ART News September – Plein Air

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ART News September – Plein Air Calendar ART News September – Plein Air October – Members Show from the Paradise Art Center Sept/Oct 2010 (See Page 7) PAC’s mission is to encourage, promote and nurture the visual arts November-December Affordable Art 5564 Almond Street • Paradise, CA 95969 • 530 877-7402 In the Wheeler Gallery Gallery Committee Meets every 2nd Tuesday of THREADS OF REALITY the month at 12:00 noon. presented by The Paradise Plein Air Painters Barbara Ramsey, Chairperson 872-2953 September 3 through September 27 [email protected] ~ Opening Reception – Ice Cream Social ~ Christie Beebe 877-7629 Sunday, September 5, 2010 ~ 1:00 p.m. to 4:00 p.m. [email protected] ‘We roam the Ridge, ‘We Love to Paint, ‘We seek the Light Darlene Fuentes 872-5007 “We Paint with Joy our “Threads of Reality” [email protected] Jann Jones 876-1230 Our creations will feature all two-dimensional media as inspired by our on-location [email protected] trips. Our memorable stops include Cherokee, Home at Last (an equine sanctuary, Chapelle de L’Artiste, the Lott House in Oroville, Feather River Gypsy Cobbs in Lynne Stefanetti 877-6963 Yankee Hill and Caroline Mlf’s Iris Garden on Valley View. [email protected] In addition to the framed pieces, original matted work, prints and cards will be Cathy Hales 873-0579 offered for sale. [email protected] Come see our work and bring your sweet tooth!! Art News of the Paradise Art Center Editor: CALLING ALL JUNIOR ARTISTS AGES 6 thru 12 Years! Peggy Tischhauser 873-1534, Two Watercolor Workshops have been scheduled for this fall at the Paradise Art [email protected] th th Published bimonthly at Center on the following Sundays: Session #1 will be October 17 & October 24 , th 5564 Almond Street 2:00 p.m. to 4:00 p.m. and Session #2 will be November 7 and November Paradise CA 95969 14th, 2:00 p.m. to 4:00 p.m. The workshops are open to all 530 877-7402 levels in the above age groups. Both October sessions are required to build and complete a finished landscape. The same applies to both November sessions. There is a nominal fee of $25.00 per each two-class session. All supplies and a juice break will be provided. Space is limited to only ten students per session and pre-paid registration to PAC is necessary. Flyers will be distributed locally and registration forms will be available at PAC within a few weeks. Susan Kincaid, instructor, 876-9006. Paradise Art Center The Prez Says: 5564 Almond Street Paradise CA 95969 Thank you to the PAC Board and all the members for supporting me in being the Governing Board new President. I look forward to moving the Art Center forward in a positive and (term expires) prosperous direction. I know that economic times are hard, but your continued support in membership and participation is needed to keep this valuable asset President: Christie Beebe (’11) open. I hope you all share in my commitment to the Paradise Art Center. 877-7629 [email protected] As an artist myself, I appreciate that I have a place I can go to make art, talk, laugh, 1st Vice President: and sometimes even cry with people who have the same passions as myself. Mary Ryan (’12) 877-3258 I would like to thank Vicki Farrell for her service on the Board. While President, [email protected] she began some important projects that I will continue to see into fruition. One of nd the items that are in the works is getting the front of the building paved. The Town 2 Vice President: of Paradise will complete this for us some time this year. Vicki also got us involved Bill Marshall (’12) with the “Annie B. Fund Drive”, which we will benefit from tremendously. I hope you 877-6176 take part in this endeavor to get us some much-needed Grant Money. We will use Secretary: Cathryn Hudin (’11) this money to get a better air conditioning system for the Art Center. Vicki also set 534-8417 in motion a “Strategic Plan” for the art center. I will continue to work on these st [email protected] strategies to keep the Center organized and moving forward into the 21 Century. Treasurer: Mary Pickler (’11) I would like to remind all our members that you are always welcome to attend the 877-3903 board meetings. To accommodate all of the Board Member’s schedules, the [email protected] meetings have been changed to: Members at Large: 3rd Wednesday of each month at 10:00 a.m. at the Art Center Fred Faircloth (’12) 872-0247 I am looking forward to this new year. I hope you will join me in my enthusiasm to [email protected] keep the Paradise Art Center the great place that it is. Susan Kincaid (’12) Christie Beebe 876-9006 [email protected] THANKS FOR THE MEMORIES James Robertson (’11) Isn’t it nice to have friends in Paradise. You may have noticed that our poor 876-8573 [email protected] weathered mural has been covered up. One day another group of PAC artists will perhaps come up with a new idea for that wall. But for now we have said goodbye Nancy Sowarby (’11) to the 2002 MURAL PROJECT, lovingly created by about 15 PAC members. 