Frankie Welch wearing a Cherokee Alphabet dress in front of Duvall House, Alexandria, Virginia, 1968.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
Cherokee Alphabet scarf, 1967, silk.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Discover America scarf, ca. 1968, unidentified fabric.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Hubert H. Humphrey scarf, 1968, silk.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Hubert H. Humphrey dress, 1968.
Courtesy of Ashley Callahan
Frankie flyer, ca. 1975.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
Basket Weave Frankie and Turtles Frankie, n.d.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Republican National Convention Frankie and pinafore, 1968.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, (left) Frankie Welch Collection, Rome Area History Center and (right) Frankie Welch Textile Collection, Hargrett Rare Book and Manuscript Library, University of Georgia Libraries.
Models wearing Clyde’s scarf and tie, ca. 1976.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
Fifty State Flowers scarf, 1970, cotton.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
National Cherry Blossom Festival, Washington, D.C., scarf, 1970, unidentified fabric.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Collection, Rome Area History Center.
Frankie Welch of Virginia scarf, 1969, silk.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Member of Congress scarf, 1969, silk.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Collection, Historic Clothing and Textile Collection, College of Family and Consumer Science, University of Georgia.
Washington, D.C., scarf design, ca. 1978.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
McDonald’s scarf, 1976, Qiana.
Courtesy of Ashley Callahan
McCormick scarf, 1977, Qiana.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
McCormick scarf, 1978, polyester.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Red Cross napachief, 1981, unidentified synthetic fabric.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
National Treasures (Mount Vernon) scarf, 1993, silk.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
BB&T bandana, n.d., cotton.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
Betty Ford and Frankie Welch with the Betty Ford scarf, 1975.
U.S. National Archives and Records Administration, U.S. National Archives and Records Administration.
Betty Ford scarf/scarves, 1975, Qiana.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
Frankie Welch, 1987.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
University of Georgia scarf for the President’s Club, 1982, polyester.
Courtesy of Ashley Callahan
Garden Club of Georgia scarf, 1978, polyester.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Tobacco Institute scarf, 1978, cotton.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Turtles scarf, designed ca. 1971, Qiana.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
Thirteen Original States scarf, designed 1975, Qiana.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
National Press Club scarf, 1973, unidentified fabric.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Collection of Frankie Welch, Peggy Welch Williams, and Genie Welch Leisure.
Peanut scarf for Governor and Mrs. Jimmy Carter, 1973, silk.
Courtesy of Ashley Callahan
Scarf for the inauguration of Ronald Reagan and George H. W. Bush, 1980, polyester.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Georgia Libraries Association scarf, 1971, Qiana.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Frankie Welch Textile Collection.
Steve Penley's second book, Ronald Reagan and the American Ideal, was published in 2010.Â
From Ronald Reagan and the American Ideal, Steve Penley
The Student was painted circa 1937. This was about five years after Hutchinson's first large-scale solo exhibition, which was at the High Musuem of Art in Atlanta. She lived in New York at the time.
Courtesy of Archives Division, Auburn Avenue Research Library on African American Culture and History, Atlanta-Fulton Public Library System
The High Museum of Art in Atlanta acquired this painting, painted circa 1933, in 1934 and prominently displayed it through the 1930s. After many years in storage, the museum deaccessioned the work.
Courtesy of Jason Schoen
Mary E. Hutchinson working on a portrait of Don Sheldon, a personal friend, in 1950.Â
Mary E. Hutchinson's Dream of Violets is a self-portrait she painted circa 1942.Â
Courtesy of Hutchinson Estate Private Collection
Joanna Lanza, pictured, was Hutchinson's first partner and primary model from 1931 to 1935.
Courtesy of Hutchinson Estate Private Collection
Don Sheldon was Hutchinson's personal friend. He worked as a window dresser for Rich's Department Store in Atlanta. This portrait was made in 1950.Â
Courtesy of Hutchinson Estate Private Collection
Mary E. Hutchinson attending the Washington Square Sidewalk Show in New York City, circa 1932. Hutchinson's first solo New York exhibition was in 1934. She moved back to Atlanta in 1945.
Space Station IIIÂ (1989) by Joseph Perrin is part of Georgia's State Art Collection. Acrylic, 44 x 37 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Chroma (1974) by Joseph Perrin is part of Georgia's State Art Collection. Mixed media, 48 x 60 inchesÂ
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Chroma #160Â (1989) by Joseph Perrin is part of Georgia's State Art Collection. Print (silkscreen), 37 1/4 x 25 1/2 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Shapes and Sky by James McRae is part of Georgia's State Art Collection. Acrylic, 30 x 27 1/2 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Cooking Utensils by Ivan F. Bailey is part of Georgia's State Art Collection. Iron
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Untitled (1977) by Ivan F. Bailey is part of Georgia's State Art Collection. Iron, 11 1/2 x 18 x 8 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Hey Diddle Fiddle (1970) by Byron McKeeby is part of Georgia's State Art Collection. Print, 28 x 20 1/4 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Turtlemen with Turtlehooks (1985) by John T. Riddle Jr. is part of Georgia's State Art Collection. Print (silkscreen), 28 x 20 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Clubs Is Trumps (date unknown) by John T. Riddle Jr. is part of Georgia's State Art Collection. Mixed media, 49 x 35 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Harriet Tubman: Carrying Out the Plan (1981)Â by John T. Riddle Jr. is part of Georgia's State Art Collection. Print
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Harriet Tubman: Carrying Out the Plan (1981) by John T. Riddle Jr. is part of Georgia's State Art Collection. Print
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Untitled #74Â (date unknown)Â by Herbert Creecy is part of Georgia's State Art Collection. Acrylic, 37 x 37 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Cube (date unknown) by Herbert Creecy is part of Georgia's State Art Collection. Acrylic, 42 x 46 1/2 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Study #8Â (date unknown)Â by Herbert Creecy is part of Georgia's State Art Collection. Acrylic, 40 1/2 x 36 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Study #44Â (date unknown)Â by Herbert Creecy is part of Georgia's State Art Collection. Acrylic, 30 1/2 x 27 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Study #17 (date unknown) by Herbert Creecy is part of Georgia's State Art Collection. Print (silkscreen), 31 x 27 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
December 26, 1972, 8:29Â by Maurice Clifford is part of Georgia's State Art Collection. Pencil, 30 x 22 3/8 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
C Series #2Â (1977) by Freddie L. Styles is part of Georgia's State Art Collection. Acrylic, 34 x 45 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Athos Menaboni's 1962 lithograph Mourning Dove (26" x 20") is housed at the Morris Museum of Art in Augusta. Menaboni is best known for his detailed paintings of birds, usually portrayed in pairs in their natural habitats.
Courtesy of Morris Museum of Art
Athos Menaboni, pictured in 1945, stands in his aviary studying a golden eagle.
Courtesy of Special Collections & Archives, Georgia State University Library, Atlanta Journal-Constitution Photographic Archive.
Artist Athos Menaboni was renowned for his detailed paintings of birds. He and his wife, Sara, obtained permits to capture rare and protected species for study at their home near Atlanta. Menaboni's 1962 lithograph Bobwhite (26" x 20") is housed at the Morris Museum of Art in Augusta.
Courtesy of Morris Museum of Art
Artist Athos Menaboni made his first bird painting in 1937, when he painted a cardinal from memory during a lull in commissioned work. His c. 1948 lithograph Cardinals (13 1/4" x 10 1/2") is housed at the Morris Museum of Art in Augusta.
Courtesy of Morris Museum of Art
Athos Menaboni, renowned for his bird paintings, reached the height of his career during the 1940s and 1950s. His 1956 lithograph Brown Leghorn (22" x 17 1/2") is housed at the Morris Museum of Art in Augusta.
Courtesy of Morris Museum of Art
American Bald Eagle by Athos Menaboni is part of Georgia's State Art Collection. Lithograph, 23 x 30 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Savannah native Emma Cheves Wilkins's undated Red Shoes, Blue Vase, Glass and Carnations (oil on canvas, 20 1/4" x 24 1/8") is part of the collection at the Morris Museum of Art in Augusta.
