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Lot Essay
Though Grace Carpenter Hudson's earliest works were regional landscapes, academic still lifes and studio portraits, by 1891 the local Pomo Indians had indeed become her focus. Painting over 700 numbered canvases, these depictions were not only technically accurate portraits, but also efforts to preserve the traditions and culture that were slowly disappearing from the tribe. In one of her journal entries she described, "My desire is that the world shall know them as I know them, and before they vanish." (Archives of California Art, undated)
Affectionately referred to as the "Painter Lady" by the Pomo children, these portraits exhibited her affinity and sympathy for the local tribe. Though the elder Pomos were superstitious about capturing one's likeness, there remained several eager children who were willing subjects for her pictures. Such is the case in A Hunter, Tick-E-Dy, where the artist captures the proud young hunter and his newly slain rabbit. The artist's exemplary attention to detail, which is particularly evident both in the description of the boy and in the surrounding foliage, is proof of Hudson's skill as a painter.
Affectionately referred to as the "Painter Lady" by the Pomo children, these portraits exhibited her affinity and sympathy for the local tribe. Though the elder Pomos were superstitious about capturing one's likeness, there remained several eager children who were willing subjects for her pictures. Such is the case in A Hunter, Tick-E-Dy, where the artist captures the proud young hunter and his newly slain rabbit. The artist's exemplary attention to detail, which is particularly evident both in the description of the boy and in the surrounding foliage, is proof of Hudson's skill as a painter.