873-8729 My thanks go out to the team that created our mural and so willingly put in many hours planning, preparing and finally painting. They should be noted here and remembered for their loyalty and perseverance. Thank you: Aldean Keefer, Beverly Kelley, Pam Tompkins Vivian Bryant, Dolores McGuire, Sharon Bennett, Kathleen Board Meets: Martin, Diana Schlepp, Karen Andrews, Roxanne Kelly, Joan Headrick and Sylvia Third Wednesday of every Marshall. A special thank you must be sent to Sylvia and Bill Marshall, without month, 10:00 a.m. at the Art whom we would not have raised the panels to the side of the building. Center. Members and the public are welcome. We will all weep a little for the end of this landmark we created, but it is better to remember it in its good days than to watch it disintegrate. This article is especially a way of thanking Scott Shaw for doing this work from mostly the goodness of his heart. Thank you Scott. for giving this tired mural a blanket to keep its memory warm and at peace. Alison K. Paolini, Chairperson 2 Grandma Moses by Frances Simmons As many of us are “older” when we begin to draw or paint, I thought that an article on Grandma Moses was a fitting inspiration. Grandma Moses, whose paintings hang in nine museums including Vienna and Paris, started painting when she was 76 years old. She painted every day until she finally passed away at the age of 101. She is considered the most outstanding of the primitive painters, being entirely self-taught. She took up painting because her hands were crippled with arthritis such that she could no longer embroider. However she could hold a brush. Two years after commencing her art “career”, she hung several paintings in the local drugstore in Hoosick Falls, priced between $3.00 and $5.00. Louis Caldor, a prominent collector of the time, was driving through Hoosick Falls and discovered some of her paintings. He bought them all and then drove to her home at Eagle Bridge and bought ten others. She later attained fame and was a guest at the White House where President Truman played piano for her. Nelson Rockefeller, then the Governor of New York, proclaimed Grandma Moses days. Grandma Moses’ theme in her work was optimism and bucolic scenes where the insanity of the world is long forgotten. She did all of her paintings from her memory of her life on the farm. Grandma Moses was a self-taught “primitive” who in childhood began painting what she called “lambscapes” using grape juice and lemon juice for colors. She used no easel, painting flat on a piece of masonite propping herself up with two pillows. She is an inspiration to those who take up art simply for the joy of it. ANOTHER FINE VENUE YOU CAN GET INTO We need people who would like to have a one-day show at Oak Knoll Senior Living (Bushman Road, Paradise) in a new program of Second Saturday Art and Wine Tasting. This warm atmosphere with background music by a pianist with a flair, and friendly people, will provide a showcase for your work. Here is a chance to get in on a budding art experience. The show will be expanded for the months prior to Christmas to showing fine art and crafts with gifts in mind. Please tell your friends who do more craft type work that they could have another opportunity to show their creations. This event will take place on the second Saturday of each month from 3:00 p.m. to 7:00 p.m., with the next show date of September 11. If interested please get in touch with Alison Paolini at 877-3306 for more information. IT'S TIME TO RENEW YOUR MEMBERSHIP Enclosed you will find the form to renew your membership. The cost will remain the same as last year. We look forward to everyone renewing and also the addition of more members. Encourage your friends and neighbors to become a member of PAC. Be assured that every dollar that is collected is immediately used to keep the lights on and the Art Center up and running.