Courtesy of Morris Museum of Art
Emma Cheves Wilkins, the third generation in a family of Savannah artists, specialized in painting portraits, landscapes, and still lifes. Her undated Blue Jug and Camellias (oil on canvas, 23" x 21") is part of the collection at the Morris Museum of Art in Augusta.
Courtesy of Morris Museum of Art
Youngster Sitting atop Hawks Bill, N.C. was painted by Savannah native Emma Cheves Wilkins, who is known for her impressionistic landscapes. The undated painting (pastel on sandpaper, 14 5/8" x 11 5/8") is part of the collection at the Morris Museum of Art in Augusta.
Courtesy of Morris Museum of Art
Impressionist painter Hattie Saussy completed In the Hall (oil on board, 20" x 24") in 1927. Saussy spent much of her career in her native Savannah, where she was an active member of the Savannah Art Association.
Courtesy of Morris Museum of Art
Hattie Saussy, a Savannah native, established herself as an impressionistic painter following study in Savannah, New York City, and Paris in the 1910s. She is depicted in this undated portrait (oil on canvas, 21 7/8" x 18") by fellow Savannah artist Christopher Murphy Jr.
Courtesy of Morris Museum of Art
Impressionist painter Hattie Saussy's undated Stream in Wooded Landscape (oil on canvas board, 15 7/8" x 11 7/8") is one example of the landscape paintings for which she is well known. Saussy traveled throughout the region of her native Savannah, painting landscapes outdoors, from the 1920s through the 1970s.
Courtesy of Morris Museum of Art
Hattie Saussy painted Portrait—Girl in Red (oil on board, 24" x 20") in 1935. A Savannah native, Saussy painted numerous portraits, as well as impressionistic landscapes, during her long career.
Courtesy of Morris Museum of Art
Jackson Lee Nesbitt created the lithograph Auction Barn (15" x 19 1/2") in Atlanta with master printer Wayne Kline in 1989. The image is a composite of several sketches of Arkansas cattle auctions in the 1940s. Nesbitt added a Coca-Cola bottle, which sits on a rafter behind the auctioneer.
Courtesy of Morris Museum of Art
Jackson Lee Nesbitt, pictured circa 1955, was a native of the Midwest and a well-regarded printmaker and painter for much of the twentieth century. In 1957 he moved to Atlanta and gave up his art to work in advertising, but in 1987 he resumed printmaking at Rolling Stone Press in Atlanta.
Courtesy of Morris Museum of Art
Jackson Lee Nesbitt's 1990 lithograph The Matthew W. Johnston Family (12 1/4" x 15") is composed of a mother and daughter whom Nesbitt knew during his childhood in Oklahoma. The man in the image was a model from the Kansas City Art Institute, where Nesbitt studied from 1933 to 1938.
Courtesy of Morris Museum of Art
The encaustic painting "Three Flags" (1958) is representative of the distinctive style and subject matter that characterized Jasper Johns's work during the peak of the pop art movement. Johns mixed pigment with wax in order to achieve a faster drying time and create a textured, layered surface that emphasizes the artist's strokes against the canvas. The three canvases are stacked on top of each other, projecting into a three dimensional space to create an effect that contrasts with centuries of classical presentations of art.
Image from Wikimedia
Since 1895 artists have convened to exhibit the most important works of their day at the Venice Biennale in Venice, Italy. Though Jasper Johns was first included at the twenty-ninth Biennale, in 1958, this image depicts the unloading of one of his paintings for the thirty-second Venice Biennale, held in 1964.
Courtesy of the Smithsonian Institution Archives
Jasper Johns donated the 1994 lithograph American Center Paris, 1994 (42" x 36 1/16") to Brenau University Galleries in honor of his aunts Gladys and Eunice Johns, both alumnae of the university, whose childhood images appear in the upper right corner.
Art (c) Jasper Johns/Licensed by VAGA, New York, N.Y. Courtesy of Brenau University Galleries
A statue of William Jasper, a Revolutionary War hero who was killed during the Siege of Savannah in 1779, stands on Madison Square in Savannah. The town of Jasper, the seat of Pickens County, was named in his honor.
Image from Disc wheel
Savannah artist Christopher Murphy Jr.'s undated painting Mosquito Fleet (oil on board, 11" x 13 3/4") depicts the vessels used by African American fishermen along the Georgia coast. Murphy is known for creating paintings and etchings that capture the activity in the streets and along the waterfront of his native Savannah.
Courtesy of Morris Museum of Art
Christopher Murphy Jr., captured in this undated self-portrait (oil on board, 23 3/4" x 18"), was a prominent Savannah artist and teacher for much of the twentieth century. He is known particularly for his depictions of Savannah daily life and architecture, as well as for his portraiture.
Courtesy of Morris Museum of Art
Christopher Murphy Jr., a Savannah native and artist, painted a number of portraits, such as his undated Green Kimono (oil on canvas, 22" x 18"). The painting's dark background and the serene expression of the sitter contrast with the vibrant pattern of her kimono.
Courtesy of Morris Museum of Art
Joe Street, Savannah (charcoal on paper, 9 3/4" x 15 1/2"), an undated etching by Savannah artist Christopher Murphy Jr., was chosen in 1935 by the Print Club of Rochester in New York as its second annual presentation print.
Courtesy of Morris Museum of Art
Christopher Murphy Jr.'s undated drawing Different Levels (graphite on paper, 10" x 7 3/4") was the source for one of the thirty-seven illustrations Murphy created for the book Savannah (1947), which was written by Savannah historian Walter Charlton Hartridge.
Courtesy of Morris Museum of Art
The subject of Black Man Seated on a Chair (1910), a sepia wash on paper by Savannah artist Lucile Desbouillons Murphy, may have been an employee of the Telfair Academy of Arts and Sciences, where Murphy studied under Carl Brandt in the 1890s.
Courtesy of Morris Museum of Art
Margaret Augusta Murphy, the daughter of Savannah artists Lucile Desbouillons and Christopher P. H. Murphy, painted the watercolor Street Scene, Savannah between 1930 and 1940. Her watercolor technique developed under the tutelage of Eliot O'Hara, a visiting artist at the Telfair Academy of Arts and Sciences.
Courtesy of Morris Museum of Art
Rudolph Valentino Bostic, a self-taught artist from Savannah, painted Fighting Angels between 1991 and 1997. Bostic is known for rendering biblical and popular culture scenes through the technique of chiaroscuro, which uses light and shade to create depth.
Courtesy of Telfair Museums.
Laura Pope Forrester, a self-taught artist from south Georgia, created one of the state's first outdoor art environments during the 1940s and 1950s. Her concrete figures, depicting such historical and literary personages as Nancy Hart and Scarlett O'Hara, came to be known as "Mrs. Pope's Museum."
Courtesy of Georgia Council for the Arts, Photograph by Marty Stupich..
William Rogers, a preacher and self-taught artist from Darien, carved this wooden walking staff around 1935. Rogers is known for his walking sticks and animal carvings, which are reminiscent of African art.
Courtesy of Columbus Museum. Museum purchase made possible by the Endowment Fund in honor of D. A. Turner. 87.15.165
Arthur "Pete" Dilbert, a woodworker from the Savannah region, carves a dragon in preparation for an exhibition. Dilbert is well known for his canes, as well as relief sculptures and freestanding figures such as birds and alligators.
Courtesy of Telfair Museums.
The Devil and the Drunk Man, a sculpture by self-taught artist Dilmus Hall, is pictured in 1986. Hall created a sculptural yard at his home in Athens, featuring concrete, metal, and wood figures, as well as drawings inspired by the Old Testament.
Courtesy of Judith McWillie
Howard Finster, a self-taught artist from Chattooga County, sits atop his "Paradise Garden," a sculpture garden filled with mixed-media creations next to his home in Pennville. Finster began work on the garden in 1961.
Courtesy of Georgia Council for the Arts, Photograph by Bud Lee..
The cover art for Reckoning (1984), the second album by rock group R.E.M, features a painting by folk artist Howard Finster.
