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By Jay Johnson

This illustrated advisor 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 fabric creations.

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Set within frames and painted At on pine, poplar, in acrylics (he painted a few early works in oils), these relief-carved works reflect their creator's strongly held social and political views. In Garden of Eden, a disgruntled permeates and Eve are driven forth, from a paradise that comes equipped with a television bottles in hand, "rabbit ears" of Adam which much are those of a real rabbit (a bit of the quirky of Cartledge's work) white picket fence. The white — and which is Coke set humor — the that surrounded by an all-too-neat fence as a social and racial symbol emerges again in White Fence, in which black hands set against a background of red and orange flames grasp the pickets as though they were prison bars.

His paintings are in oils on canvas. Chute has won several awards for his paintings, including the Adolph Grant railway lore, Award at the New Rochelle, 1978. His works have been both in White Plains, 44 New New shown York. York, Art Association juried exhibition of at the Bridge Gallery and the Westlake Gallery, Bill Chute South Ferry & Brooklyn Bridge 1981 Oil on canvas; 20" x 24" Collection of Mr. and Mrs. Michael Donovan Photo by Bill Buckner 45 Clark The Coe creative impulse that causes a folk artist to begin to work varies with the With some, it is the new freedom that comes with retirement; with or the hope of financial gain.

Crane's interpretations of a ship portrait, such as The Titanic, or of a harbor scene, such as Dream Island, vary sharply from the usual rendering. Perspective is skewed that it is possible, for example, to view The Titanic from several from the side, looking down on the deck, at an angle, and so angles at one time forth. This multiplicity of perspectives and lack of a single light source are, of so wildly — course, characteristics of much primitive painting, but in few cases are they used so dramatically.

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American Folk Art of the Twentieth Century by Jay Johnson


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