • Clementine Hunter at Find a Grave

bairhantimpok.blogspot.com

Source: https://en.wikipedia.org/wiki/Clementine_Hunter

0 Response to "Mother Rocking Her Baby While Grandmother Clementine Hunter"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel