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Precivil War Rare Black Folk Art Cradle From Southern Plantation

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American painter

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

Photograph past Judith Sedwick every bit office of the Black Women Oral History Project
Built-in December 1886 or January 1887

Hidden Hill Plantation, about Cloutierville
Natchitoches Parish, Louisiana
Died January 1, 1988 (aged 100)

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

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

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

Initially she sold her outset paintings for as petty as 25 cents. But past the end of her life, her work was being exhibited in museums and sold past dealers for thousands of dollars. Clementine Hunter produced an estimated 5,000 to ten,000 paintings in her lifetime.[1] Hunter was granted an honorary Doc of Fine Arts degree past Northwestern Land Academy of Louisiana in 1986, and she is the first African-American artist to have a solo exhibition at the nowadays-day New Orleans Museum of Art. In 2013, director Robert Wilson presented a new opera about her, entitled Zinnias: the Life of Clementine Hunter, at Montclair Land University in New Jersey.[2]

Early life [edit]

Baptism by Clementine Hunter. Mural (detail)

Clementine Hunter was born in belatedly December 1886 or early January 1887[3] at Subconscious Loma Plantation, near Cloutierville in Natchitoches Parish, Louisiana.[4] [v] She was the first of seven children[6] born to Janvier Reuben (though Clementine Hunter called him John[five]) and Mary Antoinette Adams.[5] Hunter'due south siblings were named Maria, Ida, Rosa, Edward, Simon, and John.[vii] Hunter's maternal grandmother Idole, an enslaved Blackness and Native American woman, was built-in in Virginia and brought to Louisiana.[six] [7] Her maternal grandad was called Billy Zack Adams.[five] Hunter'due south paternal granddaddy, who was of mixed African, French, and Irish descent, traded horses during the Civil War,[7] [six] simply died before she was built-in.[5] [6] Hunter knew her paternal grandmother well, a Black and Native American woman who she called MéMé (pronounced May–May).[five] [half-dozen] [7] Her parents were married on October 15, 1890, in Cloutierville at the town's Cosmic church building, St. John the Baptist.

She was baptized a Catholic on March 19, 1887, in Cloutierville, and it is known that she was about three months old.[five] Although her exact date of birth is unknown, she said she was born around Christmas.[v] She went by the name Clémence for the showtime part of her life, was baptized Clementiam [v] and changed her name to Clementine later on moving to Melrose Plantation.[eight] Her family called her by the nickname Tébé, the French for "little baby," a nickname she carried into machismo.[five]

Hunter moved at Cloutierville when she was around five years sometime and sent to St. John the Baptist Cosmic Church building Schoolhouse.[5] [7] The school was segregated and enforced harsh rules, which Hunter cited as the reason she left school at a young age.[v] 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 8 years quondam, picking cotton alongside her begetter.[vi] Throughout her life she moved around in the Cane River Valley while her father looked for work.[half dozen] At certain points she lived in Robeline, Cypress, and Alexandria.[half-dozen] In 1902, around the historic period of xv, Hunter moved to Melrose Plantation.[7] [5]

Hunter's father, Janvier "John" Reuben was hired equally a wage laborer past John H. Henry, the current owner of Melrose.[v] Hunter also worked for a wage equally a agricultural laborer, harvesting 150 to 200 pounds of cotton a day, making 75 cents.[five] In the fall, she would also harvest pecans, working six days a calendar week for months of the year.[v] While in her teens, Hunter took informal classes at night with other workers at Melrose Plantation.[v] [9] Her mother, Mary Antoinette Reuben, died in 1905 at Melrose.[7]

When Hunter was about 20 in 1907, she give nascency to her outset child, Joseph Dupree, called Frenchie.[5] Hunter's start partner was Charles Dupree, a Creole man about xv years Hunter'due south senior.[7] Charles is rumored to have built a steam engine with having simply seen a movie and was well known for his highly skilled labor.[7] [v] Their second kid, Cora, was built-in a few years later on.[five] [half dozen] [7] Charles Dupree and Clementine Hunter never married, and Dupree died in 1914.[5] [six] [7]

