The Dividing of the Ways; Anna Mary Robertson (Grandma) Moses (1860-1961); Upstate New York; 1947; Signed "Moses': lower left; Oil and tempera on Masonite; 16 x 20"; Promised gift in the memory of Otto KaIlir; Copyright © 1983, Grandma Moses Properties Co., New York. The works of Grandma Moses have irrepressible cheer and evoke inevitable sentiment in their portrayal of the simplicity of late nineteenth century rural life. This example is typical of Moses' pastoral landscape treatment with its never idle country folk going about their energetic business. Even the animals possess a jaunty animation, and one can almost hear the sleigh runners crunch the freshly fallen snow. The fork in the road creates strong frontal dynamics with the briskly departing sleighs intent on their separate missions while curious neighbors look on.
Photo: Carleton Palmer
Woman with Two Children and Cat;Ernest Popeye Reed;Jackson, Ohio;c. 1968;Carved sandstone; 60 x 12 x 15"; Gift of Leo and Dorothy Rabkin. Although Popeye Reed does some carving in marble and wood, he works primarily in the sandstone and limestones quarried in and around his home area of Jackson, Ohio. Reed began whittling and carving at the age of fourteen. He uses hand tools primarily—a pocket knife, a mallet. He draws upon animals, birds, Indian, and mythological motifs for his reliefs. The sculpture of the sphynx-faced woman with children and cat is representative of Reed's early work—full figures sculpted with solidity, strength and bold distortion.
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Woman Wearing Jet Beads; Attributed to Micah Williams; Proba1 2 x 191/4"; Gift of bly New Jersey; C. 1825; Pastel on paper; 24/ Mr. and Mrs. Gary Stass. This portrait and its companion, Woman Wearing a White Shawl, represent the earliest pastels in the Museum collection as well as the first works attributed to Micah Williams (c. 1782-1837) to be accessioned. Both portraits are stylistically typical of Williams' work—the figure presented in three-quarter view almond-shaped eyes in frontal gaze, carefully detailed—often heavy—eyebrows, lips separated by a decided line. The hands in both portraits are also characteristic of Williams' portraits of the mid 1820s in the placement of the index finger over middle fingers.
Photo: Ken Hicks
t Photo: Ken Hicks
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