From School Library Journal
Grade 4 Up-Clementine Hunter was an African-American primitive painter who lived all of her 101 years in Louisiana as a manual laborer. Born in 1886, she began painting late in her life. Although untrained, she created works of art now owned by many American museums. The story of her life and art is fascinating, and Lyons has let Tebe, as she was called, tell it in her own words, culled from taped interviews and magazine and newspaper articles. Each short chapter is a well-put-together collection of her pithy comments on some facet of her daily life on Melrose Plantation ("My People," "Housework," "Field Work," etc.). Hunter's bright, colorful, childlike paintings and a handful of black-and-white photographs decorate the book and illuminate her words. The result is an attractive and appealing volume. Its strength is its wonderful depiction of an extraordinary individual who could not read or write, who lived in the same place all of her life, but was nationally known and respected. The book would serve every collection as an excellent biography of a strong woman, as insight into an artist's vision and work, and as a unique slice of Southern history.
Judith Constantinides, East Baton Rouge Parish Main Library, LACopyright 1998 Reed Business Information, Inc.
Gr. 7^-12. Like Lyons' illustrated biographies of African American artists Harriet Powers and Horace Pippin, this is as much about social history as about painting. in this book, Lyons acts as editor, quoting extensively from taped interviews and articles so that artist Hunter speaks in her own voice ("Paintings catch memories a-crossing my mind. Pictures of the hard part of living. The easy parts, too, like fishing and dancing"). Clementine Hunter (aka Tebe ) was the first self-taught African American woman folk artist to receive national attention. Her fine paintings are reproduced in full color, some small, a few full-page, and, like her words, they show and tell a manual laborer's story: what it was like to work in the fields and in the kitchen of the big house a century ago, what it was like to be a wife and a mother and a member of a close Creole community in northwest Louisiana. Lyons' brief, unobtrusive captions about subject and technique help you appreciate the visual images. Hunter was illiterate, but the combination of her pictures and her confident, direct, unpretentious idiom makes for a vivid personal narrative.
Hazel Rochman