Recommended publications
  • Art Masterpiece: “Checkered House in Winter” By: Grandma Moses
    Art Masterpiece: “Checkered House in Winter” By: Grandma Moses Artist: Grandma Moses (1860-1961) Keywords: Scene, Foreground, Background, Folk Art Grade: 1st Concept: Group Mural Project Lesson Activity: Create a snowy village scene using crayons and cotton balls Meet The Artist: Anna Mary Robertson (Grandma Moses) was the third child born into the Robertson family in 1860. Her parents were farmers and money was scarce. When Anna was 12 she became a “hired girl” to help another family. When it was cold in the winter little girls did not attend school very often, but when she was working as a hired girl she was allowed to attend school with her employer's children where she learned to read and write. She was a very hard worker and enjoyed the opportunity to go to school. When she was in her 20's she married Thomas Salmon Moses who was also a hired worker. The couple moved to Virginia where they rented farms and worked the land. They had five children and eventually returned to New York state and bought a farm. At this time she was called Mother Moses. She could do many things and enjoyed needlework such as sewing and embroidering and would make pictures on the fabric with her needle & thread. She slowly developed arthritis and as she got older it became more difficult to push the needle through the fabric. When she was in her late seventies she decided to take up painting which was easier on her hands. Her first painting was made using housepaint! She painted simple picture scenes of family, farm life, and community extolling the virtues of honesty and hard work which made America great.
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  • Dear Friend and Fellow History Buff
    PLEASE PRING THESE ENTIRE FIVE PAGES. THE LAST TWO PAGES MUST BE MAILED IN TO SECURE YOUR RESERVATION. Dear Friend and Fellow History Buff: We’ve saved the best for last. Autumnal New England. Glorious fall foliage, the colors splashed against mountain ranges carpeted by hickory, maple, and the sweet gum. The days are warm – most of the time – the evening air is crisp — and the landscape dotted with villages as stylized as a Grandma Moses painting. Which reminds me: among half a dozen places we’ve never visited before is the acclaimed Bennington Museum, home to the world’s largest collection of Moses’ work. It’s just one of the sites that make this fall’s “A Presidential Tour of New York, New England & the Hudson Valley” (October 1 – 10, 2016) a combination of old favorites and such first-time attractions as Washington Irving’s Sunnyside estate; the newly renovated FDR Library and Museum; the Ground Zero Memorial and 9/11 Memorial Museum; and the Concord Museum, home to an original Paul Revere lantern, not to mention Emerson’s study and the contents of Thoreau’s famous cabin at nearby Walden Pond. I needn’t remind you that our hotels – most booked for two or even three night stays – are the cream of the crop. Likewise, we’ll be dining at such celebrated institutions as Sylvia’s Soul Food in Harlem, Boston’s Union Oyster House (JFK’s favorite), the world-famous Culinary Institute of America, and the legendary Durgin Park in the shadow of a teaming Quincy Market (we’ve been careful to set aside free time in Boston to allow those so inclined to shop till they drop).
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  • Decorative Artists of Orlando Membership Application for 2020 Decorative Artists of Orlando - an Affiliated Chapter of the Society of Decorative Painters
    DECORATIVE ARTISTS OF ORLANDO SEPTEMBER 2020 NEWSLETTER CHAPTER WEBSITE: www.decorativeartistsorlando.wordpress.com CHAPTER MEETINGS ARE CANCELLED THROUGH th DECEMBER 31, 2020 September 7 American Legion Post #243 Labor Day 491 W. Broadway St – Oviedo, FL 32765 PLEASE STAY TUNED FOR AN UPDATE REGARDING THE JANUARY 2021 MEETING We hope all members, friends, and loved ones remain healthy and safe! ~ “Labor Day 1909” by Bob Pettes September Birthdays 4th – Barbara Fowler 7th – Greg Case 11th – Pam Richards 13th – Adriana Young rd 23 – Penny Brown “Green Heron Near the Lighthouse,” Sanibel Island, FL. 29th – Sherry Siercks ~ Photo by Greg Case, May 2020 30th – Evette Appleby PRESIDENT’S MESSAGE “Count your life by smiles, Your board members have been busy with some ideas for not tears. Count your age 2020 and we need your vote to approve or give feedback if it by friends, not years. there is something you do not agree with. There is a ballot to com- plete and can be mailed or e-mailed to Greg and Dianne. Greg has Happy birthday!” typed up the questions for you to vote on. One of the questions is about the local chapter dues being waived for 2020, and was a sug- gestion made to us by Alise Duerr. Thank you Alise; the Board agreed. Coming Birthdays - October It has been suggested we publish the I certainly have been missing our monthly chapter meetings and next month’s birthdays for those who workshops. I hope all are doing well and staying busy with at least like to plan ahead and craft cards! some of what you love.
