格雷斯.哈德森Grace Hudson

格雷斯.哈德森Grace Hudson（1865年——1937年），美国画家。

中文名格雷斯.哈德森
外文名Grace Hudson
性别女
国籍美国
出生地美国
出生日期1865年
逝世日期1937年
职业画家

早年生活

格雷斯木匠出生在波特谷，加利福尼亚。她的母亲海伦McCowen是第一个白人学校教师教育泼墨孩子，是在商业人像摄影师尤凯亚，加利福尼亚州 ; 她的父亲奥勒留Ormando卡彭特是一个熟练的全景，风景摄影师谁记载早门多西诺县的前沿企业，如伐木，运输和铁路建设。在14岁，恩被送到参加最近成立的旧金山学校设计，艺术学校，强调绘画源于自然，而不是从内存中或通过复制现有的作品。十六岁时，她执行的获奖，全长，生活大小的自画像中的蜡笔。而在旧金山，她遇到了和一个男人15年她年长名叫威廉·戴维斯私奔，打乱她的父母和她的结束正式的研究。他们的婚姻只持续了一年。

1885年至1890年，格蕾丝匠戴维斯住在一起，她的父母在尤凯亚绘画，教学和渲染插图的杂志，如丽都和陆上月。她当时的工作没有特别的重点，包括在所有的媒体类型，风景，肖像和静物。后来在她的职业生涯，她将继续接受偶尔的杂志插图任务包括那些为日落。

婚姻约翰·哈德森

1890，格蕾丝嫁给约翰·纳皮尔Wilz哈德森，MD（1857-1936）谁从来到加利福尼亚田纳西州纳什维尔于1889年作为医生的旧金山和北太平洋铁路。这对新婚夫妇共享在保存和记录了浓厚的兴趣美国本土文化。

职业成功

格雷斯匠哈德森在1891年创作了“全国刺”; 它选择在明尼阿波利斯艺术协会展览它被证明是非常受欢迎的放映。她的画“小门多西诺”，另一泼墨婴儿肖像，得到了很多的关注在芝加哥世界博览会，它于1893年获得了荣誉奖。1894年，“小门多西诺”被挂在冬至博览会在旧金山，产生进一步的佣金与此相类似的作品。

1895年，格雷斯不断增长的成功作为当红艺人带来了比足够的资金多为夫妻生活相对舒适。约翰·哈德森为了研究泼墨的人，并按照考古学和人种学他深厚的利益放弃了他的医疗实践。他的加州印度筐等美国本土文物的收集可以在发现史密森学会的菲尔德自然史博物馆在芝加哥布鲁克林博物馆和格雷斯哈德森博物馆尤凯亚，他的研究收集是基于他的手稿和信件。

格雷斯拍摄的一丝不苟和记录每一个从此时到她的作品; 她与假冒软件的泛滥正在制作有关。她的笔记是为了建立自己的版权。她的每一个作品都顺序编号。她经常使用的相机为她画像油的初始基础，因为它允许人类主体被迅速抓获。她煞费苦心地隐瞒艺术界这个实用方便，因为它被认为是当时劣质的方法。

在1900-1901，格雷斯哈德森已经成为从供给为她画流行的需求耗尽; 她花了独奏假期在夏威夷的领地，放松并刷新自己。在那里，她完成了岛的场景和日本，中国和夏威夷人的26画。尽管格雷斯走了之后，约翰·哈德森成为了太平洋沿岸的民族学家实地哥伦比亚博物馆，记录了北加州当地的活动，包括土著鱼类捕获方法的广泛的研究。

返回内地，再结合雍容她的丈夫和恢复工作，以急切的买家提供感伤的泼墨肖像画以及对他的许多领域的工作陪同约翰。1902年，她画了画像波尼男孩; 约翰·哈德森一直在努力来记录波尼分配上为现场哥伦比亚博物馆。1904年，格雷斯哈德森接受了一个委员会，实地哥伦比亚博物馆采取居住在俄克拉何马疆土和油漆剩余的其他图像波尼，谁曾通过接触被几乎消灭了一个人的欧洲疾病。在那里，她主要是保存酋长和长老们在画布上，并照相底片。一些哈德逊收集的文物和格雷斯的作品被摧毁在以下1906年地震旧金山的灾难性的大火而他们在俄克拉何马州。

English Introduction

Early life

Grace Carpenter was born in Potter Valley, California. Her mother Helen McCowen was one of the firstwhite school teachers educating Pomo children and was a commercial portrait photographer in Ukiah, California; her father Aurelius Ormando Carpenter 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.

Marriage to John Hudson

In 1890, Grace married John Wilz Napier Hudson, M.D. (1857–1936) who had come to California from Nashville, Tennessee in 1889 to serve as physician for the San Francisco and North Pacific Railroad. The newlyweds shared a keen interest in preserving and recording Native Americanculture.

Professional success

Grace Carpenter Hudson painted "National Thorn" in 1891; it was selected to be shown at the Minneapolis Art Association exhibit where it proved very popular. Her painting "Little Mendocino", another Pomo infant portrait, got much attention at the Chicago World's Fair, where it earned honorable mention in 1893. In 1894, "Little Mendocino" was hung at the Midwinter Fair in San Francisco, yielding further commissions for works in a similar vein.

By 1895, Grace's growing success as a popular artist was bringing in more than enough money for the couple to live in modest comfort. John Hudson gave up his medical practice in order to study the Pomo people and follow his deep interests in archeology and ethnography. His collection of California Indian baskets and other Native American artifacts can be found in the Smithsonian Institution, the Field Museum of Natural History in Chicago, the Brooklyn Museum and the Grace Hudson Museum in Ukiah, whose research collection is based on his manuscripts and correspondence.

Grace meticulously photographed and documented each of her works from this time forward; she was concerned with the proliferation of counterfeit copies being produced. Her notes were intended to establish her copyright. Each of her works are numbered in sequence. She often used the camera as the initial basis for her oil portraits, as it allowed the human subject to be captured quickly. She took pains to conceal this practical convenience from the art world as it was considered an inferior method at the time.

In 1900-1901, Grace Hudson had become exhausted from supplying the demand for her popular paintings; she took a solo vacation in theTerritory of Hawaii, relaxing and refreshing herself. While there, she completed 26 paintings of Island scenes and Japanese, Chinese and Hawaiian people. While Grace was away, John Hudson became the Pacific Coast ethnologist for the Field Columbian Museum, documenting Northern California native activities including an extensive study of aboriginal fish trapping methods

Returning to the mainland, Grace rejoined her husband and resumed work supplying sentimental Pomo portraits to eager buyers as well as accompanying John on much of his field work. In 1902, she painted a portrait of a Pawnee boy; John Hudson had been working to document the Pawnee on assignment for the Field Columbian Museum. In 1904, Grace Hudson accepted a commission from the Field Columbian Museum to take up residence in the Oklahoma Territory and paint further images of the remaining Pawnee, a people who had been nearly wiped out by contact withEuropean diseases. There she preserved primarily chiefs and elders on canvas and photographic negative. Some of the Hudson's collected artifacts and Grace's paintings were destroyed in San Francisco's calamitous fire following the 1906 earthquake while they were in Oklahoma.

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美术百科参考资料

1、Grace Hudson