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- Shelby Shackelford (1899–1987) was an American artist who worked mainly within the art communities of Baltimore, Maryland, and Provincetown, Massachusetts. Her paintings, drawings, and prints were abstract, but not nonobjective. Each of them had, as she said, "a beginning in a visual experience". Early in her career, during a period when many in Baltimore were hostile to what locals called "advanced" trends in art, her paintings were stigmatized as "meaningless stuff". After helping to counteract these local prejudices, she embarked on a long period of experimentation in media and technique, maintaining, as she wrote in 1957, that painting was, "an adventure, a process of discovery for which there should be no end". Critics praised Shackelford for "refinement and sureness of approach and execution", "unusual and amusing arrangements of color and line", "taste and imagination", and "paintings [that] are abstract, well-constructed, with variety of forms, and outstanding color". In addition to making art, Shackelford taught art classes to children and adults, was an active participant in arts organizations, and both wrote and illustrated books that received extensive attention from book reviewers. (en)
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- Shelby Shackelford in 1957 (en)
- News photo of Shelby Shackelford working on a painting that was shown in the 1925 Charcoal Club exhibition (en)
- Shelby Shackelford, Othello's Last Scene, about 1929, woodcut, 7 1/2 x 5 inches (en)
- Shelby Shackelford, Cliff Wall, 1956, 12 1/2 x 9 3/4 inches (en)
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- ShackelfordAtEasel1925.jpg (en)
- ShackelfordCliffWall.jpg (en)
- ShackelfordOthelloLastScene.jpg (en)
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- My style has changed throughout my painting span, but always I think, because of the effort to do my own seeing. I have felt influences from the work of other painters, but I have known they were to be considered, not copied. I paint slowly, as a rule, and keep several canvases going, on which I paint for months. Occasionally I may repaint a whole canvas in two or three days, having learned through trial and error what I wanted to achieve. I build up my compositions into a sort of architectural understructure. Much of this is lost, as is the framing of buildings when the building is completed. Like any artist, I am concerned with the balance of form and color, and I am continually surprised by the beauty of line, and the possibilities of textures. (en)
- Over the wide range of subjects selected by Miss Shackelford a lively intelligence plays constantly: in her separate works there is a vision of a part of the world, unified, clear, intense. And art, if it is to be something more than an escape and if it is to provide a purpose other than that of being pursued by collectors and chortled over by cliques, needs intelligence and vision — needs them if as in the high standing words of Paul Gaultier it really is 'a harmonious and integral expansion of all our nature in the faculty of feeling.' 'I try to see my subject and to paint it as I feel it at that time', says Miss Shackelford. And she has done both in an uncommonly fine fashion. (en)
- I have been asked a number of times, "How do you begin a painting?" I know very well how I do not begin. I do not set up an easel and paint what is in front of me. How I begin is far more tentative. I think it starts with a feeling which I want to make visible. Sometimes it takes me a long time to "see" this within my own mind ; sometimes it comes quickly. It may be started by color sensations from trees, hills, skies, water, streets — anything. It may be in the shape of small objects, stones, shells, feathers. Almost always the stimulus comes from outside, from the visual world around me. I was recently called "a nature painter." This is true, in that the beginning of my subject matter is nature. What I do with it, or a small part of it, becomes my own translation. (en)
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- Personal statement contributed to a round-table discussion of "Art and the Creative Mind", Institute of Psychiatry, University of Maryland, Baltimore, 1957. (en)
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- Shelby Shackelford (1899–1987) was an American artist who worked mainly within the art communities of Baltimore, Maryland, and Provincetown, Massachusetts. Her paintings, drawings, and prints were abstract, but not nonobjective. Each of them had, as she said, "a beginning in a visual experience". Early in her career, during a period when many in Baltimore were hostile to what locals called "advanced" trends in art, her paintings were stigmatized as "meaningless stuff". After helping to counteract these local prejudices, she embarked on a long period of experimentation in media and technique, maintaining, as she wrote in 1957, that painting was, "an adventure, a process of discovery for which there should be no end". Critics praised Shackelford for "refinement and sureness of approach and e (en)
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