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What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially  middle-class republics — whether ancient Romans, seventeenth-century Dutch  burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands.

The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and  populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio, Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States's population had increased roughly five times, and eleven new states had  been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the  professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began  by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

John James Audubon, nineteenth-century artist and naturalist, is known as one of the foremost authorities on North American birds. Born in Les Cayes, Haiti, in 1785, Audubon was raised in France and studied art under French artist Jacques-Louis David. After settling on his father's Line Pennsylvania estate at the age of eighteen, he first began to study and paint birds.

In his young adulthood, Audubon undertook numerous enterprises, generally without a tremendous amount of success; at various times during his life he was involved in a mercantile business, a lumber and grist mill, a taxidermy business, and a school. His general mode of operating a business was to leave it either unattended or in the hands of a partner and take off on excursions through the wilds to paint the natural life that he saw. His business career came to end in 1819 when he was jailed for debt and forced to file for bankruptcy.

It was at that time that Audubon began seriously to pursue the dream of publishing a collection of his paintings of birds. For the next six years he painted birds in their natural habitats while his wife worked as a teacher to support the family. His Birds of America, which included engravings of 435 of his colorful and lifelike water colors, was published in parts during the period from 1826 to 1838 in England. After the success of the English editions, American editions of his work were published in 1839, and his fame and fortune were ensured.

Schizophrenia is often confused with multiple personality disorder yet is quite distinct from it. Schizophrenia is one of the more common mental disorders, considerably more common than multiple personality disorder. The term "schizophrenia” is composed of roots which mean "a splitting Line of the mind," but it does not refer to a division into separate and distinct personalities, as occurs in multiple personality disorder. Instead, schizophrenic behavior is generally characterized by illogical thought patterns and withdrawal from reality. Schizophrenics often live in a fantasy world where they hear voices that others cannot hear, often voices of famous people. Schizophrenics tend to withdraw from families and friends and communicate mainly with the “voices” that they hear in their minds.

It is common for the symptoms of schizophrenia to develop during the late teen years or early twenties, but the causes of schizophrenia are not well understood. It is believed that heredity may play a part in the onset of schizophrenia. In addition, abnormal brain chemistry also seems to have a role; certain brain chemicals, called neurotransmitters, have been found to be at abnormal levels in some schizophrenics.

Before the mid-nineteenth century, people in the United States ate most foods only in season. Drying, smoking, and salting could preserve meat for a short time, but the availability of fresh meat, like that of fresh milk, was very limited; there was no way to prevent spoilage. But in 1810 a French inventor named Nicolas Appert developed the  cooking-and-sealing process of canning. And in the 1850's an American named Gail Borden developed a means of condensing and preserving milk. Canned goods and condensed milk became more common during the 1860's, but supplies remained low because cans had to be made by hand. By 1880, however, inventors had fashioned stamping and soldering machines that mass-produced cans from tinplate. Suddenly all  kinds of food could be preserved and bought at all times of the year.

Other trends and inventions had also helped make it possible for Americans to vary their daily diets. Growing urban populations created demand that encouraged fruit and vegetable farmers to raise more produce. Railroad refrigerator cars enabled growers and meat packers to ship perishables great distances and to preserve them for longer  periods. Thus, by the 1890's, northern city dwellers could enjoy southern and western strawberries, grapes, and tomatoes, previously available for a month at most, for up to six months of the year. In addition, increased use of iceboxes enabled families to store perishables. An easy means of producing ice commercially had been invented in the 1870's, and by 1900 the nation had more than two thousand commercial ice plants, most of which made home deliveries. The icebox became a fixture in most homes and remained so until the mechanized refrigerator replaced it in the 1920's and 1930's.

Almost everyone now had a more diversified diet. Some people continued to eat mainly foods that were heavy in starches or carbohydrates, and not everyone could afford meat. Nevertheless, many families could take advantage of previously  unavailable fruits, vegetables, and dairy products to achieve more varied fare.

With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving — in which the sculptors themselves carve stone or wood with mallet and chisel — must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in  which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble.

 With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent  and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent (1890-1970) was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

 Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must  have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.