102:. Explaining his moves, Traylor later remarked: "My white folks had died and my children had scattered." For 75-year-old Traylor, it would prove to be a challenging new beginning, but he rented a room and later a small shack, and found work to support himself. Several years after the move, he found himself struggling to make ends meet. After rheumatism prevented him from continuing to work at a shoe factory, Traylor was forced out on to the streets. Receiving a small public assistance stipend, he entered into the ranks of the homeless. At night he slept in the back room of the
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had five more children: Rueben, Easter, Alice, Lillian, and an unnamed "child". In 1887, Traylor fathered Nettie from another relationship. Additionally, in the late 1890s, he took a second wife, Laura
Williams (1870-). The couple had five children: Clement, Will, Mack, John Henry, and Walter. In 1902, Traylor had a son named Jimmie with another woman. Later in life, Traylor was quoted as mentioning that "he raised twenty-odd children."
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Traylor's work finally caught the attention of the broader art world in the late 1970s and 1980s. In 1974, Shannon and his wife brought
Traylor's entire oeuvre out from storage and began to sort through it. Resistant to titling Traylor's pieces, Shannon originally categorized the collection according
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In June 1939, Charles
Shannon, a young, white artist, first noticed Traylor and his budding talent. Intrigued, Shannon began to repeatedly stop by Traylor's block to observe him working. Shannon later remarked on the progression of Traylor's craft. "He worked steadily in the days that followed and it
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While documenting the details of
Traylor's early life remains difficult, scholars have noted that he fathered a number of children over his lifetime. In 1884, Traylor started a family with Larisa Dunklin (1872–). By 1887, they had had three children: George, Pauline, and Sally. By 1898, the couple
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While
Traylor received his first public exhibition in 1940, it was not until 30 years after his death that his work finally began to receive broader attention, in the late 1970s. Recent acceptance of Traylor as a significant figure of American folk and modern art has been founded on the efforts of
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from
September 28, 2018 to April 7, 2019. It was the first retrospective ever presented for an artist born into slavery. The exhibition was organized by Leslie Umberger, curator of folk and self-taught art, who also wrote the exhibition catalog. The museum has expanded its holdings of the artist
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As a collection, Traylor’s drawings depict his experiences and observations from rural and urban life in pared down repeated symbols, shapes, and figures. His visual lexicon includes images of people, plants, animals, and local landmarks. While some pieces focus on a single animal, like a dog or
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From 1942 to 1945, Traylor lived with his children and other relatives in
Detroit, Chicago, New York, Philadelphia, and Washington D.C. After losing his leg to gangrene, Traylor moved back to Montgomery to live with his daughter, Sarah (Sally) Traylor Howard. On October 23, 1949, he died at Oak
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His works range from simple single-figured depictions to more compositionally complicated pieces of multiple silhouetted figures. Shannon remarked that the evolution reflected
Traylor’s own maturation as an artist. The pieces from Traylor's last year of work "brought together many of the visual
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In
November 1992, Traylor's heirs filed suit against Shannon for possession of Traylor's drawings. The suit was settled in 1993, with Shannon agreeing to transfer a dozen of Traylor's works, then valued at $ 10,000 to $ 25,000 US dollars each, to Traylor's heirs. Both parties released a joint
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sparked considerable controversy. Within it, Sobel explored a number of claims: Traylor's supposed murdering of his wife's lover, the
Birmingham police's lynching of Traylor's son in 1929, and Traylor's wide use of symbols to hide his call for Black opposition to the Jim Crow and Lynch Law.
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More recently, Traylor has been accepted into national and international ranks of the most prominent self-taught artists. Scholars and curators have moved away from labeling him as a "primitive" or "outsider" artist, and have instead chose to focus on his prominence and significance within
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to subject matter. In 1975, he further divided the collection into 25 categories of shared imagery and three additional categories: earliest works, extra large works, and special works. As an organized collection, Traylor's works finally began to evoke interest among art enthusiasts.
76:, Alabama. His parents, Sally (1815–1880) and Bill Calloway (1805–1860+), were slaves on the plantation of George Hartwell Traylor (1801–1881), a white cotton grower. Bill had five siblings: Liza (1837), Henry (1845), Frank (1846), Jim (1847), and Emet (1854).
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warned against viewing Traylor's pieces exclusively in terms of their aesthetic value. "To discount" his personal struggles "is to ignore what makes Traylor not only a noteworthy artist, but also an eloquent annalist of a nation’s history: its brutality."
83:’s loss to the Union. This social and political rupture was compounded by the death of his father sometime between 1860 and 1866. While the end of the war ensured his legal emancipation, Traylor remained entrapped in the economic structures of the South's
56:, Alabama, that Traylor began to draw. At the age of 85, he took up a pencil and a scrap of cardboard to document his recollections and observations. From 1939 to 1942, while working on the sidewalks of Montgomery, he produced nearly 1,500 pieces of art.
