Deep Blues: Bill Traylor, Self-Taught Artist (African-American Artists and Artisans) by Mary E. Lyons |
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Editorial Reviews
From School Library Journal
Grade 4-8?With Painting Dreams, Lyons continues to introduce young people to self-taught African American artists and craftspeople. Born in 1892, Minnie Evans was an unusual child who had visions and was tormented by extremely vivid dreams. In middle age, she began to paint from her imagination, using scrap materials. Her family and friends worried that she was mentally unstable and never appreciated her work, even though they accepted her need to paint. She became known to the art world in the 1960s through the photographer Nina Starr, who was responsible for exhibitions and articles featuring the artist. Lyons's book is based on interviews with Starr and other people who knew Evans, as well as published material. Twenty full-color reproductions of her paintings are included, with mention of some of the recurring motifs in her work, but not indulging in any detailed criticism. The paintings range from childlike to psychedelic in execution; they are visionary in subject matter, composition, and coloring. There are also two photographs of Evans, taken by Starr, and a few other small photos of places mentioned in the text. A readable, interesting, and well-documented title.?Pam Gosner, Maplewood Memorial Library, NJ
Copyright 1996 Reed Business Information, Inc.
From Booklist
Gr. 5^-7. Poor, untaught, deeply religious, Minnie Evans was driven to paint her dreams. Her family thought she was crazy and tried to stop her. But today her art is celebrated, and her paintings hang in museums. As in her biographies of Horace Pippin and Harriet Powers, Lyons has brought us the life and work of an African American folk artist who succeeded despite community prejudice. The small, spaciously designed volume is illustrated throughout with quality reproductions of Evans' work in glowing color and detail. Lyons' sources are meticulously documented in notes at the back, including references to her own interviews with people who knew the artist. Lyons includes some negative comments from those who belittle "outsider" art, as well as praise from critics for the powerful visionary artist. Hazel Rochman
See all Editorial Reviews
Grade 4-8?With Painting Dreams, Lyons continues to introduce young people to self-taught African American artists and craftspeople. Born in 1892, Minnie Evans was an unusual child who had visions and was tormented by extremely vivid dreams. In middle age, she began to paint from her imagination, using scrap materials. Her family and friends worried that she was mentally unstable and never appreciated her work, even though they accepted her need to paint. She became known to the art world in the 1960s through the photographer Nina Starr, who was responsible for exhibitions and articles featuring the artist. Lyons's book is based on interviews with Starr and other people who knew Evans, as well as published material. Twenty full-color reproductions of her paintings are included, with mention of some of the recurring motifs in her work, but not indulging in any detailed criticism. The paintings range from childlike to psychedelic in execution; they are visionary in subject matter, composition, and coloring. There are also two photographs of Evans, taken by Starr, and a few other small photos of places mentioned in the text. A readable, interesting, and well-documented title.?Pam Gosner, Maplewood Memorial Library, NJ
Copyright 1996 Reed Business Information, Inc.
From Booklist
Gr. 5^-7. Poor, untaught, deeply religious, Minnie Evans was driven to paint her dreams. Her family thought she was crazy and tried to stop her. But today her art is celebrated, and her paintings hang in museums. As in her biographies of Horace Pippin and Harriet Powers, Lyons has brought us the life and work of an African American folk artist who succeeded despite community prejudice. The small, spaciously designed volume is illustrated throughout with quality reproductions of Evans' work in glowing color and detail. Lyons' sources are meticulously documented in notes at the back, including references to her own interviews with people who knew the artist. Lyons includes some negative comments from those who belittle "outsider" art, as well as praise from critics for the powerful visionary artist. Hazel Rochman
See all Editorial Reviews
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