In 1924, Clementine married Emmanuel Hunter, a Creole woodchopper at Melrose six years her senior.[vii] Until Clementine Hunter married Emmanuel, she spoke simply Creole French, and he taught her American English.[5] [6] The 2 lived together in a workers' cabin at Melrose Plantation and had five children, although ii were stillborn.[5] [6] [7] Hunter'due south children were named Agnes, King, and Mary, although she called Mary "Jackie".[5] On the morning earlier giving birth to one of her children, she harvested 78 pounds of cotton, went abode and called for the midwife.[6] She was back working a few days after.[seven]

In the late 1920s, Hunter began working as melt and housekeeper for Cammie Henry, the married woman of John H. Henry.[7] [10] She was known for her talent adapting traditional Creole recipes, sewing intricate clothes and dolls, and disposed to the house's vegetable garden.[seven] Soon, Melrose evolved into a salon for artists and writers in this period, hosted past Cammie Henry.[5] [vi] [7] In the tardily 1930s, Clementine Hunter began to formally pigment, using discarded tubes from the visiting artists at Melrose.[5] [seven] [half dozen]

In the early on 1940s, Hunter's husband Emmanuel became terminally ill and bedridden.[5] [6] She was now the sole financial provider for the family unit, working full fourth dimension, while caring for Emmanuel, and painting late at night.[7] Emmanuel died in 1944, leaving Hunter to work and care for her children alone.[5]

During this period in the early 1940s, Hunter adopted Mary Francis LaCour, an xi-year-old girl whose parents couldn't treat her.[5] Hunter cared for the girl, teaching her how to paint, the ii displaying her creations outside of Hunter'southward abode.[5] In her teens, Mary Francis moved to California to live with her father.[5] In 1951, Mary Francis died at less than twenty years old.[5]

Painting career [edit]

Hunter has become one of the about well-known cocky-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 almost no formal didactics, fine art or otherwise.[11] Although she was showtime recognized for her painting skills in 1939, Hunter speaks almost painting long before then.[11] [12] [13] Her most famous work depicts brightly colored depictions of important events like funerals, baptisms, and weddings and scenes of plantation labor similar picking cotton wool or pecans, and domestic labor. Yet, Hunter'south paintings vary in subject field and style, including many abstract paintings and however life paintings of zinnias.[2]

Hunter painted from memory, stating: "I just get it in my mind and I merely get ahead and paint just I tin't wait at cypher and paint. No trees, no nothing. I just make my own tree in my listen, that'southward the fashion I pigment."[8]

Cammie Henry created an artists' colony later on the decease of her husband at Melrose Plantation.[3] [fourteen] Numerous artists and writers visited, including Lyle Saxon, Roark Bradford, Alexander Woollcott, Rose Franken, Gwen Bristow, and Richard Avedon.[viii] Frequently, the paint and brushes left by New Orleans artist Alberta Kinsey are cited as the first materials Hunter used to paint with on a window shade.[15] [3] [sixteen] However, information technology'south clear from Hunter's fabric work that she was producing narrative and expressionist piece of work before painting.[5] [half dozen] Additionally, Hunter'south own accounts of her early career contradict the story of Kinsey'southward influence, Hunter has spoken nearly painting before than 1939.[xi] [12] [13]

Hunter began selling paintings after the death of her husband, Emmanuel Hunter.[v] On the outside of the motel where she lived was a sign that read: "Clementine Hunter, Artist. 25 cents to Wait."[8] Clementine Hunter's first shows were in 1945 in Rosenwald Grant, Brownwood, and Waco Texas.[8] In 1949, a prove of Hunter's paintings at the New Orleans Arts and crafts Evidence garnered attention exterior of the Cane River Valley.[viii] An article was published about Hunter in Look mag 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.[eight] Hunter's paintings were displayed in the local drugstore, where they were sold for i dollar.[8]

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

Hunter's largest work is a series of murals in the African House 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.[18] [nineteen] [20] Still, picayune is known nigh its construction and early on uses, however it is known that it served every bit a storehouse and during Cammie Henry's ownership as a residence for artists.[21] In 1949, Clementine Hunter'due south showtime show in the Pikestaff River Valley was hosted by Mignon in the upstairs area of the African House.[11] Hunter painted Murals in the Yucca business firm and the principal Melrose Plantation house.[six] [seven] In 1955, Hunter and François Mignon collaborated to produce the serial of paneled murals that depict the history of the Cane River Valley and reflect the artist's life.[7] The landscape consists of nine rectangular panels, each painted in Hunter'south home studio.[vii] Completed over three months, the murals were finished Hunter was threescore-eight years former.[7]