Photograph by Bradley Loos
Realist painter Alexander Brook's undated work Dispossessed (watercolor on paper, 14 1/4" x 16 3/8") depicts the dignity of a desperate family by capturing the expression of the woman in a pensive moment, amid what appear to be bleak prospects.
Courtesy of Morris Museum of Art
Alexander Brook, a native of New York, was a prominent figurative painter during the first half of the twentieth century. Between 1938 and 1948 he lived sporadically in Savannah, where he executed numerous sketches that became the basis for paintings exhibited nationwide.
Courtesy of Morris Museum of Art
Alexander Brook's undated sketch of a woman living in the Yamacraw district of Savannah was used for the central figure in the foreground of his finished work, Georgia Jungle. Brook was awarded first prize at the Carnegie International exhibition for the painting in 1939.
Courtesy of Morris Museum of Art
Alexander Brook, a prominent New York painter, was fascinated with the rural landscape and vernacular architecture on the outskirts of Savannah. The horizontal line of the leaning shacks in his undated painting Savannah Chickens and Shacks (oil on canvas, 12" x 26") is enhanced by far-off smoke as the chickens give the only living presence to the scene.
Courtesy of Morris Museum of Art
Hilda Belcher, a prominent artist, painted Run Little Chillun, Run, Fo' de Devil's Done Loose (oil on board, 13 7/8" x 11 3/4") in 1931. Belcher, a native of Vermont, attended services at several African American churches around Savannah during her frequent visits to the city. In this work, which was also the basis for a 1935 oil painting of the same name, she captures the energy of a Savannah choir.
Courtesy of Morris Museum of Art
Hilda Belcher (left) poses with her mother, Martha Wood Belcher, in 1913 at Daventry, England. Hilda Belcher, a native of Vermont, traveled frequently to Georgia during her career to sketch scenes, particularly in Savannah, and to paint commissioned portraits.
Reprinted by permission of the Belcher family
Nell Choate Jones's Court Day, Marietta (charcoal, pencil, ink, and gouache on tracing paper, 19" x 24") depicts a crowd of people, shown without individual features, as they congregate around the courthouse, which is barely visible in the background. Action and gesture take precedence in this vividly colored, undated work.
Courtesy of Morris Museum of Art
The oil painting Georgia Red Clay (25" x 30") was made by Georgia native Nell Choate Jones in 1946. The painting exemplifies several aspects of her style, including strong contours and shapes, as well as a modernist emphasis on color.
Courtesy of Morris Museum of Art
Nell Choate Jones, pictured at her 100th birthday party in 1979, was a prominent artist whose paintings were exhibited widely from 1925 until 1979. A Hawkinsville native, Jones drew inspiration for her work from southern landscapes and culture.
Courtesy of Mrs. Thomas S. Potts
Hawkinsville native Nell Choate Jones painted Cotton Blooms (mixed media on paper, 21 3/8" x 17 7/8") circa 1936. This still life depicts a plant commonly seen in Georgia but rarely found in the colder climates where the artist spent most of her long life.
Courtesy of Morris Museum of Art
Sea Dive (monoprint with African fabric collage, 29 1/2" x 20 3/4"), created in 1989 by Atlanta native Emma Amos, depicts a clothed figure hovering in midair above a body of water, which is divided by a strip of African fabric. Action lines in the air and water enhance the sense of the figure's movement.
Courtesy of Morris Museum of Art
This glass mosaic bench (1996) forms part of an art installation designed by artist Emma Amos for the Ralph David Abernathy Memorial Plaza in Atlanta, which commemorates the legacy of the civil rights leader. Amos's installation also includes a bronze chair and a gazebo.
Courtesy of Emma Amos
Emma Amos, an Atlanta native and acclaimed artist, worked in a variety of media, including printmaking, painting, textiles, and collage. Her work explored issues of politics, race, gender, and cultural history. Amos was a professor and former chair at the Mason Gross School of the Arts at Rutgers University in New Jersey.
Courtesy of Emma Amos
Emma Amos, an acclaimed artist and Atlanta native, painted Does Black Wear Off? (oil on canvas, African fabric, and photo transfers, 90" x 56") in 1999. A cloth border imprinted with hands and minstrel's white gloves encloses a strip of woven fabric from Burkina Faso. The multi-hued female figure wears a minstrel's black face with images of figurines repeated around her.
Courtesy of Morris Museum of Art
Children's Mardi Gras (oil on canvas, 29 1/2" x 34 1/2") was painted by Andree Ruellan in 1949. Although seemingly playful, the painting is executed in a dark palette and is more somber than the artist's work prior to World War II.
Courtesy of Columbus Museum. Museum purchase made possible by Norman S. Rothschild in honor of his parents, Aleen and Irwin B. Rothschild
Andree Ruellan's mural Spring in Georgia, commissioned by the U.S. Treasury Department's Section of Fine Arts, was installed at the Lawrenceville post office in 1942. Today the mural is housed in the R. G. Stephens Federal Building in Athens.
Courtesy of U.S. General Services Administration, Public Buildings Service, Fine Arts Collection.
Artist Andree Ruellan's Morning on the River (gouache on paper, 12 1/4" x 18 1/2"), executed in 1940, captures the Savannah River in morning light and includes several people and shanties along the water's edge.
Courtesy of Morris Museum of Art
Artist and Georgia native Eddie Owens Martin, also known as St. EOM, poses at Pasaquan, the visionary art site that he established in Marion County around 1957.
Courtesy of Pasaquan Preservation Society
The studio building of folk artist St. EOM (Eddie Owens Martin) is attached to the original family farmhouse. Every surface of St. EOM's estate, Pasaquan, in Marion County is covered by his art, inside and out.
Courtesy of Pasaquan Preservation Society, www.pasaquan.com
The walls of Pasaquan, the estate of the Buena Vista folk artist known as St. EOM, vary in height, width, and length. They are created with wire mesh and concrete in detailed relief.
Courtesy of Pasaquan Preservation Society, www.pasaquan.com
The folk artist known as St. EOM (Eddie Owens Martin) was fascinated by the human face. The artwork at Pasaquan, Martin's Marion County estate, includes more than 100 faces.
Courtesy of Pasaquan Preservation Society, www.pasaquan.com
The folk artist Eddie Owens Martin, also known as St. EOM, constructed his visionary art site Pasaquan in Marion County in the 1950s. Martin's work, including this hammered tin wall at Pasaquan, reveals the influence of international icons and images.
Courtesy of Pasaquan Preservation Society, www.pasaquan.com
Artist Larry Connatser's untitled painting (acrylic on wood, 13" x 13"), created circa 1980, is a complex composition containing numerous figures in an architectural setting. Identifiable furniture is juxtaposed with fantasy elements.
Courtesy of Morris Museum of Art
Larry Connatser, a self-taught artist who spent much of his life in Georgia, created 2,500 paintings, 800 drawings, and numerous murals over the course of his career. Hallmarks of his expressionistic style include bright colors, fantasy figures, and dreamlike spaces.
Courtesy of the Joan Cobitz Estate
A section of the mural at the Decatur MARTA station (paint on architectural brick, twin murals each 66' x 26') are visible to passengers at both the concourse and platform levels. The mural was created by Georgia artist Larry Connatser in 1981 and depicts stylized renderings of the mountains and sea as vacation destinations.
Image from Joel Mann
Of his twin murals painted at the MARTA station in Decatur, artist Larry Connatser explained, "Stylized fantasies of the two favorite American vacations--escapes to the mountain and sea, were my theme. . . . A stylized ocean and mountain flowers enhance these expressions."
Courtesy of MARTA
All That Jazz Party, a mural designed by artist Larry Connatser and created with the help of students in 1980, covered the floor of the original library in Poetter Hall at the Savannah College of Art and Design. The mural remains intact at Poetter Hall, which today houses administrative offices.