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  • “Grandma Moses” Born Easton, New York, 1860; Died Hoosick Falls, New York, 1961
    Grandma Moses Portrait of Grandma Moses Haying Time The Artist Anna Mary Robertson Moses “Grandma Moses” Born Easton, New York, 1860; died Hoosick Falls, New York, 1961. Grandma Moses was born the third of ten children in her family on a rural farm in New York. At the age of 12, she left her family’s farm, and went to work as hired help at a neighboring farm. She married Thomas Moses at 27 and worked as a farm wife in Virginia. She had ten children, five of whom survived past infancy. She helped to support her family by selling various homemade foods from her home. Grandma Moses did not begin painting until she was 78 years old, and was never trained as an artist. She began painting to keep herself occupied when she became arthritic, and could no longer enjoy the needlework she had once been able to do. Louis J. Caldor, a New York collector, discovered Moses’ painting in the window of a drug store. He showed her work to an art dealer named Otto Kallier, and he gave Moses her own exhibit in New York City. Her paintings soon became very popular, and she was well known throughout the world. Grandma Moses painted until a few months before her death at age 101. Art Movement Folk Art Folk Art does not come out of the fine art tradition. Folk artists are typically from rural or pre-industrial societies, and are more closely related to craftsmen than they are to fine artists. Generally, artists of this style have little to no formal training in art.
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  • Grandma Moses: American Modern” Is on View at Shelburne “The Old Checkered House, 1853,” 1944
    GRANDMA MOSES American Modern By Jessica Skwire Routhier “Catching the Turkey,” 1955. Oil on pressed wood, 12 by 16 inches;. SHELBURNE, VT. — Context may not be everything when it comes to approaching and understanding the art of Anna Mary Robertson “Grandma” Moses, but it matters a lot. The latest contribution to the somewhat crowded field of Moses retrospectives is a studied attempt to articulate more completely the context in which her work was made and perceived in the 1940s and 1950s. Both the exhibition and the catalog take the bold step of presenting Moses’s work alongside that of her Modernist contemporaries, arguing persuasively that she was less the “naïve” autodidact she is often thought to be and more fully a participant in the construction of American Modernism. “Grandma Moses: American Modern” is on view at Shelburne “The Old Checkered House, 1853,” 1944. Oil on pressed wood, 20¾ by 28 inches; Museum through October 30 and will travel to the Bennington Bennington Museum. Museum in 2017. By now the story of Moses’s “discovery” and rise to fame is familiar. She lived most of her life on a farm in rural Green Point, N.Y., near the Vermont border, and began painting in earnest in her seventies, after the death of her husband. In 1939, her paintings, on view in the “women’s exchange” area of a local drugstore, caught the attention of a New York-based folk art collector. In an astonishingly brief period of time she was exhibiting at the Museum of Modern Art, licensing images with Hallmark, appearing frequently on nationally televised broadcasts and becoming a household name — enough so that Spencer Tracy, in the 1945 film Adam’s Rib, could tease Katharine Hepburn that her new hat made her look “kinda like Grandma Moses.” “To go from unknown to being name-dropped by Hollywood within the space of just a few short years,” says exhibition co-curator and Bennington Museum curator Jamie Franklin, “is pretty indicative of how much of a phenomenon she was and how quickly that happened.” And yet it was not immediate.
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  • Norman Perceval Rockwell (1894 – 1978) 20Th Century, American Illustrator Norman Perceval Rockwell
    Norman Perceval Rockwell (1894 – 1978) 20th Century, American Illustrator Norman Perceval Rockwell American Illustrator Modern Period of Arts Born: 3 February 1894, New York City, New York Died: 8 November 1978, Stockbridge, Massachusetts Active: 1912 – 1970s Norman Rockwell was the younger of two brothers. His older brother, Jarvis Jr. was an “A” student and athlete. Norman, skinny, gangly, and awkward, struggled to get passing grades. The one thing he did love was drawing, and knew, from the time he was a child, he wanted to be an artist, specifically, create covers for the Saturday Evening Post Magazine. One of the Post’s top illlustrators, J.C. Leyendecker, lived in Rockwell’s hometown of New Rochelle, and Rockwell used to study everything about Leyendecker’s work: composition, color…even stalked him around town an mimicked his walk and manners! At 16, Rockwell made the decision to leave high school and enroll in an art academy. The focus on art paid off: by 19, Rockwell was busy with commissions for the Boy Scouts and commercials and in 1916, when he was 22, he painted his first cover for the Saturday Evening Post. (He would go on to paint 321 covers, one less than Leyendecker’s 322). Rockwell painted the world, not as it was, “but as I would like it to be.” He also thought of himself, not as a “fine arts painter,” but rather, a storyteller. His paintings included a number of details which help flesh out the “story” that he told. In fact, Rockwell said of his Saturday Evening Post Covers: “Some have been good, some have been bad, and some just indifferent…often the ones I have liked best have been liked least by the readers…one I like least has found favor.
