Clementine Hunter Saturday Night Original Oil on Canvas Board Signed 1983 Painting

Artist: Clementine Hunter
Title: Saturday Night
Medium: Original Oil Painting on Canvas Board
Size: 16" x 20"
Year: 1983
Inscription: Signed 'CH' on front lower right
Verso: Inscribed 'Vergie / Vergie / Uncle Tom'
Documentation: Includes Gallery Certificate of Authenticity
Provenance: Purchased at the New York City Outsider Art Fair from Gilley's Gallery, Baton Rouge, Louisiana, 21 January 2018.

Clementine Hunter's "Saturday Night" (1983) exemplifies the artist's narrative approach to painting and her sustained focus on community life in rural Louisiana. Known for documenting social, religious, and labor activities drawn from lived experience, Hunter created works that function as visual chronicles of Southern Black life in the twentieth century. This painting depicts an animated evening gathering, where figures move in procession across the foreground while musicians and participants occupy the surrounding space. The emphasis on collective activity reflects Hunter's recurring interest in social rituals and communal celebration.

The composition is organized in a frieze-like arrangement, with figures shown in profile and simplified forms that prioritize gesture and movement over anatomical detail. Bold areas of color—reds, greens, blues, and blacks—structure the scene, while flattened space and rhythmic repetition create a sense of continuity across the picture plane. Architectural elements and landscape motifs provide context without disrupting the painting's narrative clarity. Hunter's approach privileges storytelling and memory, translating observed and remembered experiences into a direct and accessible visual language.

Created late in her career, "Saturday Night" reflects the mature phase of Hunter's practice, when her imagery and compositional strategies were firmly established. The work is an original oil painting on canvas board measuring 16 × 20 inches. It is signed "CH" at the lower right and inscribed "Vergie / Vergie / Uncle Tom" on the verso. The painting is accompanied by a gallery certificate of authenticity and was acquired at the Outsider Art Fair, New York, from Gilley's Gallery, Baton Rouge, Louisiana, on January 21, 2018.

About Clementine Hunter

Clementine Hunter (c. 1886–1988) was an American artist whose paintings provide an important visual record of life in the rural American South during the twentieth century. Self-taught and working outside formal academic traditions, Hunter is widely recognized for her vivid depictions of everyday life, seasonal labor, community gatherings, and cultural traditions at Melrose Plantation in Natchitoches Parish, Louisiana, where she lived and worked for most of her life.

Born in Louisiana to a Creole family of African and Native American heritage, Hunter spent decades as an agricultural laborer and domestic worker before beginning her artistic practice in her fifties. She started painting in the 1930s, initially using leftover art materials she found on the plantation. Her work documents scenes such as cotton picking, pecan harvesting, weddings, baptisms, funerals, and social events, offering a perspective rooted in lived experience rather than romanticized narrative. Hunter's compositions are characterized by flattened space, rhythmic patterning, and a distinctive use of color that emphasizes narrative clarity over illusionistic depth.

Although often categorized within American folk art or self-taught art, Hunter's paintings have been recognized for their historical and cultural significance as well as their formal strength. Over time, her work attracted the attention of writers, collectors, and museums, and she became one of the most celebrated self-taught artists in the United States. Her paintings are held in major public and private collections and continue to be studied within discussions of American art, African American art history, Southern art, and vernacular visual culture.

Clementine Hunter's legacy lies in her sustained visual chronicle of community life and labor in the American South, as well as her role in expanding recognition of self-taught artists within the broader narrative of twentieth-century American art.