Courtesy of the Savannah College of Art and Design
#1764Â (1974) by Larry Connatser is part of Georgia's State Art Collection. Acrylic, 21 x 24 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
#2149Â (1977) by Larry Connatser is part of Georgia's State Art Collection. Acrylic, 26 x 26 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Untitled by Larry Connatser is part of Georgia's State Art Collection. Acrylic, 48 1/4 x 48 1/4 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Painter Gari Melchers's Rainbow (oil on canvas, 27 1/4" x 30"), an example of the artist's impressionistic style, was created circa 1925.
Courtesy of Morris Museum of Art
Gari Melchers, pictured circa 1900, was a prominent painter in the late nineteenth and early twentieth centuries. A native of Michigan, he established studios in the Netherlands, Virginia, and New York City over the course of his career. In 1906 he was appointed fine arts advisor to the Telfair Academy of Arts and Sciences in Savannah, for which he acquired more than seventy works of art.
Image from Frank Scott Clark
Gari Melchers's oil painting The Unpretentious Garden (33 5/8" x 40 1/2") was created around 1905 and is an example of the artist's impressionistic style.
Courtesy of Telfair Museums.
Artist Gari Melchers painted Marie (West Indian) (gouache on paper, 18 1/2" x 11") around 1925, during a trip to the West Indies. The subject of the painting, whom Melchers called "Ma Petite," was one of the painter's favorite models.
Courtesy of Morris Museum of Art
William O. Golding, a Savannah native who spent most of his life at sea, created around sixty drawings of ships and ports while a patient at the U.S. Marine Hospital in Savannah. He completed St. Yacht Thelma, Bangor, Maine, June 12, 1935 (crayon and graphite on paper, 9" x 12") in 1935.
Courtesy of Morris Museum of Art
William O. Golding's St. Yacht Ramona (crayon and pencil on paper, 8 3/4 " x 11 3/4") depicts ships in American waters and features a lighthouse and flags, both recurring images in the artist's work.
Courtesy of Morris Museum of Art
African American artist William O. Golding drew his Merchant Ship—Scarlet (crayon and pencil on paper, 9" x 12") in 1934. In a variation on his distinctive image of the sun partially hidden by a cloud, a recurring image in the artist's work, Golding places the sun at the horizon in this drawing.
Courtesy of Morris Museum of Art
John Abbot painted his Yellow Breasted Finch (watercolor on paper, 11 1/8" x 8 3/4") in 1790, fifteen years after moving from Virginia to Georgia. A native of England, Abbot traveled to America in 1773 and spent the remainder of his life collecting and drawing specimens of New World birds, insects, and butterflies.
Courtesy of Morris Museum of Art
Painter John Abbot's Grebe, Didapper, or Water Witch (watercolor on paper, 11 1/8" x 8 3/4") is housed at the Morris Museum of Art in Augusta.
Courtesy of Morris Museum of Art
This bronze plaque depicting the naturalist and illustrator John Abbot graces a monument erected in 1957 by the Georgia Historical Society and the Georgia Historical Commission in Bulloch County. Abbot, a British native, collected and drew numerous specimens of birds, insects, butterflies, and moths during his nearly sixty-five years in Georgia.
Courtesy of Georgia Historical Society, Georgia Historical Society collection of photographs, #GHS 1361PH-24-01-4588.
This watercolor of a butterfly, today identified as the American Painted Lady, is one of many images depicting butterflies and moths by John Abbot, a British collector and illustrator who lived and worked in Georgia from 1775 until around 1840.
From The Natural History of the Rarer Lepidopterous Insects of Georgia, by J. Abbot
John Abbot, a painter and naturalist, created Little Horn Owl or Screech Owl (watercolor on paper, 11 1/8" x 8 3/4") in 1790. From 1775 until 1818 Abbot lived and worked in present-day Burke County, sending specimens and illustrations of New World species to collectors in his homeland of England.
Courtesy of Morris Museum of Art
British artist Thomas Addison Richards painted River Plantation (1855-60) from sketches made in Georgia during his travels through the South in the 1840s. Oil on canvas (20 1/4" x 30").
Courtesy of Morris Museum of Art
Henry Ossawa Turner employed a French Barbizon-influenced palette and brushstrokes to create his Georgia Landscape (ca. 1889). Turner, born in Pennsylvania, lived in Atlanta for two years, during which time he opened a photography studio and taught painting and drawing at Clark University.
Courtesy of Morris Museum of Art
George Cooke's Tallulah Falls (1841) features elements typical of the Hudson River School of landscape painting, particularly in its depiction of the picturesque and sublime. Tallulah Falls, located in the northeast Georgia mountains, comprises four waterfalls, three of which Cooke captures in his painting. Oil on canvas (35 3/4" x 28 3/4").
Courtesy of Georgia Museum of Art, University of Georgia; gift of Mrs. William Lorenzo Moss. GMOA 1959.646
A portrait of James Habersham Sr., president of the state legislature and acting governor during the colonial era, was painted by artist Jeremiah Theus in the 1770s. Theus, a native of Switzerland, lived and worked in Charleston, South Carolina, for several decades and established himself as a prominent southern painter. Oil on canvas.
Courtesy of Telfair Museums.
Plantation Portrait (1885) was painted by William Aiken Walker, a well-known itinerant painter best known for his depictions of everyday life in the South. Oil on canvas (14" x 24").
Courtesy of Morris Museum of Art
This watercolor portrait of "General" Kipahalgwa of the Yuchi Indians was painted by the German artist Philip Georg Friedrich von Reck around 1734. Kipahalgwa is depicted wearing an English-style shirt, leggings, and shoes.
Illustration by Philip Georg Friedrich von Reck
Three new buildings, including the Anne Cox Chambers Wing (left) and Wieland Pavilion (back right), were added to the High Museum's main building (front right) in 2005. Art in the foreground is a fabrication of Roy Lichtenstein's House III (1997) and a cast of Auguste Rodin's The Shade (circa 1880).
Photograph by Jonathan Hillyer
The High Museum of Art, located on Peachtree Street in Midtown Atlanta, houses a permanent collection of more than 11,000 pieces, including nineteenth- and twentieth-century American collections, folk art, and African art. Its current building, designed in 1983 by Richard Meier, has received awards and honors for its architectural excellence.
Courtesy of High Museum of Art
The Peachtree Street residence of Harriet Harwell Wilson High was donated to the Atlanta Art Association in 1926 to house a museum. The High Museum remained in the home until 1955, when it moved into a new brick building next to the house.
Courtesy of High Museum of Art
Playing with Reds (Camellias) (oil on canvas, 25 1/8" x 32 7/8"), an oil painting by Emma Cheves Wilkins, was purchased by the Telfair Academy of Arts and Sciences (later Telfair Museums) in Savannah in 1931, around the time of the work's completion. Wilkins began her training at the Telfair and then studied in Paris, France, before returning to Savannah.
Courtesy of Telfair Museums.
Lucy May Stanton made several paintings of "Aunt Liza," one of her neighbors in Athens. In each, Aunt Liza is shown with a brooding expression, dressed in a headscarf and shawl. The solid, modeled forms of the figure, drapery, and furniture are achieved with an economy of large brushstrokes.
Courtesy of Georgia Museum of Art, University of Georgia; Gift of Frances Forbes Heyn
Harriet Powers finished her Bible Quilt around 1886 in Athens. The third panel in the second row depicts the story of Jacob's dream, when "he lay on the ground." Enslaved African Americans identified with Jacob, for he was homeless, hunted, and weary of his journey.
Courtesy of National Museum of American History, Smithsonian Institution
Ben Shute, cofounder of the Atlanta College of Art, arrived in Atlanta in 1928. He played an important role in that city's art community as a teacher, portrait painter, and chair of the Southeastern Annual Exhibition. His Ajiji, Mexico (watercolor and ink on paper) was made in 1951.
Courtesy of Betty Plummer Woodruff Collection
The carving on Stone Mountain depicts the Confederate icons Robert E. Lee, Thomas "Stonewall" Jackson, and Jefferson Davis. Commissioned by the president of the United Daughters of the Confederacy, the sculptor Gutzon Borglum began work on the relief in 1915. He was fired in 1925, and Augustus Lukeman completed the carving.