Hunter's paintings changed throughout her lifetime. Her early on work, such every bit "Pikestaff River Baptism" from 1950, features more world tones and muted colors.[6] Before the patronage and support from François Mignon and others, Hunter used paint left past visiting artists at Melrose Plantation, therefore she was working within other artists' palettes.[22] Additionally, Hunter would frequently sparse out her supply of paint with turpentine, creating more of a watercolor effect, which caused many Hunter scholars to believe she had a watercolor experimental stage.[7] Beginning in the 1950s, her painting mode was altered by arthritis in her hands.[eleven] From this period on, she leaned more towards abstract and impressionist work, with less fine detail, considering information technology was hard for her to paint.[xi] In 1962, her friend James Pipes Annals encouraged her to get even more abstract, painting works like Clementine Makes a Quilt.[11] Yet, past 1964, Hunter returned to more narrative works.[xi] In the 1980s, as she approached i hundred years former, she began painting on smaller, more handheld objects like jugs.[11]

In late 1971, sixty of Hunter'south 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.[half dozen] Before she began painting, she would stitch wearing apparel for family, would make quilts, weave baskets.[vi] François Mignon recognized Hunter'due south talents with cloth and sewing before he saw whatsoever of her painted works.[24] On December xix, 1939, Mignon recorded in his journals that Clementine (Mignon chosen her Clemence) first showed him dolls she created with embroidered features.[24] Additionally, he wrote that she was exceptionally talented at making fringe and can spin cotton.[24] James Register also recorded Clementine Hunter'southward exceptional skill at making fringe in an article in the Natchitoches Times in 1972.[6] She could also make manus-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 equally many of them depict buildings on the Melrose grounds. The Melrose Plantation Textile, which is hand appliquéd and sewn, is from 1938 or 1939, and is thematically similar to her painted works.[7] Most of Hunter'southward textile work is owned in individual collections; however, a photograph of Hunter in her home shows her using one of her Chevron as a couch roofing.[25] Each square is hand sewn together. Many of Hunter's quilts are not batted, which signals that they are designed to hang as a tapestry, rather than serve a household function.[11]

Hunter fabricated 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 cloth.[26] Although Hunter'due south abstract paintings made in 1962 and 1936 are more often than not regarded as a pause in her canon, her early on textile work and paintings play with brainchild and impressionism.[six] Additionally, Shelby Gilley's collection of Hunter'due south "Crazy Quilts" or Chevron quilts are dated as 1960, and the Chevron Quilt at the New Orleans Museum of Fine art is dated 1951, before her collaboration with James Register.[6] [27] [26]

Legacy and honors [edit]

A director of the Museum of American Folk Art in Washington, D.C. described Hunter every bit "the most 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's Gravestone

Hunter was the first African-American artist to have a solo exhibition at the Delgado Museum (at present the New Orleans Museum of Art). In February 1985, the museum hosted A New Orleans Salute to Clementine Hunter's Centennial, an exhibit in honor of her one-hundredth birthday.[29] She achieved significant recognition during her lifetime, including an invitation to the White House from U.South. President Jimmy Carter and letters from both President Ronald Reagan and U.S. Senator J. Bennett Johnston, Jr.[xxx]

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

Northwestern Country Academy of Louisiana granted her an honorary Physician of Fine Arts degree in 1986.[5] The following twelvemonth, Louisiana governor Edwin Edwards designated her as an honorary colonel, a state honor, and aide-de-army camp.[8]

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

Hunter has been the subject of biographies and artist studies, and inspired other works of art. In 2013, composer Robert Wilson presented a new opera most her: Zinnias: the Life of Clementine Hunter, at Montclair State University in New Jersey.[2] Shinnerrie Jackson'due south one-woman musical Own't I a Woman? honors the lives of 4 influential African American women, including Hunter.[33] [34]

