From School Library Journal
Kindergarten-Grade 3—Although there was a difference in their life spans of about 25 years, Clementine Hunter (1886/1887–1988) and Grandma Moses (1860–1961) had much in common. Neither had any formal art training, both started painting in midlife, both used a folk-art style derived from their individual roots, and both lived long and fruitful lives finding personal passion in their art. Hunter, who today enjoys a modest reputation and whose work is sold in galleries and hung in museums, never received the acclamation that Moses achieved. Whitehead and Evans present an effective vehicle to introduce children to the work of this remarkable Southern black woman. Whitehead's lyrical text speaks of Hunter's perseverance and talent as well as of the simplicity, love of nature, and caring of friends and family that informed her work. Evans bolsters Whitehead's words with bold mixed-media illustrations that portray Hunter in hard times and in good. He often focuses on her hands and face, bringing strength and vitality to the pictures. In one especially poignant image, he depicts the artist standing alone before her pictures at an exhibition after hours: she was forbidden to enter the gallery with other visitors because of her race. Pair this picture-book biography with one about Grandma Moses, perhaps Alexandra Wallner's
Grandma Moses (Holiday House, 2004) or W. Nikola-Lisa's
The Year with Grandma Moses (Holt, 2000), to present inspiring stories of two outstanding American women artists. Eleven small reproductions of Hunter's works are appended.—
Barbara Elleman, Eric Carle Museum of Picture Book Art, Amherst, MA Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
In the 1950s, segregation laws denied artist Clementine Hunter admission to the gallery that exhibited her work. Throughout her life, she overcame prejudice, poverty, and hard times to create beautiful folk art that is now celebrated across the country. The words and images in this moving picture-book biography show that Hunter was not stopped by self-pity, and she did not wait for the perfect time to paint. She had no canvas, so she made art with whatever she could find––window shades, glass bottles, old boards––and Evans’ full-page paintings with bright collage and black line evoke Hunter’s hard work on the plantation, and happy times, too, including weddings and baptisms; and they show her creating beautiful, glowing art in the dim kerosene light, as she draws on her memories of her long life. A final author’s note that fills in more of Hunter’s story, and features small reproductions of her work, will leave readers wanting to turn back for another look. Grades 4-7. --Hazel Rochman
