Explore the 2026 calendar and interactive story map to find events in your region!
Explore the 2026 calendar and interactive story map to find events in your region!
<i>Photo by Zvonimir Bebek, Ralph Rinzler Folklife Archives</i>
A framed painting of a rustic log cabin in shades of brown, with a black shingled roof, a brick chimney on the left side, and one small paned window on the right. In the foreground, a white male figure is seated on a stool, and a white female figure stands across from him, bending at the waist. Between them on a small pedestal is a white pig on its back, which they are butchering with small knives. A black and white dog, and two cats (one black, one white) look on as various black and white birds peck at the ground near the cabin. Various pieces of farm equipment—including a wooden wheelbarrow—are in the foreground. The background features a light green and brown field that extends to a pale blue sky with white clouds. A simple black fence separates the front yard of the cabin from the field. Two small white bunny ears are seen emerging from the ground just in front of the fence.
Ward (1902–1981) had always been interested in art but lived the life of a farmer and mother of seven until an illness in her late fifties left her unable to do heavy work. Around that time, a friend asked her to create a painting from a photograph for him. The scene was of a woman with a churn in the doorway of a cabin. From there, she was inspired to create a series of paintings, fifty-five in all, that highlighted country Ozark life. The series often featured a married couple, Miranda and Hezzakiah, usually shown engaged in farm work. Curator Susan Young of the Shiloh Museum pointed out that, in some cases, Ward painted Miranda doing the work while Hezzakiah was lounging around.