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  • Grandma Moses American Artist (1860-1961)
    Hey Kids, Meet Grandma Moses American Artist (1860-1961) Anna Mary Robertson was born on September 7, 1860 in Washington County, New York. There she spent the first twelve years of her life on the family farm with her father, mother, and nine brothers and sisters. Because her father enjoyed seeing his children draw, he bought them large sheets of blank newspaper. Anna Mary loved drawing happy, colorful scenes. Anna Mary, a pretty young woman, attracted the attention of farmer, Thomas S. Moses. They were married in 1887 and bought a farm in the beautiful Shenandoah Valley of Virginia. They had ten children but five died at birth. In 1907 they moved again to Eagle Bridge, New York where Grandma Moses lived for the rest of her life. While wallpapering the parlor of their Eagle Bridge home, Anna Mary ran out of paper. To complete the room she hung white wallpaper and painted a scene with regular house paint. This was her first painting. The wallpaper scene is known as the Fireboard and hangs in a museum in Bennington, Vermont. When Grandma Moses decided farm work was too difficult, she took up embroidery. At the age of 76, she gave up embroidery because of arthritis and started to paint instead. Most of Grandma Moses' works were painted on cardboard. The scenes she painted were happy scenes of herself as a child or rural home life. Other paintings are of people in eighteenth-century costumes, the way they might have dressed in the country. Her most popular paintings include The Old Oaken Bucket, Sugaring Off, Over the River to Grandma's House, and Catching the Turkey.
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  • 'Grandma Moses: American Modern' Review: an Icon As You've Never Seen
    This copy is for your personal, non-commercial use only. To order presentation-ready copies for distribution to your colleagues, clients or customers visit http://www.djreprints.com. https://www.wsj.com/articles/grandma-moses-american-modern-review-an-icon-as-youve-never-seen-her-1503435168 ART REVIEW ‘Grandma Moses: American Modern’ Review: An Icon as You’ve Never Seen Her An exhibition enhances our understanding of the well-known but problematic autodidact by showing her alongside her ‘schooled’ contemporaries. By Karen Wilkin Aug. 22, 2017 4:52 p.m. ET Bennington, Vt. In 1939, the Advisory Committee of the Museum of Modern Art organized its first exhibition installed in the Members’ Rooms of the 53rd Street building. Titled “Contemporary Unknown American Painters”—“outsider art” wasn’t yet coined—it showcased works by 18 artists, their names followed by such labels as “Milliner. Brooklyn,” “Unemployed. The Bowery, N.Y.,” and—shockingly, to today’s sensibilities —“Negro housewife. Missouri.” One, Anna Mary Robertson “Grandma” Moses (1860- 1961), a “Housewife. New York,” was a farm woman who at age 78 began painting scenes of rural New England life. Her work had been discovered the previous year in a drugstore in upstate Eagle Bridge, N.Y.: charming bird’s-eye views of barns and buggies, farmyards and clapboard houses, steepled churches and sleighs, populated by agile figures and lively animals. A year later, in 1940, Grandma Moses had her first solo exhibition, at New York’s Galerie St. Etiènne. She quickly became a full-fledged American icon, her images seen as emblematic of the values of postwar U.S.
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  • Volume 37 | Number 1
    Volume 37|Number 1 INSIDE Director’s Letter: 3D Digital Here and Now Over the last fifteen years, there has been a profound transformation taking place in the way things are made, all across the world, and here in Bennington too. One of the most interesting aspects of this, for us, is actually how Bennington is tied in with the wider world. So it is very exciting for me to introduce Bennington Museum’s spring exhibition – 3D Digital: Here and Now. This show is about “high tech” but it’s not high tech as we usually understand it—the virtual world of apps and programming. This show is emphatically about the physical world. It’s also about the profound impact that digital design and automated fabrication are having on making and manufac- turing, both single objects, made by artists, and objects made thirty or thirty thousand at a time by industry. NASA 3D-Printed Habitat, “Mission to Mars,” 2015, Güvenç Özel (b. 1980), Digital simulation of 3D- printed Housing for Mars, Courtesy of the artist Producing tangible, 3-dimensional objects using CNC routers, 3D printing, laser cutters, and even digital 3D weaving On the surface, this show has a simple goal: to shine a light presents amazing new possibilities for designing and making on the sophisticated 3D digital design and fabrication going on shapes never possible before, for rapid prototyping, for speed in Bennington right now. We also want to illuminate how things and precision in fabrication, for making relatively small made in Bennington are having an impact around the globe.