64:, as well as the evolving tastes of the art world. Shannon, who first encountered Traylor's work in 1940, brought Traylor to the attention of the larger art world. Traylor now holds a central position in the fields of "self-taught" and modern art.
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published an article entitled "The Enigma of Uncle Bill Traylor: Born A Slave, Untutored in Art, His Paintings Are Reminiscent of Cave Pictures – And Picasso." This racialized framing of Traylor's work endured throughout most of the 20th century.
220:, featured 50 of Traylor's drawings and paintings. Looking past Traylor's position as a "folk" or "outsider" artist, the exhibit examined his work in relation to "the modernist works of the established or 'official' avant-garde of the period."
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118:. It included a hundred of Traylor's drawings. Nevertheless, despite numerous reviews in local newspapers, none of Traylor's works were sold. The exhibit, however, remains notable. It was the only one that Traylor would live to see.
137:, the director of MoMA, offered to purchase several drawings for the museum’s collection, as well as his own personal one. However, after he only offered one or two dollars for each Traylor’s piece, the deal quickly fell through.
133:’s then director of education, organized the exhibit. Nevertheless, while the exhibit introduced Traylor’s work to the larger New York art community, it did not result in the purchase of any Traylor pieces by any museum. Notably,
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Soon after this encounter Shannon began to supply Traylor with poster paints, brushes, and drawing paper. A friendship soon transpired. In February 1940, New South, a cultural center that Shannon founded, launched the exhibit
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themes he had developed by this time: strong abstract forms, combination plant-animal and abstract forms, people in various 'states' ranging from serenity to hysteria, thieves and drinks and devilish kids".
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in Washington D.C. that the audiences started to note the significance of his work. Curators Jane Livingstone and John Beardsley included 36 of Traylor's pieces in the landmark exhibition
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rapidly became evident that something remarkable was happening: his subjects became more complex, his shapes stronger, and the inner rhythm of his work began to assert itself."
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In 1942, when detailing Traylor's exhibitional debut, local journalists heralded the "primitive" and "African" quality of his artwork. Subsequent reviews followed in line. The
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In 1979 Richard H. Oosterom agreed to hold a solo exhibit featuring Bill Traylor's pieces. From December 13, 1979 to January 12, 1980, R.H. Oosterom, Inc. mounted the show
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1020:"Traylor in Motion: Wonders from New York Collections and Bill Traylor: Drawings from the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts,"
653:"Traylor in Motion: Wonders from New York Collections and Bill Traylor: Drawings from the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts,"
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The year 1982 "inaugurated the larger public exposure, critical analysis, and publication through which Traylor’s work has become widely recognized." In 1995, the
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Helfenstein, Josef, "Bill Traylor and Charles Shannon: A Historic Encounter in Montgomery" in Helfenstein and Kurzmeyer (1999), p. 101.
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through important acquisitions and donations, notably, the acquisition of seminal works from the Judy Saslow Collection.
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For young Traylor, the mid-1860s marked a period of radical personal and economic change. In 1865, Traylor witnessed the
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displayed Traylor's works. In 1996, six weeks after Shannon's death, MoMA included Traylor's drawings in the exhibition
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835:"Between Worlds: The Art of Bill Traylor" Symposium, held February 22, 2019, at the Smithsonian American Art Museum.
239:, the American Folk Art Museum's chief curator, and Valérie Rousseau, its curator of art of the self-taught art and
954:"Resisting the Whitening of Bill Traylor: Why We Should Remember the Slave and Sharecropper As Much As The Artist,"
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Kurzmeyer, Roman, "The Life and Times of Bill Traylor (1854-1949)" in Josef Helfenstein and Roman Kurzmeyer (eds),
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eds. Susan Mitchell Crawley and Margaret Lynne Ausfeld (New York: Delmonico Books/Prestel Publishing, 2012), 19.
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In 1942, Traylor made his New York debut. From January 5 to January 19, the Ethical Culture Fieldston School in
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630:"Bill Traylor: Drawings From the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts"
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Bill Traylor: Drawings from the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts.
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Bill Traylor: Drawings from the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts,
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Bill Traylor: Drawings From the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts
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Bill Traylor: Drawings from the Collection of the High Museum of Art and the Montgomery Museum of Fine Arts
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snake, other paintings offer composed scenes of individuals gathering by a fountain or working on a farm.
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continued this effort in 2013 with two exhibitions. From June 11 to September 22, the Museum hosted both
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Kurzmeyer, "The Life and Times of Bill Traylor (1854–1949)" in Helfenstein and Kurzmeyer (1999), p. 174.