Hunter's work can be found in numerous museums such as the Dallas Museum of 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.[14]

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

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

Forgeries [edit]

As Hunter became increasingly more famous over her lifetime, and began selling her painted works for more coin, forged paintings started becoming a problem.[10] Relatives of Clementine Hunter and Cammie Henry created forgeries, although very few.[6] [38] Although there were many Hunter fakes, William and Beryl Toye were the almost prolific.[10] In 1974, William J. Toye was charged with forging twenty-2 Hunter paintings past the New Orleans police.[ten] [7] [five] [6] Toye was able to laissez passer these paintings off as Hunter originals because he recreated her distinctive signature, a backwards C and an H interlocking.[5] William Toye'south wife Beryl claimed that she purchased the paintings directly from Hunter at Melrose Plantation in the 1960s.[5] [10] Toye's instance 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 Baton Rouge.[five] [ten] Toye probable began forging Hunter paintings again in 1999, selling them or using them as a class of payment for doctor's bills or every bit collateral for a depository financial institution loan until the mid 2000s.[5]

Toye sold many his fakes to New Orleans art and antiques dealer, Robert Lucky Jr.[v] Lucky intentionally lied to his customers nigh the origins of fifty to one hundred Hunter paintings, reselling paintings that were returned equally 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 every bit Robert Ryan who returned some paintings bought from Lucky, demanding a refund.[5] Shelby Gilley and Tom Whitehead, scholars, collectors, and friends of Hunter, also figured out that the majority of Hunter fakes were coming from Lucky, leading them to open up an investigation.[v] [10] Whitehead had bought a full of seventeen fake Clementine Hunter paintings from Lucky, spending a total of $55,000.[38]

In 2005, Tom Whitehead, Shelby Gilley, and Jack Brittain hired Frank Preusser, an art hallmark expert, to investigate these forgeries.[5] Preusser analyzed the materials used in the paintings in question, compared to those sold by Lucky and adamant that they were in fact inconsistent materials.[5] The investigation uncovered paintings sold past William Toye, which were consequent with the fakes sold by Robert Lucky Jr., as Toye began selling the fakes directly to buyers in 2005.[5] 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 squad of noted art authentication experts, to begin a formal investigation into the forgeries.[5] The squad included Joseph Barabe of McCrone Assembly, a scientific analysis company and James Martin a forensic fine art expert of Orion Belittling.[five] The group used several methods to analyze Hunter'due south original works to compare to the alleged forgeries, including an analysis of pigment cracks, paint age, painting style.[5] However, one of the most important clues that a painting was a Hunter original were her fingerprints on the dorsum of the oil paintings.[5] [38] [6] Hunter did non utilize an easel, then the backs and borders of her paintings are smudged with paint, unlike the forgeries by Toye who used an easel to pigment his fakes.[half dozen]

In September 2009, the FBI adamant that William Toye was the 1 producing the forgeries and raided his home.[ten] [16] [38] Toye, who was accused of selling forged paintings three times over the course of four decades, pleaded guilty in federal court on June 6, 2011.[x] [13] [5] The couple was charged with mail fraud and conspiracy to commit mail fraud.[38] The toll for Hunter paintings ranged between a few yard dollars to $20,000, according to Tom Whitehead.[39] Both William and Beryl Toye were sentenced to 2 years probation and a $426,393 fine for the toll of the fakes sold.[5] Robert Lucky Jr. was charged with mail fraud and pled guilty, was sentenced to xx-five months in prison house and a $326,893 fine.[v]

This investigation was crucial to protecting Hunter'south legacy, every bit many of the fakes were shown in museums in private collections around the world.[5] Additionally, very few FBI forgery cases investigate folk artists or outsider artists, and then this instance helped to legitimize the value of cocky-taught artists.[5]

Selected works and collections [edit]

  • Funeral Procession, ca. 1950, Savannah Higher of Art and Design[forty]
  • Untitled, 1981, National Museum of Women in the Arts, Washington, D.C.
  • The Launder, ca. 1950s, Minneapolis Establish of Fine art, Minneapolis, MN
  • Picking Cotton, ca. 1950s, Minneapolis Institute 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
  • Saturday Nighttime, 1965, American Folk Art Museum, New York, NY
  • Funeral, 1957, Muscarelle Museum of Art, Williamsburg, VA
  • Sugar Pikestaff Syrup Makin', 1979, Muscarelle Museum of Art, Williamsburg, VA
  • Baptism, Late 1950s, Muscarelle Museum of Art, Williamsburg, VA
  • Window Shade, 1950s, National Museum of African American History and Culture, Washington, D.C.