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  • Exhibition Texts
    EXHIBITION TEXTS Return after Use This booklet is published in association with the exhibition American Perspectives: Stories from the American Folk Art Museum Collection, presented February 11–May 31, 2020, at the American Folk Art Museum, New York. All texts are by Stacy C. Hollander, exhibition curator, unless otherwise indicated. Share Your Story folkartmuseum.org/Perspectives.html AMERICAN FOLK ART MUSEUM 2 Lincoln Square New York, NY 10023 www.folkartmuseum.org Edited by Cindy Trickel Designed by Kate Johnson Copyright © 2020 American Folk Art Museum, New York. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from the museum. This exhibition is supported in part by Art Bridges, the David Davies and Jack Weeden Fund for Exhibitions, the Richard C. von Hess Foundation, the Juliet Lea Hillman Simonds Foundation, the Gladys Krieble Delmas Foundation, the Stacy C. Hollander Fund for Exhibitions, the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and the Council for Traditional Folk Art. America is a nation of stories. Each life is a series of experiences; they make Everyone has a story to tell—a life lived as a us who we are. witness to and participant in events both These become the stories that we use to invoke private and shared. The stories that we tell as truths, assert authenticity, and appeal to our individuals are single strands in a grander better natures through the precious values narrative.
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  • Grandma Moses (1860 – 1961) Thanksgiving Turkey (1943)
    Art Masterpiece: 1st Grade, Lesson 1 (September) Grandma Moses (1860 – 1961) Thanksgiving Turkey (1943) Oil on Wood, 19 1/8” x 15 1/8” - The Metropolitan Museum of Art Full name: Anna Mary Robertson Moses Art Style: Folk Art Art Terms: Color (Warm and Cool) Activity: Collective Village Drawing (Summer Time) Medium: Crayons Meet the Artist Anna Mary Robertson, better known as Grandma Moses, was born on a farm in Greenwich, New York on September 7, 1860. She worked on the farm with her nine brothers and sisters. When she was 26 years old, she married Thomas Moses and they rented a farm in Virginia where they worked very hard farming, making butter and raising five children. When Anna Mary was 80 years old she began painting seriously and had her art shown in a New York exhibit titled, “What a Farm Wife Painted.” This showing made her very famous and she won many awards. She painted 26 paintings after she turned 100. Grandma Moses died when she was 101 years old. She is often cited as an example of an individual successfully beginning a career in the arts at an advanced age. Art Style Folk Art The craftsmanship of people from a local area which depicts the everyday life and times they shared. The art was not created by a named artist but by ordinary people creating art for enjoyment. Art Terms Color (Warm and Cool) Warm colors come forward toward the eye and cool colors recede or fall into the distance. Think of the sun for warm colors – Red, Yellow, Orange.
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  • Grandma Moses 1860-1961 Anna Mary Robertson Was the Third Child Born Into the Robertson Family in 1860. Her Parents Were Farmers
    Grandma Moses 1860-1961 Anna Mary Robertson was the third child born into the Robertson family in 1860. Her parents were farmers raising a brood of ten children. Money was scarce and when Anna was 12 she became a hired girl to help another family. Her schooling was limited. When it was cold in the winter little girls did not attend school very often, but when she was working as a hired girl she was allowed to attend school with her employer's children. She worked hard all the time she was growing up, then when she was in her 20's she married a man named Thomas Salmon Moses who was also a hired worker. The couple moved to Virginia where they rented farms and worked the land. Ten children were born to them, but five of them died when they were babies. Eventually they returned to New York state and bought a farm. At this time she was called Mother Moses. She could do many things and enjoyed doing needlework such as sewing and embroidering. With thread she would make pictures on the fabric, but she had arthritis and it hurt her hands to push the needle through the material. When she was in her late seventies she decided to take up painting which was easier on her hands than needlework. Her first painting was made using housepaint. Her art might be classified as folk art which is self-taught art. A folk artist doesn't go to school to learn how to paint or study with another artist.
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