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A framed painting of a log cabin against the backdrop of a rolling green hill and a blue sky. A male and female figure are working in the foreground, surrounded by various animals and farming equipment.  

Photo by Zvonimir Bebek, Ralph Rinzler Folklife Archives

Image Description 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.  

Chitlin’ Time

Essie Ward was a self-taught painter from Arkansas. Festival co-founder Ralph Rinzler purchased a number of her paintings during fieldwork for the 1970 Arkansas program. Six later came to the Center for Folklife and Cultural Heritage after his death, and three now hang in the conference room.

“Grandma Moses” of the Ozarks

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.

Gallery
  • Ever Hopeful.
    Photo by Zvonimir Bebek, Ralph Rinzler Folklife Archives
  • Buildin Fence.
    Photo by Zvonimir Bebek, Ralph Rinzler Folklife Archives
  • Soap Makin Time.
    Photo by Sonya Pencheva, Ralph Rinzler Folklife Archives
  • Old Pioneers.
    Photo by Sonya Pencheva, Ralph Rinzler Folklife Archives
  • Hurry Miranda we’re gonna miss the preachin.
    Photo by Sonya Pencheva, Ralph Rinzler Folklife Archives
—Jeff Place, senior archivist and curator
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