Jay Johnson's American Folk Art of the Twentieth Century PDF

By Jay Johnson

This illustrated consultant to American people artists and their paintings spans a century of painters from Grandma Moses to Kathy Jakobsen and covers such media as sculpture, pottery, and cloth creations.

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Extra resources for American Folk Art of the Twentieth Century

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Born in New York City in 1918, Bond began to draw at the age of five, but an active life as a New England sailor and oysterman prevented him from devoting much time to his art. For years, he was the master of one of the last commercial sailing ships operating out of Long Island, and his trips up and down the coast of New England and in and out of New York harbor offered a wealth of experience and visual memories. About twenty years ago, Bond began to set these visions down, but he did not do so on canvas or wood or paper, as is the case with most folk artists.

Patches of bare ground, walls, floors, even a shirt remind one of the rough bark of a tree or the striated surface of a freshly cut pine log. Though he now has a "nine-to-five" job as yard supervisor for a lumber com- woods in his painting. He rises early, morning "when it's quiet and peaceful," he says sometimes and goes to work, and when his inspiration lags, he drives back in the mountains, where the sights and sounds evoke memories of the past. Carter's work has been exhibited at various museums, including Piece Hall Gallery, the Woodspring Museum, and the University of East Anglia— all in England and, in 1975, he received the bronze medal at the California State Fair for his painting Mill Town.

In recent years carrying the wash, or feeding the chickens. In a sense, Cooper is a memory childhood experience, but he carries later is much of his work is drawn from looking for new ideas and new themes. He painter, for always with him paper and pencil with which he can render quick sketches to be turned into more fully developed drawings on pieces of butcher paper the size of the canvas on which the final painting will be done. Much more articulate than most folk painters, Cooper defines his work as dependent on color, design, and emotional content.

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American Folk Art of the Twentieth Century by Jay Johnson


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