Studies and other related books [edit]

  • Mildred Hart Bailey, Four Women of Cane River (1980)
  • Shelby R. Gilley, Painting by Middle: The Life and Art of Clementine Hunter, Louisiana Folk Artist (2000), St. Emma Press
  • Clementine Hunter, Clementine Hunter: A Sketchbook (2014), Academy of New Orleans Press. ISBN 978-ane-60801-036-3
  • Mary E. Lyons, Talking with Tebé (1998), Houghton Mifflin. ISBN 9780395720318
  • François Mignon, illustrated by Clementine Hunter, Melrose Plantation Cookbook (1956), ASIN B000CS68QA
  • Art Shiver, Tom Whitehead (editors), Clementine Hunter: The African House Murals (2005), Northwestern Land University of Louisiana Press. ISBN 0-917898-24-9
  • Art Shiver, Tom Whitehead (co-authors), Clementine Hunter Her Life and Art (2012), LSU Press. ISBN 978-0-8071-4878-5
  • James Annals, illustrated by Clementine Hunter, The Joyous Coast (1971), Mid-South Press, Shreveport, Louisiana
  • James Wilson, Clementine Hunter: American Folk Creative person (1990), Pelican Publishing Company

See likewise [edit]

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

References [edit]

  1. ^ Catlin, Roger. "Self-Taught Artist Clementine Hunter Painted the Bold Hues of Southern Life". Smithsonian Magazine . Retrieved April 21, 2020.
  2. ^ a b c Jennifer Moses, "Looking for Clementine Hunter's Louisiana", The New York Times, June 16, 2013, accessed January 17, 2015.
  3. ^ a b c d east Shelby R. Gilley, Painting by Heart: 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 Automobile Nader's Gallery, Shreveport, Louisiana.
  5. ^ a b c d east f g h i j m l m northward o p q r s t u 5 due west x y z aa ab air conditioning ad ae af ag ah ai aj ak al am an ao ap aq ar equally 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. Billy Rouge: LSU Printing. pp. xvi. ISBN978-0-8071-4879-two. OCLC 811507091.
  6. ^ a b c d e f g h i j yard l chiliad due north o p q r s t u v w x y z aa ab Gilley, Shelby R. (2000). Painting past eye : the life and fine art of Clementine Hunter, Louisiana folk artist. Billy Rouge, La.: St. Emma Press. pp. 39, 45, 49, 58, 73, 75, 131. ISBN0-9704221-0-5. OCLC 46313974.
  7. ^ a b c d eastward f yard h i j k fifty m n o p q r due south t u 5 west x y z Wilson, James L. (James Lynwood) (1988). Clementine Hunter, American folk artist. Gretna: Pelican Pub. Co. pp. 20, 30, 31, 35, 50. ISBN0-88289-658-X. OCLC 17509029.
  8. ^ a b c d e f g h i j James Lynwood Wilson, Clementine Hunter: American Folk Creative person, Pelican Publishing Company (1990), ISBN 0-88289-658-Ten. Retrieved June 9, 2011.
  9. ^ Hunter, Clementine. Audiotape interview by Mildred Bailey, 1976.
  10. ^ a b c d e f g h i j Campbell Robertson, "For a Longtime Forger, Adding One Last Touch" The New York Times (June viii, 2011). Retrieved June 8, 2011.
  11. ^ a b c d e f g h i j Shiver, Art. (2012). Clementine Hunter : Her Life and Fine art. Whitehead, Tom. Billy Rouge: LSU Press. pp. xv, 43, 58, 61, 77. ISBN978-0-8071-4879-two. OCLC 811507091.
  12. ^ a b Oaks, John (May 8, 1985). "South's 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 half-dozen, 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 homo admits selling forged folk creative person paintings" [ permanent dead link ] The Washington Examiner (June 6, 2011). Retrieved June 8, 2011.
  16. ^ a b Ruth Laney, Clementine Hunter Fakes" Archived Baronial ix, 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 April 22, 2020.
  18. ^ "African compages - Influences of Islam and Christianity". Encyclopedia Britannica . Retrieved April 2, 2020.