Photograph by Mark Griffin, Wikimedia
Husband and wife Malcolm Bell Jr. and Muriel Barrow Bell pose in 1938. Two years later, the couple's photographs were published in Drums and Shadows, a photographic study of African American culture along the Georgia coast commissioned by the Federal Writers' Project.
Courtesy of Library of Congress, Prints and Photographs Division
Georgia Sunset (watercolor on paper, 15" x 22") was painted by Eliot O'Hara, a teacher at the Telfair Academy of Arts and Sciences (later Telfair Museums) in Savannah during the 1930s. The painting was acquired by the Telfair in 1934. O'Hara also authored several books on watercolor technique.
Courtesy of Telfair Museums.
Lamar Dodd, founder of the art school at the University of Georgia in Athens, painted Copperhill (oil and egg tempera on linen canvas) in 1938. The painting is characteristic of the evocative landscapes that dominated his work in the 1930s and early 1940s.
Courtesy of Georgia Museum of Art, University of Georgia. Extended loan from the University of Georgia Foundation; Gift of Mary and Lamar Dodd GMOA 1974.3F
This detail of Robin Hood appears on the mural at the main branch of the Savannah public library on Bull Street. The mural, which was painted in 1934 by husband and wife artists William Hoffmann and Martina Steere, depicts Robin Hood before the queen's court. Originally painted for the children's room, the mural was restored in 2000 and is found today in the library's auditorium.
Courtesy of Live Oak Public Libraries
This detail of the king and queen appears on the mural at the main branch of the Savannah public library on Bull Street. The mural, painted in 1934 by husband and wife artists William Hoffmann and Martina Steere, depicts Robin Hood before the queen's court.
Courtesy of Live Oak Public Libraries
This detail of the queen's court appears on the mural at the main branch of the Savannah public library on Bull Street. The mural, painted in 1934 by husband and wife artists William Hoffmann and Martina Steere, depicts Robin Hood before the queen's court.
Courtesy of Live Oak Public Libraries
Inspired by the Mexican muralists, Hale Woodruff, a nationally recognized African American artist, completed three mural series over the course of his career. Art of the Negro was completed around 1951 and hangs in the gallery at Clark Atlanta University, where Woodruff taught art for fifteen years. His other murals are entitled The Amistad Mutiny (1939) and The Negro in California History (1949).
Courtesy of Clark Atlanta University Art Galleries
Anna Hunter, an art critic for the Savannah News-Press, took up painting during the late 1940s, while in her fifties. Her Recessional (oil on canvas) was completed around 1949 and is housed by Telfair Museums in Savannah.
Courtesy of Telfair Museums.
The Marion County folk artist known as St. EOM built Pasaquan, a complex of decorated concrete buildings, beginning in the mid-1950s. He used a variety of materials in his work, including decorated tin, wire, wood, brick, roofing shingles, and floor tile.
Courtesy of Pasaquan Preservation Society, www.pasaquan.com
LaGrange Art Museum in LaGrange houses four galleries, in addition to classrooms, a sculpture garden, and a gift shop. The museum's collection focuses on twentieth-century art, with an emphasis on southern art.
Courtesy of LaGrange Art Museum
The LaGrange Art Museum, founded in 1963 in LaGrange, is housed in an 1892 Victorian home on Lafayette Square. The museum offers art classes for adults and children and sponsors Affair on the Square, a nationally juried arts show, and the LaGrange National, a juried art exhibition.
Courtesy of LaGrange Art Museum
A participant in the Ben Hill Art Camp at Chattahoochee Valley Art Museum (later LaGrange Art Museum) draws her self-portrait in 2004. The camp is an after-school program held during the summer in collaboration with the LaGrange Housing Authority.
Courtesy of LaGrange Art Museum
Hale Woodruff, a member of the Atlanta University (later Clark Atlanta University) faculty from 1931 until 1946, stands before one of his murals. Woodruff trained in Paris, France, and became a nationally known printmaker, draftsman, and painter during his career.
Courtesy of Library of Congress, Prints and Photographs Division, Farm Security Administration - Office of War Information photograph collection, Photograph by Arthur Rothstein.
Hale Woodruff's 1953 work Celestial Gate (oil on canvas, 50" x 40") hangs in the gallery of the Spelman College Museum of Fine Art. During the 1930s and 1940s, Woodruff, a prominent African American artist, was a member of Atlanta University's faculty and taught classes at Spelman.
Courtesy of Spelman College Museum of Fine Art
The Spelman College Museum of Fine Art, dedicated in 1996 on the campus of Spelman College in Atlanta, includes approximately 450 works in its permanent collection. The primary focus of the collection is twentieth-century painting and sculpture by African American artists.
Courtesy of Spelman College Museum of Fine Art
The Quinlan Visual Arts Center in Gainesville opened in 1962. The building, constructed on land donated by Gainesville resident Leslie Quinlan, houses the gallery and classroom space of the Gainesville Art Association, which organized in 1947.
Courtesy of Quinlan Visual Arts Center
The Green Street Gallery at the Quinlan Visual Arts Center in Gainesville originally served as the lobby when the center was constructed in 1962. The center has displayed the work of many local artists, including Lamar Dodd, a professor at the University of Georgia, and Ed Dodd, creator of the comic strip Mark Trail.
Courtesy of Quinlan Visual Arts Center
The Jim and Peggy Walters Lobby opened in 2004, following the expansion and renovation of the Quinlan Visual Arts Center in Gainesville. Other additions include classroom and gallery space, a conference room, and a gift shop.
Courtesy of Quinlan Visual Arts Center
Ben Shute, a prominent Atlanta artist, is well known for his landscape portraits of such diverse locales as Mexico, Italy, and the Georgia coast. Ostia, Italy (1962), casein and ink on paper.
Courtesy of Betty Plummer Woodruff Collection
Acclaimed artist Ben Shute, a cofounder of the Atlanta College of Art, lived in Atlanta from 1928 until his death in 1986. His 1940 work Night Carnival, Franklin, N.C., casein and ink on paper, is housed in the permanent collection of the Georgia Museum of Art in Athens.
Courtesy of Georgia Museum of Art, University of Georgia; Gift of Betty Plummer Potts Woodruff GMOA 2004.7
Acclaimed artist Ben Shute, a Wisconsin native, lived for the majority of his career in Atlanta, where he earned a reputation as an accomplished portrait artist. His Otis with Bible, charcoal on paper, was completed in 1940.
Courtesy of Georgia Musuem of Art, University of Georgia; Gift of Betty Plummer Potts Woodruff GMOA 2004.6
Beginning in the early 1950s, Atlanta artist Ben Shute traveled to coastal Maine, where he painted elements of the landscape using a shifting cubist perspective. Deserted House, Port Clyde, Maine (1965), casein and ink on paper.
Courtesy of Betty Plummer Woodruff Collection
The Gertrude Herbert Institute of Art, founded in 1937, is housed in the former home of Nicholas Ware, the mayor of Augusta at the time of the home's construction in 1818. Today the Ware house is listed on the National Register of Historic Places.
Courtesy of Gertrude Herbert Institute of Art
Gertrude Herbert Dunn was the daughter of Olivia A. Herbert, who founded the Augusta Art Club in 1937. Located in the historic Ware house, the club was later renamed the Gertrude Herbert Institute of Art and today displays visiting exhibitions of regional and local artists.
Courtesy of Gertrude Herbert Institute of Art
The Gertrude Herbert Institute of Art in Augusta is named for the daughter of Olivia A. Herbert, who founded the Augusta Art Club, the institute's predecessor, in 1937.
Courtesy of Gertrude Herbert Institute of Art
An artist participates in an acrylics workshop at the Gertrude Herbert Institute of Art in Augusta. The institute offers a variety of classes and worshops in its studios, classrooms, and darkrooms.
Courtesy of Gertrude Herbert Institute of Art
Impressionist painter Pierre-Auguste Renoir's Girl on a Path (no date) is housed by the Brenau University Galleries in Gainesville. The collection was initiated in 1986 and today comprises more than 1,100 paintings, sculptures, artifacts, and prints.