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Washington D.C.: Smithsonian American Art Museum in association with Princeton University Press, 2018.
536:"Documentary Review — "Bill Traylor: Chasing Ghosts" remembers an ex-slave turned "primitive" art icon"
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669:"The Shape of the World Passing Before His Eyes: Bill Traylor Finally Gets a Spotlight in New York"
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247:. Together, the exhibits featured 104 of Traylor's drawings and paintings. Roberta Smith, from
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847:"'He's telling a story of his time': how Bill Traylor, born into slavery, became an art titan"
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319:, September 2018 - April 2019, received considerable popular attention, including articles in
748:"Louise Borden and Don Tate write biographies about men who changed the world: Young Readers"
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In 1909 Traylor was farming in Montgomery County and in 1928 he left for the capital city of
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US Census, 1910, for misspelled surname William Taylor; and US Census 1930 for Bill Traylor.
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170:. The exhibit also led to the first institutional acquisition of Traylor's drawings. The
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In 2021, a documentary by film-maker Jeffrey Wolf on Bill Traylor's life, entitled
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The symposium held in 2019, in conjunction with the Traylor retrospective at
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Street Hospital in Montgomery. He was later buried at Mount Moriah Cemetery.
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Margaret Lynne Ausfeld, "Unlikely Survival: Bill Traylor’s Drawings" in
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790:"Born into slavery, Bill Traylor didn’t just paint, he left us a world"
517:"Former slave Bill Traylor's artistic legacy under threat from forgers"
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729:"Bill Traylor: Beyond the Figure 9/16/13 | American Folk Art Museum"
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statement that recognized Shannon's contribution to Traylor's fame.
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Traylor's life and art were the subject of a 2012 children's book,
48:. Born into slavery, Traylor spent the majority of his life after
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DePaul Journal of Art, Technology & Intellectual Property Law
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as a sharecropper. It was only after 1939, following his move to
463:"Chasing Ghosts Brings the Story of Artist Bill Traylor to Life"
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Looking towards Traylor's personal history, Alana Shilling from
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Lively Times and Exciting Events: The Drawings of Bill Traylor.
185:. Soon after, Shannon donated some of Traylor's works to the
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Bill Traylor at the High Museum of Art| He drew what he saw"
618:"Bill Traylor, William Edmondson, and the Modernist Impulse"
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Montgomery, Alabama: Montgomery Museum of Fine Arts, 1993.
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Crawley, Susan Mitchell and Margaret Lynne Ausfeld (eds),
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Bill Traylor, William Edmondson, and the Modernist Impulse
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Smithsonian American Art Museum's 2018-2019 exhibition,
417:(Baton Rouge: Louisiana State University, 2009), p. 10.
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Bill Traylor: American Primitive (Work of an old Negro)
87:. He continued to work on the plantation, but now as a
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Tate, Don, author / R. Gregory Christie, illustrator.
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Baton Rouge: Louisiana State University Press, 2009.
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Traylor in Motion: Wonders from New York Collections
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It Jes' Happened: When Bill Traylor Started to Draw.
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It Jes’ Happened: When Bill Traylor Started to Draw,
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Traylor in Motion: Wonders from New York Collections
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African American artist and sharecropper (1854–1949)
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New York: Delmonico Books/Prestel Publishing, 2012.
36: – October 23, 1949) was an African-American
256:The largest exhibition of Traylor's work to date,
106:. During the day, he camped out on Monroe Street.
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452:(New Haven: Yale University Press, 1999), p. 172.
202:A Century of American Drawing from the Collection
1030:Painting a Hidden Life: The Art of Bill Traylor.
620:, Studio Museum Harlem. Retrieved June 21, 2020.
481:"Bill Traylor | Smithsonian American Art Museum"
1046:Lee & Low Books, New York, New York, 2012.
930:Painting a Hidden Life: The Art of Bill Traylor
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415:Painting a Hidden Life: The Art of Bill Traylor
365:Painting a Hidden Life: The Art of Bill Traylor
172:Schomburg Center for Research in Black Culture
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467:The Vineyard Gazette - Martha's Vineyard News
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1080:American Folk Art Museum's 2013 exhibition,
363:The 2009 publication of Mechal Sobel's book
177:It wasn’t until Traylor's 1982 debut at the
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700:"BMS Art Sells Masterworks to Smithsonian"
913:"Review of Sobel, Painting a Hidden Life"
873:"Resale Royalty and the Primitive Artist"
688:"Between Worlds: The Art of Bill Traylor"
598:"Untitled (Two Selves) | Leslie Umberger"
1059:Between Worlds: The Art of Bill Traylor.