  19. ^ "Particular of African house at Melrose plantation in Natchitoches Louisiana in 1940". Louisiana Digital Library . Retrieved Apr three, 2020.
  20. ^ Layton, Robert; Shennan, Stephen; Stone, Peter G. (2006). A Futurity for Archaeology: The Past in the Present. Psychology Press. pp. 131–133. ISBN978-one-84472-126-nine.
  21. ^ "African Firm at Melrose Plantation | National Trust for Celebrated Preservation". savingplaces.org . Retrieved Apr 3, 2020.
  22. ^ "Places They Remember: The Art of Clementine Hunter and Sarah Albritton". www.louisianafolklife.org . Retrieved April 1, 2020.
  23. ^ Coles, Bert (Dec 7, 1971). "Clementine Hunter Painting Exhibit Opening in Library". The Daily Reveille, Vol. 76 No. 51 . Retrieved Apr 21, 2020.
  24. ^ a b c Folder 260, Page 118-19. in the Francois Mignon Papers #3889, Southern Historical Collection, The Wilson Library, University of North Carolina at Chapel Colina. https://finding-aids.lib.unc.edu/03889/#d1e91
  25. ^ "The life of folk creative person Clementine Hunter, the first African American adult female to exhibit in the New Orleans Museum of Art: Folk Art America". www.folkartlife.com . Retrieved Apr 2, 2020.
  26. ^ a b c "Chevron Quilt". New Orleans Museum of Fine art . Retrieved March half-dozen, 2020.
  27. ^ ManagedArtwork.com. "Chevron Quilt_ Clementine Hunter_ textile_ quilt_ folk art_ outsider fine art | Clementine Hunter | Gilley'southward Gallery". world wide web.gilleysgallery.com . Retrieved March 31, 2020.
  28. ^ "Celebrating Clementine Hunter | Fine Fine art And Antique Appraiser". Retrieved Oct 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 Bold Hues of Southern Life". Smithsonian Magazine . Retrieved April 21, 2020.
  31. ^ "Blackness women oral history project interviews - The Civil Rights History Project: Survey of Collections and Repositories (The American Folklife Heart, Library of Congress)". www.loc.gov . Retrieved March 30, 2018.
  32. ^ Parrie, J. Thou. "Clementine Hunter Tapes". University Libraries . Retrieved April 21, 2020.
  33. ^ "Shinnerrie Jackson and Core Ensemble Bring Ain't I a Woman to the Morrison Serial". San Francisco Classical Voice . Retrieved April 22, 2020.
  34. ^ "Shinnerrie Jackson: 'Ain't I a Adult female?'". Grand Forks Herald . Retrieved April 22, 2020.
  35. ^ a b "Clementine Hunter's World". Retrieved Apr 21, 2020.
  36. ^ Times, Natchitoches. "Locals present for 'Clementine Hunter's World' screening in Washington, D.C | Natchitoches Times". Retrieved April 21, 2020.
  37. ^ a b Times, Natchitoches. "Oct. ane to exist known as Clementine Hunter Day 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 thirteen, 2011.
  39. ^ Richard Burgess, "Guilty plea in art forgeries", The Advocate Arcadiana (June 7, 2011). Retrieved June fifteen, 2011.
  40. ^ "Funeral Procession". Collections. Savannah College of Fine art and Pattern. Archived from the original on February eleven, 2017. Retrieved February 9, 2017.

External links [edit]

  • Jennifer Moses, "Looking for Clementine Hunter's Louisiana" The New York Times (June 14, 2013). Retrieved June 17, 2013
  • "Clementine Hunter: A Sketchbook", University of New Orleans Printing/Ogden Museum of Southern Art
  • iii artworks past or after Clementine Hunter at the Art UK site
  • Ashleigh Barice, "Creative person in focus: Clementine Hunter", Art UK, March 9, 2017
  • Clementine Hunter at Find a Grave

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

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