Courtesy of Brenau University
Soon after becoming president of Brenau University in Gainesville in 1985, John S. Burd began the process of opening an art gallery to display student and faculty artwork. The gallery was first housed in a converted chapel in the university's Pearce Auditorium.
Courtesy of Brenau University
The John S. Burd Center for the Performing Arts opened in March 2002 on the campus of Brenau University in Gainesville and houses the Leo Castelli Gallery. The gallery displays long-term exhibitions of art from the university's permanent collection.
Courtesy of Brenau University
In 2002, the Museum of Contemporary Art of Georgia unveiled an exhibition entitled Color, Culture, Complexity, curated by Ed Spriggs and Dan Talley. Pictured is the art of Billie Grace Lynn (sculpture), Joe Lewis (large installation of prints), and Linda Hesh (photographs).
Photograph by Michael McKelvey
The Museum of Contemporary Art of Georgia was founded in 2002 in Atlanta and houses a permanent collection of more than 250 works in various media.
Photograph by Museum of Contemporary Art of Georgia Staff
This coin-silver basket was made by Horton and Rikeman, silversmiths who were active in Savannah between 1850 and 1856. The earliest silversmiths in Georgia worked primarily in Savannah and Augusta, the state's first centers of trade.
Courtesy of Georgia Museum of Art
Metalwork, along with ceramics, furniture, glass, and textiles, forms the field of decorative arts in Georgia. This wrought-iron fence in Athens demonstrates the functional nature of the decorative arts.
Photograph by Katie Korth
This huntboard, currently housed at the Georgia Museum of Art, was constructed of walnut, yellow pine, and steel (43 3/4" x 48 1/2" x 25 13/16") between 1790 and 1840 in the Piedmont region. Highly prized by collectors, huntboards were likely used to serve food outdoors either before or after a hunting trip.
Courtesy of Georgia Museum of Art
This secretary and bookcase was constructed from birch, walnut, yellow pine, holly, brass, and ivory (110 1/2" x 43 1/2" x 21 1/4") around 1800. The piece, now part of the Georgia Museum of Art collection, is thought to have been made in or near Augusta. Its design reflects popular trends in nearby Charleston, South Carolina, which exerted a significant influence on the decorative arts in Augusta.
Courtesy of Georgia Museum of Art
Students at the Tallulah Falls School in Habersham County, shown in 1927, received an academic and industrial education. The students' crafts, influenced by the Arts and Crafts Movement, included baskets made from local broom sedge, raffia, and pine needles; rustic furniture made from native rhododendron wood; and textiles with woven views of the local landscape.
Courtesy of Georgia Archives, Vanishing Georgia, #
hab043.
Chenille bedspreads are displayed for sale in Bartow County circa 1940. The peacock motif was a commonly used element of the spreads made during this time.
Courtesy of Georgia Archives, Vanishing Georgia, #brt120.
Earl McCutchen, an artist and instructor at the University of Georgia, used such glassworking techniques as slumping, fusing, and laminating to create plates and bowls. The photograph of this round plate was found in a 1960 issue of Craft Horizons; the date of its creation is unknown.
Courtesy of Georgia Museum of Art
The Hiker (1980) by Nellie Mae Rowe is part of Georgia's State Art Collection. Crayon, 29 x 24 1/2 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Nellie Mae Rowe stands in front of her home in Vinings. After her husband's death in 1948, Rowe began decorating both the interior and exterior of the house with drawings, dolls, and recycled objects. Discovered by artists and collectors during the 1970s, Rowe's work is exhibited today in museums around the country.
Courtesy of Atlanta Journal-Constitution.
The Savannah College of Art and Design, housed in locations around Savannah, was founded in 1978 by Paula S. Wallace, Richard Rowan, and May and Paul Poetter.
Photograph by Luciana M. Spracher
One of the many buildings restored by the Savannah College of Art and Design, Pepe Hall was originally constructed as a school in 1906. Today the facility boasts multiple classrooms and studios and is devoted to the study of fibers.
Image from Shawn Lipowski
The Atlanta College of Art, founded in 1905, was located in the Woodruff Arts Center in Midtown Atlanta. In 2006 the school was absorbed by the Atlanta campus of the Savannah College of Art and Design.
Courtesy of Atlanta College of Art
Poetter Hall, the first classroom and administration building of the Savannah College of Art and Design, is named for two of the school's founders, May and Paul Poetter. Formerly known as Preston Hall, the building had been home to the Savannah Volunteer Guards Armory before its acquisiton and renovation by the college in 1979.
Image from Wikimedia
Mattie Lou O'Kelley, a "memory painter" from Jackson County, completed her oil painting Spring Vegetable Scene in 1968. In 1962, at the age of fifty-four, O'Kelley began painting scenes from memories of her early life; like other memory painters, her subject matter was often rural in nature.
Reprinted by permission of High Museum of Art, Atlanta; 75.37
Beverly Buchanan constructed her 1990 sculpture Flye Town (13 3/4" x 45" x 12") from wood, metal, and paint as a tribute to the creativity and resourcefulness that rural southern farmers bring to the use of available materials.
Image from Allison Meier
The painter Lamar Dodd was influenced by the Ashcan School movement, which emphasized scenes of everyday life. As one reviewer said of Dodd's first solo show in New York in 1932, his paintings, so consciously anti-academic, evoke "Georgia, Georgia, Georgia."
Courtesy of LaGrange College
The Michael C. Carlos Museum at Emory University in Atlanta, designed by notable architect Michael Graves, offers numerous lectures, workshops, and performances as part of its educational program. Around 20,000 Georgia children visit the museum each year, and many more participate in Art Odyssey, the museum's outreach program.
Image from Gary Todd
The High Museum of Art in Midtown Atlanta is one of the most important art museums in the Southeast. The High's permanent collection includes more than 11,000 objects. Its current building was opened in 1983 and designed by architect Richard Meier.
Courtesy of Explore Georgia, Photograph by Ralph Daniel.
The Tubman African American Museum in Macon is the largest of its kind in the Southeast. Founded in 1981, it has grown from a local attraction into a major collection of African American art, artifacts, and documents for national visitors.
Courtesy of Tubman African American Museum.
The Columbus Museum is the second-largest art museum in Georgia. Its collections are focused on American art and on the history of the Chattahoochee River Valley.
Courtesy of Columbus Museum
Beverly Buchanan's undated Self-Portrait with Figure and Chicken (marker and pen on paper, 4 11/16" x 6 3/16") includes images associated with the artist's childhood memories of rural Georgia.
Courtesy of Morris Museum of Art
This print of a zebra swallow-tail butterfly by Mark Catesby, an eighteenth-century illustrator, appears in his book Natural History of Carolina, Florida, and the Bahama Islands, first published in 1731-32.
From Natural History of Carolina, Florida, and the Bahama Islands, by M. Catesby
The original caption of this print by Paul Fourdrinier reads: "A View of Savannah as it stood on the 29th of March 1734. To the Hon[orable] Trustees for establishing the Colony of Georgia in America. This View of the Town of Savannah is humbly dedicated by their Honours Obliged and most Obedient Servant, Peter Gordon."
Philip Georg Friedrich von Reck, an eighteenth-century German artist, traveled to the Salzburger settlement of Ebenezer in 1736. There he documented the town, as well as the neighboring Yuchi Indians and local plant and animal life, in watercolor-and-pencil sketches.
Illustration by Philip Georg Friedrich von Reck
Bartram's Travels is an account of his second trip to the Southeast (1773-77). He accurately described the flora and fauna in their natural habitats, including Georgia's rare Franklin tree (Franklinia alatamaha).
From Travels, by W. Bartram
This drawing by botanist William Bartram appears in his 1791 publication, Travels through North and South Carolina, Georgia, East and West Florida, the Cherokee Country, the Extensive Territories of the Muscogulges, or the Creek Confederacy, and the Country of the Choctaws. The drawings in this book were based on earlier sketches made during his travels in the Southeast during the 1770s.
