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Here are all the paintings of Grace Hudson 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 79239 |
 |
Portrait of Admiral Sir Peter Warren |
1748-1752(1748-1752)
Medium Oil on canvas
Dimensions 127 x 101.6 cm (50 x 40 in)
cyf |
| 80020 |
 |
Portrait of Admiral Sir Peter Warren |
1748-1752(1748-1752)
Medium Oil on canvas
Dimensions 127 x 101.6 cm (50 x 40 in)
cyf |
| 79006 |
 |
The Radcliffe Family |
ca. 1742(1742)
Medium Oil
cyf |
| 72613 |
 |
The watermelon |
"The watermelon" by Grace Hudson, features a Native American boy, a dog and a watermelon.
cjr |
| 74371 |
 |
watermelon |
The watermelon" by Grace Hudson, features a Native American boy, a dog and a watermelon.
cyf |
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| Grace Hudson
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| (1865 - 1937) was an American painter. She was nationally known during her lifetime for a numbered series of more than 684 portraits of the local Pomo Indians. She painted the first, "National Thorn", after her marriage in 1891, and the last in 1935.
Grace Carpenter was born in Potter Valley, California. Her mother was one of the first white school teachers educating Pomo children and was a commercial portrait photographer in Ukiah, California; her father was a skilled panoramic and landscape photographer who chronicled early Mendocino County frontier enterprises such as logging, shipping and railroading. At fourteen years of age, Grace was sent to attend the recently-established San Francisco School of Design, an art school which emphasized painting from nature rather than from memory or by copying existing works. At sixteen, she executed an award-winning, full length, life sized self-portrait in crayon. While in San Francisco, she met and eloped with a man fifteen years her senior named William Davis, upsetting her parents and ending her formal studies. The marriage lasted only a year.
From 1885 to 1890, Grace Carpenter Davis lived with her parents in Ukiah painting, teaching and rendering illustrations for magazines such as Cosmopolitan and Overland Monthly. Her work at that time had no particular focus and included genre, landscapes, portraits and still lifes in all media. Later in her career she would continue to accept occasional magazine illustration assignments including ones for Sunset.
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