990:Helfenstein, Josef and Roman Kurzmeyer,
895:"Settlement Over Artwork By an Ex-Slave"
430:(New York: Alfred A. Knopf, 1991), p. 8.
308:and illustrated by R. Gregory Christie.
72:Bill Traylor was born in April 1853, in
1122:Between Worlds: The Art of Bill Traylor
994:New Haven: Yale University Press, 1999.
639:, Past Exhibitions, High Museum of Art.
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317:Between Worlds: The Art of Bill Traylor
258:Between Worlds: The Art of Bill Traylor
208:20th-century American art. In 2005 the
893:Perez-Pena, Richard (7 October 1993).
746:Englehart, Kathy (September 1, 2012).
168:Bill Traylor 1854–1974, Works on Paper
289:, to discuss his complicated legacy.
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1178:20th-century African-American people
1001:New York: Eastern Press, Inc., 1995.
992:Bill Traylor: 1854–1949: Deep Blues.
773:"The Utterly Original Bill Traylor"
450:Bill Traylor: 1854-1949: Deep Blues
183:Black Folk Art in America 1930-1980
174:purchased Traylor's "Man on Mule".
385:Umberger, Leslie (7 August 2018).
342:Smithsonian Museum of American Art
313:Smithsonian Museum of American Art
262:Smithsonian Museum of American Art
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1006:Bill Traylor: His Art - His Life.
578:Vogel, Carol (28 November 1997).
426:Marcesa, Frank, and Roger Ricco,
1011:Montgomery Museum of Fine Arts.
1008:New York: Alfred A. Knopf, 1991.
1004:Marcesa, Frank and Roger Ricco.
917:The Journal of Southern Religion
879:. 4, Spring/Summer (2): 207–230.
552:Marcesa and Ricco (1991), p. 31.
269:Popular and scholarly perception
1153:People from Montgomery, Alabama
823:"This Week on 'Sunday Morning'"
497:Marcesa and Ricco (1991), p. 4.
287:Bill Traylor: Beyond the Figure
709:, News, BMS Art, June 1, 2016.
534:Moore, Roger (12 April 2021).
428:Bill Traylor: His Art-His Life
231:, a traveling exhibition, and
187:Montgomery Museum of Fine Arts
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285:hosted a full-day symposium,
116:Bill Traylor: People’s Artist
30:
1115:Artist's works and biography
1110:Bill Traylor: Chasing Ghosts
997:Hirschl & Adler Modern.
807:"The Best Art Books of 2018"
349:Bill Traylor: Chasing Ghosts
1158:People from Benton, Alabama
387:"The world of Bill Traylor"
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1095:American Folk Art Museum,
987:Spring/Summer 1983, 42–48.
331:. It was also featured on
198:Metropolitan Museum of Art
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1138:American outsider artists
129:. Victor E. D'Amico, The
104:Ross-Clayton Funeral Home
1143:African-American artists
999:Bill Traylor: 1854–1947.
871:Coladarci, Anne (1994).
283:American Folk Art Museum
260:, was on display at the
235:, an in-house exhibit.
225:American Folk Art Museum
334:CBS News Sunday Morning
210:Studio Museum in Harlem
179:Corcoran Gallery of Art
752:Cleveland Plain Dealer
981:"Art by Bill Traylor"
391:The Magazine ANTIQUES
275:Montgomery Advertiser
212:launched the exhibit
1148:Artists from Alabama
976:, February 10, 2012.
911:Puchner, Edward M.,
813:, December 13, 2018.
218:Milwaukee Art Museum
131:Museum of Modern Art
1173:Self-taught artists
794:The Washington Post
788:Kennicott, Philip,
771:Schjeldahl, Peter,
325:The Washington Post
189:, one of which the
123:Riverdale, New York
19:For the actor, see
1103:2018-11-05 at the
1088:2014-03-27 at the
1057:Umberger, Leslie.
952:Denson, G. Roger.
899:The New York Times
811:The New York Times
796:, October 5, 2018.
779:, October 1, 2018.
705:2018-10-27 at the
673:The New York Times
635:2023-02-27 at the
602:Lapham’s Quarterly
584:The New York Times
485:americanart.si.edu
329:The New York Times
315:'s retrospective,
250:The New York Times
237:Stacy C. Hollander
191:High Museum of Art
158:Exhibition history
38:self-taught artist
1067:978-0-69118-267-4
1052:978-1-60060-260-3
1038:978-0-8071-3401-6
1018:Shilling, Alana.
733:folkartmuseum.org
651:Shilling, Alana,
294:The Brooklyn Rail
245:Traylor in Motion
193:later purchased.
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372:References
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