From Travels, by W. Bartram
As a principal mediator between the native Muscogee (Creek) and English settlers during the first years of Georgia's settlement, Tomochichi (left) contributed to the establishment of peaceful relations between the two groups. His nephew, Toonahowi, is seated on the right in this engraving, circa 1734-35, by John Faber Jr.
This hand-colored lithograph of Sequoyah (also called George Gist or George Guess), the legendary creator of the Cherokee syllabary, was made in 1833 after an oil portrait by Charles Bird King as part of a series depicting Native American leaders.
From The Indian Tribes of North America, by T. L. McKenney and J. Hall
The English artist Joshua Shaw painted Burning of Savannah in 1820 as part of a series depicting the "beautiful and sublime" in the American landscape. His paintings were published as hand-colored aquatints made by printmaker John Hill in London, England.
From Picturesque Views of American Scenery, by J. Shaw
Charles Parsons created this drawing of Savannah, published circa 1856, after a painting by John William Hill. Prints and drawings of Savannah architecture were very popular during the nineteenth century.
Print by Charles Parsons
The British painter Thomas Addison Richards is well known for his romantic depictions of the southern landscape. This steel engraving of Lover's Leap, located on the Chattahoochee River two miles north of Columbus, appeared in Richards's 1842 book .
From Georgia Illustrated, by T. A. Richards and W. C. Richards
Thomas Addison Richards, a nineteenth-century landscape artist, painted and sketched numerous scenes in Georgia that were engraved and published in popular magazines of the day. This print of Toccoa Falls, located in present-day Stephens County, appeared in Richards's 1842 book Georgia Illustrated.
From Georgia Illustrated, by T. A. Richards and W. C. Richards
This hand-colored lithograph of Muscogee (Creek) chief Yoholo Micco was made after a portrait in oil by Charles Bird King. King painted oil portraits of many Native American leaders who visited Washington, D.C., in the early 1830s. The series was commissioned by Thomas Loraine McKenney, the federal superintendent of Indian affairs at the time.
Print by Charles Bird King. From History of the Indian Tribes of North America, by T. McKenney and J. Hall
The Greek revival–style building housing the Marietta/Cobb Museum of Art in Marietta was previously used as a post office and a library. The museum opened in 1990 and specializes in nineteenth- and twentieth-century American art.
Courtesy of Georgia Archives, Vanishing Georgia, #
cob622.
Homage (1989) by Benny Andrews is part of Georgia's State Art Collection. Mixed media (oil collage), 35 3/4 x 29 1/2 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Benny Andrews, a native of Plainview, began experimenting with collage as a student at the Art Institute of Chicago during the 1950s. His 1994 work Preacher, oil and collage on canvas (48 x 28 inches), is housed at the Morris Museum of Art in Augusta.
Courtesy of Morris Museum of Art. Reprinted by permission of Benny Andrews
Hmmmmm (date unknown) by Benny Andrews is part of Georgia's State Art Collection. Pen and ink, 15 x 11 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Old Woman Eating by Benny Andrews is part of Georgia's State Art Collection. Pen and ink, 17 1/2 x 11 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Plower (1990) by Benny Andrews is part of Georgia's State Art Collection. Pen and ink, 22 1/4 x 15 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Rock (1990) by Benny Andrews is part of Georgia's State Art Collection. Pen and ink, 22 x 15 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Study #35 for Symbols (date unknown) by Benny Andrews is part of Georgia's State Art Collection. Pen and ink, 15 x 13 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
The Good Life (date unknown) by Benny Andrews is part of Georgia's State Art Collection. Pen and ink, 17 1/2 x 11 1/2 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
This bust of Tiberius, considered to be the finest existing portait of the Roman emperor, is part of the Michael C. Carlos Museum's collection of ancient Greek and Roman art. Carved from Parian marble, the piece dates to about A.D. 14.
Courtesy of Michael C. Carlos Museum, Photograph by Bruce White..
This eleventh-century sandstone sculpture from India depicts the Hindu god Vishnu in his cosmic form. Vishnu's eighteen arms hold a variety of weapons, including those of the two other gods in the Hindu trinity, Shiva and Brahma. The sculpture is part of the Ester R. Portnow Collection of Asian Art at the Michael C. Carlos Museum in Atlanta.
Gift of Nathan Rubin-Ida Ladd Family Foundation. Courtesy of Michael C. Carlos Foundation
Though her early work was realistic, Alma Thomas is best known for the brightly colored, mosaic-like style of abstraction that she adopted in her seventies. Acrylic on canvas, 71 5/8" x 52."
Courtesy of Smithsonian American Art Museum
This mosaic-like painting by Alma Thomas is an abstract representation of a plant nursery, as seen from above. Thomas was especially influenced by displays of azaleas she saw in Washington, D.C. Acrylic on canvas.
Courtesy of Columbus Museum
Whang Inkie's installation, A Breeze over Troubled Water, was displayed at the Atlanta College of Art Gallery in 2004. The gallery, located in the Woodruff Arts Center in Atlanta, offers shows by a wide variety of artists.
Courtesy of Atlanta College of Art
Students at the Atlanta College of Art pour bronze at the school's sculpture building in 2004.
Courtesy of Atlanta College of Art
An installation by the artist Karen Rich Beall entitled "The Dark Side of Beauty," in the Haley Gallery of the Albany Museum of Art.
Courtesy of Albany Museum of Art
Founded in 1964, the Albany Museum of Art has one of the largest collections of African art in the Southeast.
Courtesy of Albany Museum of Art
Spheroid (Figured Tulipwood)Â (1989) by Ed Moulthrop is part of Georgia's State Art Collection. Wood, 16 x 23 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Globe (1989) by Ed Moulthrop is part of Georgia's State Art Collection. Wood, 6 x 10 (diameter) inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Bowl (Saturn)Â (1989)Â by Ed Moulthrop is part of Georgia's State Art Collection. Wood, 10 x 8 (diameter) inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Bowl by Ed Moulthrop is part of Georgia's State Art Collection. Wood (walnut), 5 x 8 1/2 (diameter) inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Bowl by Ed Moulthrop is part of Georgia's State Art Collection. Wood (pine), 9 1/2 x 5 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Bowl by Ed Moulthrop is part of Georgia's State Art Collection. Wood (pine)
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Earl McCutchen, working on a ceramic vase. McCutchen taught at the University of Georgia art department for more than forty years.
Photograph by Wiley Sanderson
These ceramic mugs were created by Earl McCutchen, who was an expert in glaze properties and methods of glaze application.
Courtesy of Georgia Museum of Art, University of Georgia
The Brenau Art Galleries in Gainesville displayed a number of R. A. Miller's signature whirligigs in 2006. The exhibition, titled R. A. Miller: A Tribute, opened in February 2006, a month before the artist's death.
Photograph by Sarah E. McKee, New Georgia Encyclopedia
Elaine de Kooning began painting her Bacchus series during her tenure as Lamar Dodd Visiting Professor (1976-78) at the University of Georgia. Bacchus No. 81 (acrylic on canvas, 65 x 45 inches) was completed in 1983.
Courtesy of Georgia Museum of Art, University of Georgia; Gift of Marjorie and Edmond Luyckx, in Honor of Lamar Dodd, GMOA 1988.9
The entrance to Howard Finster's outdoor sculpture garden, Paradise Garden, in Chattooga County features a concrete wall embedded with small toys, shards of glass and pottery, and various other found objects.
Photograph by Sarah E. McKee, New Georgia Encyclopedia
In Visions of Another World—September 15, 1990 (1990) by Howard Finster is part of Georgia's State Art Collection. Enamel paint, 24 x 28 inches, with frame
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
In 1982 Howard Finster acquired a small church adjacent to his Paradise Garden in Chattooga County and transformed it into his "World's Folk Art Church." Pictured in 2014, the church and garden fell into serious disrepair after Finster's death, but restoration efforts began in 2010.
Photograph by Sarah E. McKee, New Georgia Encyclopedia
Howard Finster's mural Jacob's Ladder is painted on the side of a building at Paradise Garden, his large outdoor art project in Chattooga County.
