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Ruth Russell Williams (1931-2010) was a self-taught artist from North Carolina known for her folk art paintings depicting scenes of …
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Ruth Russell Williams (1931-2010) was a self-taught artist from North Carolina known for her folk art paintings depicting scenes of rural life and African American culture in the South. In my own words, “Ruth’s art sings a story!” Ruth Russell Williams is a highly celebrated, self-taught North Carolina artist whose demand has steadily risen. The Outdoor Baptism piece is one of her crowning achievements—it was famously gallery featured. This brilliant composition stands as one of Ruth Russell Williams’ most acclaimed and culturally significant masterpieces, celebrating the spiritual tradition and community heritage of the rural South. Highlighting her incredible legacy as a self-taught master storyteller, her works were showcased in the major landmark retrospective exhibition 'Ruth Russell Williams: Master Storyteller' at the prestigious NCCU Art Museum in 2009.
Born in Vance County, Williams grew up in a close knit farming community. Her parents were sharecroppers and her memories of rural life populate her folk art paintings. Often compared to Grandma Moses, Williams too came to paint later in life. After walking out of an art class, she taught herself how to best tell stories through color and form on a canvas. One of her proudest moments was when her painting, "Outdoor Baptism", was featured on the front cover of a Smithsonian Associate issue in 1993. She developed a devoted following for her work, selling originals and prints from a tent in her front yard in Henderson, North Carolina. In 2009 an exhibition featuring fifty of her original paintings, Ruth Russell Williams: Master Storyteller, was displayed at the NCCU Art Museum in Durham, NC.
"Outdoor Baptism" depicts a traditional outdoor baptism ceremony, a significant event in many Southern communities.
This painting gained notable recognition when it was featured on the cover of Smithsonian Associate in 1993.
This vibrant piece showcases Williams' signature mastery of storytelling, depicting a traditional Black community outdoor baptism. Williams' works are highly celebrated examples of self-taught American Folk Art, reminiscent of Grandma Moses and preserved in institutions like the NCCU Art Museum. Presented in a custom-original vintage wood frame with that delightfully elevates the deep hues of the print.
Williams' work is characterized by its vibrant colors, detailed storytelling, and often compared to the style of Grandma Moses.
Early Life:
Ruth Russell Williams was born in 1932 in the Vance County community of Townsville. Her parents were sharecroppers. At age 8, she began picking cotton to earn enough money to go to the State Fair. Later, her paintings would portray scenes from this early work and from many other childhood experiences, including memories of going to work with her grandmother to the home of a plantation owner. She developed her talent along a path that took her from these humble beginnings to beauty salon owner and cosmetologist to national recognition as a self-taught artist.
In 1948 she married Odell Russell and they had four children but would later divorce. In 1974 she married building contractor Samuel Williams. Initially drawn to ceramics, she taught ceramics at Vance-Granville Community College. When her children were mostly grown, she began painting, although she initially thought her paintings lacked merit. At an art exhibit at Kerr Lake in 1985, Williams was quite satisfied showing her work to laymen and women, but when she learned that North Carolina A & T art professor James McCoy was nearby, she grabbed her paintings and hid behind bushes, fearful of presenting her work before a professional. McCoy, however, immediately recognized Williams’ unique aesthetic sensibility. He told Williams that she was a gifted folk artist and predicted that she would one day become widely recognized. For the next two decades, Williams produced hundreds of paintings, each one telling a story of life as she saw it, in a simple, straightforward — and vividly colorful — way.
• Primary Styles: American Folk Art, Outsider Art, Naive Art, Americana, Traditional Southern
• Subject Matter: African American Culture, Religious Folk Art, Outdoor Baptism, Southern History, Rural Life
• Ruth Russell Williams print, Smithsonian Associate Cover Art 1993, Self-Taught Artist, North Carolina Art, Master Storyteller, Limited Edition Lithograph, Custom Framed Folk Art
• Ruth Russell Williams lithograph, Ruth Russell Williams print, Master Storyteller art
• Recognition: Smithsonian Associate Cover Art 1993, NCCU Art Museum exhibition
• Black community art, Southern religious folk art, Vibrant African American culture art, Rural South masterpiece
This vibrant piece features its original, authentic vintage wood frame. In order to preserve its true historic character and folk art value, the frame remains completely unaltered. Minor age-appropriate wear and light surface scuffing are present, consistent with its vintage condition and visible in the photographs.
Ruth Russell William’s work is growing in demand with keen interest in her work continuing to blossom since her timely passing. Her work is vibrant, bold, and tells the story of her culture, upbringing and African American Folk traditions. Both her original oils and limited hard to find lithographs are highly cherished.
More Information: Tar Hells Traveler has published a lovely and brief tribute video to Ruth. It is worth listening to, along with the singing.
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- Dimensions
- 28.5ʺW × 1ʺD × 22.5ʺH
- Frame Type
- Framed
- Art Subjects
- Botanic
- Figure
- Pop Culture
- Period
- Late 20th Century
- Country of Origin
- United States
- Item Type
- Vintage, Antique or Pre-owned
- Materials
- Lithograph
- Condition
- Good Condition, Original Condition Unaltered, Some Imperfections
- Color
- Navy Blue
- Condition Notes
- This is a lovely, vibrant and boldly colored lithograph. The framing is true vintage, with some visible wear and scratches … moreThis is a lovely, vibrant and boldly colored lithograph. The framing is true vintage, with some visible wear and scratches to the frame, pictured at the upper and lower left. I hesitate to remove it from its original frame in order to preserve the vintage character of the piece. less
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