Photograph by Sarah E. McKee, New Georgia Encyclopedia
Angel #700.033Â (1987) by Howard Finster is part of Georgia's State Art Collection. Mixed media, 49 x 12 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Visions of Other Worlds in Outer Space Beyond #13,000.494Â (1989) by Howard Finster is part of Georgia's State Art Collection. Mixed media, 23 x 14 inches, with frame
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Howard Finster's Paradise Garden, a large outdoor art installation in Chattooga County, features this inscription in numerous locations: I took the pieces you threw away / Put them together by night and day / Washed by rain and dried by sun / A million pieces all in one.
Photograph by Sarah E. McKee, New Georgia Encyclopedia
The Lamar Dodd Art Center at LaGrange College, completed in 1982, contains two floors of galleries. The center houses a retrospective collection of Dodd's paintings, given by the artist and his wife, Mary Lehmann, a 1929 graduate of the school.
Courtesy of LaGrange College
The artist Lamar Dodd pictured with one of his paintings in the late 1970s. Dodd was the most recognized artist of his generation from the state of Georgia, a passionate advocate for the arts, and a skilled administrator.
Courtesy of LaGrange College
Lamar Dodd painted Bargain Basement in 1937.
Courtesy of the Morris Museum of Art
Lamar Dodd painted Washerwoman in 1933. Oil on canvas, 24" x 31 1/2"
Courtesy of Lamar Dodd Art Center, LaGrange College
The painter Lamar Dodd at work in his studio in the 1970s. Dodd was the most influential Georgia artist of his generation.
Courtesy of LaGrange College
Anchored Boats (1989) by Lamar Dodd is part of Georgia's State Art Collection. Watercolor, 30 1/4 x 24 1/4 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Gunnison's Gorge by Lamar Dodd is part of Georgia's State Art Collection. Print, 27 x 20 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Rocks in Nature's Garden (1963) by Lamar Dodd is part of Georgia's State Art Collection. Watercolor, 28 x 20 1/2 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
San Marco, Rain (1972) by Lamar Dodd is part of Georgia's State Art Collection. Watercolor, 18 x 23 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
St. Mark's Cathedral (1956) by Lamar Dodd was one of a series of paintings the Georgia artist made of the famous Venetian cathedral. It is part of Georgia's State Art Collection. Print, 16 x 24 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
Venice Reflection, Rain (1958) by Lamar Dodd is part of Georgia's State Art Collection. Oil, 20 x 30 inches
Courtesy of Georgia Council for the Arts, Georgia's State Art Collection.
At the Tubman African American Museum, changing exhibitions from the Noel Collection of African Art showcase African influence in American culture. The collection includes 2,000-year-old Nok figures, Benin bronze, and an array of jewelry, textiles, and other artifacts.
Courtesy of Tubman African American Museum.
Schoolchildren lunch in front of the Ellen Craft exhibition. An image of Craft dressed up like a man appears with her well-known quote: "For I had much rather starve in England, a free woman, than be a slave for the best man that ever breathed upon the American continent."
Courtesy of Tubman African American Museum.
In 1838 Thomas Addison Richards traveled to Georgia to paint portraits of the McKinne family in Augusta. During his stay, he fell ill and decided to paint his own portrait while recuperating. This is one of his three known self-portraits.
Courtesy of Madonna Owen Bryans (Mrs. C. I. Bryans Jr.)
An early view of the city of Columbus is featured in Thomas Addison Richards's Georgia Illustrated (1842).
From Georgia Illustrated, by T. A. Richards and W. C. Richards
A sketch of Stone Mountain by Thomas Addison Richards is featured in Georgia Illustrated (1842).
From Georgia Illustrated, by T. A. Richards and W. C. Richards
A sketch by Thomas Addison Richards of Bronwood Female Institute, then located two miles west of LaGrange in Troup County, is one of several academic institutes featured in Georgia Illustrated (1842).
From Georgia Illustrated, by T. A. Richards and W. C. Richards
Stanton's professional career as an artist began in Atlanta in 1896, with a commission for three miniature portraits of soprano Adelina Patti. She went on to paint many of the distinguished citizens of Georgia, including Atlanta mayor Charles Collier (ca. 1899), Joel Chandler Harris (1906, 1914), and Howell Cobb, whom she portrayed as Speaker of the U.S. House of Representatives.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Lucy M. Stanton Papers.
Lucy May Stanton created works in oil, pastel, and watercolor, and she is best known as a painter of portrait miniatures in watercolor on ivory. Her mature style in miniature painting is distinguished by her innovative use of broad washes, and her portraits, both miniature and full-scale, are powerful evocations of character, expression, and mood.
Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries, Lucy M. Stanton Papers.
George Cooke's painting, Interior of St. Peter's Rome (1847), hangs in the University of Georgia Chapel in Athens.
Painting by George Cooke
Georgia artist George Cooke's View of Athens from Carr's Hill (1845) is on display at the Hargrett Rare Book and Manuscript Library on the University of Georgia campus in Athens.
As the largest art museum in Georgia outside Atlanta and the only art museum within a forty-mile radius of Columbus, the Columbus Museum is a major artistic center for west central Georgia, serving more than 90,000 visitors annually.
Courtesy of Tom Butler, Columbus Museum
The art galleries at Clark Atlanta University are located in Trevor Arnett Hall.
Courtesy of Clark Atlanta University Art Galleries
The antebellum portraiture gallery of the Morris Museum of Art in Augusta.
Courtesy of the Morris Museum of Art
Two Magnolia Blossoms in a Glass Vase (ca. 1890), by Martin Johnson Heade. Oil on canvas. 24" x 15".
Courtesy of the Morris Museum of Art
The Silver Slipper Club (1990), by Jonathan Green. Oil on canvas. 100" x 65 1/2".
Courtesy of the Morris Museum of Art
In the Museum of Arts and Science's planetarium the night sky is recreated with more than 4,000 twinkling stars. Planetarium shows are presented daily, and a weekly program provides the latest information about current and upcoming celestial events.
Courtesy of Explore Georgia.
The museum's Discovery House provides an interactive adventure for children of all ages. Three floors of hands-on exhibitions explore art, science, and the humanities.
Courtesy of the Museum of Arts and Sciences
The Georgia Museum of Art occupies a contemporary building in the Performing and Visual Arts Complex on the east campus of the University of Georgia. There, 52,000 square feet house more than 8,000 objects in the museum's permanent collection.
Photograph by Katie Korth
The museum's two galleries, South and Skylight, are known for their intimacy and the carefully chosen music that accompanies each exhibition. With its hardwood floors, white columns, and earth-red walls, the building is often called a jewel itself.
Courtesy of the Oglethorpe University Museum of Art
Oglethorpe University's art museum is the only one on such a campus in the Southeast that regularly shows nationally and internationally recognized exhibitions.
Courtesy of the Oglethorpe University Museum of Art
The oldest public art museum in the South, Telfair Museums in Savannah has an extensive permanent collection of works dating from the eighteenth through the twenty-first centuries.
Courtesy of Explore Georgia, Photograph by Geoff L. Johnson.
Telfair Museums' permanent collection, with nearly 7,000 objects, features full-scale plaster replicas of ancient Greek and Roman statues.
Courtesy of Explore Georgia, Photograph by Geoff L. Johnson.
The Lamar Dodd School of Art was housed in this building on the University of Georgia's north campus from 1963 until 2008.
Photograph by UGA Photographic Services
The artist Lamar Dodd pictured with Charles D. Hudson of the Calllaway foundation and former LaGrange College president Waights G. Henry Jr. at groundbreaking for Lamar Dodd Arts Center in 1981.
Courtesy of LaGrange College
The Lamar Dodd School of Art facility, completed in 2008, consolidated thirteen departments in a three-story building. A 2008 issue of the University of Georgia Magazine named it "the house of stone and light."
Photograph by Ecos Environmental Design Inc
The Lamar Dodd School of Art Courtyard provides ample outdoor working and leisure space for students, faculty, and staff.
Courtesy of UGA Admissions
