Grace was in need of some rest. Her marriage and her professional life were under stress, and she needed to recalibrate.

She had become resentful of her husband John because she had to bear the greater portion of financial responsibility from her painting sales. She was exhausted.

Her husband was John Hudson. He was a physician, but he dedicated most of his time and energy to his avocation, the study of Pomo Indians. Consequently, his medical practice did poorly. As patients dwindled, pressure increased on Grace to fill the financial void with proceeds from her painting sales. Grace found her productivity was diminishing as her resentment was growing. Something had to give; she needed a break.

She turned her attention to doing what she had done so well in California, getting to know native women and children and painting their portraits with her unique blend of artistry mixed with the tenderness, sensitivity and friendship she held for her subjects. Below are some of the paintings now on exhibit.

Kakalaioa (Bramble Bush) Painting #193, oil on board 1901 ... This small painting refers to a thorny Hawaiian plant with attractive foliage and blooms. The title may refer to Grace's understanding of the child. Just as the plant was a combination of prickliness and play, so too was the child.

Little Girl in the Sand Photo of painting #202 ... Grace's diary says this girl with frilly pantaloons is sitting on the beach at Waikiki. The original painting was exhibited at the Kennedy-Rabjohn Gallery in San Francisco in 1902, but its current status and location is not known.

Chinese Child Painting #189, Oil on board, 1901 ... Grace gave this painting to her friend Alice Kimball Campbell of Mendocino. Campbell had moved to

Hawaii after her marriage and introduced Grace to Hawaiian society, making Grace feel most welcome upon her arrival.

"A Kamaaina" Painting #196, Oil on canvas 1901 ... "A Kamaaina" is an Hawaiian idiom for a native Hawaiian. Grace includes in this painting a large wooden bowl of the Hawaiian dish of poi and a dried squid on the woven matt. She worked on this painting longer than any other of her Hawaiian works and it was exhibited in Honolulu and later in San Francisco.

Aloha Painting #209, oil on board, 1901 ... Grace gave this portrait to her husband John. Grace did not title this painting in her diary, but described it as an old Hawaiian woman at Waikiki. Its custom made beaten copper frame had the name "Aloha" embossed on it, hence its current title.

Haunani (Woman with Haku Lei) Unfinished portrait on canvas, 1901 ...
This oil sketch may be the first portrait Grace did in Hawaii. It appears she started and stopped several times while working on it, finally setting it aside. She never entered the painting in her diary of finished numbered oils.

Lost Culture Theodore Wores, 1902 Oil on Canvas ... Theodore Wores arrived in Honolulu in 1901 and told reporters he desired to immortalize the fast vanishing spirit of old Hawaiian life. Wores later felt Hawaii's old spirit had faded, perhaps reflected in the sad eyes of the Hawaiian girl in this painting.

The Artist and His Wife, Honolulu Harold Meade and Jeannie Mott Smith Oil on canvas, 1898 ... San Francisco artist Harold Meade Mott Smith 1872-1948 was born in Hawaii in 1872 and had studied in Paris and exhibited at the Paris Salon. Grace Hudson wrote her husband John, speaking glowingly of this Honolulu artist. This painting survived the '06 quake in SF.

Hawaiian House David Howard Hitchcock 1861-1943, No date ... At a young age, David Hitchcock accompanied his father on long camping expeditions surveying portions of the Big Island. From these early experiences, he was intrigued by Hawaiian environs, from the lava deserts, the volcanos, and the rain forests. This painting of a Hawaiian house would have been a

common sight. Hitchcock accompanied Jules Tavernier on his first trip to Kilauea and studied with the great artist.

Volcano, Charles Furneaux, 1901 ... This scene was painted shortly after Grace's arrival in Hawaii, showing Kilauea's fiery nighttime glow. Charles Furneaux had settled in Hawaii in 1880 and is prominent among the painters of the Hawaiian "Volcano School."

"Days of Grace" California artist Grace Hudson in Hawaii, is now at Ukiah's Grace Hudson Museum and runs through December 28, 2014. The museum's permanent collection is also on exhibit, a wide sampling of Grace Hudson's portraits and paintings done among California's Pomo Indians. Make plans now to visit Ukiah and enjoy this Californian treasure!

Maynard Dixon studied with Arthur Mathews at the California School of Design, and there became friends with Xavier Martinez who introduced Maynard to the Bohemian Club, San Francisco's legendary association of artists and patrons. After a time working in New York where he did magazine illustrations with Western themes, Dixon returned to San Francisco.

In 1915 at San Francisco's Panama Pacific International Exposition, Dixon was impressed by the new art he saw exhibited there. He began associating with a circle artists well versed in new ideas and met a portrait photographer, Dorothea Lange, who lived in Berkeley at the time. In part from his association with Lange and his new circle of friends, Dixon's work began to emphasize design with simplified color and composition. He was evolving into a true modernist.

Oddly enough, in Scab both the strikers and the scab are doing what they feel needs to be done to get through the hard times, times which cause them to turn on one another.

Strikers Confronting Police shows desperate strikers willing to risk strong- arming a singular cop. Police were often bought off and used by the employers to force strikers into compliance.

In 1934, San Francisco labor problems caused workers to picket. Keep Moving is the cops order for two lines of men walking in opposite directions. Some have fists clenched in added silent protest aimed toward the cops across the way.

In a San Francisco labor rally of sailors and longshoremen between 1934-36, Dixon shows a defiantly courageous lone speaker with arm extended signaling thumbs up while police listen in. Free Speech expresses Dixon's firm belief in the freedoms of expression and assembly.

In a February 1960 article in Popular Photography Magazine, Lange had this to say of Migrant Mother. "I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it."

In 1978, a Modesto Bee reporter identified the woman in Migrant Mother, nearly forty years after Lange took the photo. The mother, Florence Owens Thompson was quoted to have said, "I wish she [Lange] hadn't taken my picture. I can't get a penny out of it. She didn't ask my name. She said she wouldn't sell the pictures. She said she'd send me a copy. She never did."

Since Lange was working for the government at the time the photo was taken, it was in the public domain. Lange received no royalties from it.

In a December 2008 interview, Florence's daughter Katherine McIntosh paid tribute to her mother saying she was a "very strong lady, the backbone of our family." She went on, "We never had a lot, but she always made sure we had something. She didn't eat sometimes, but she made sure us children ate. That's one thing she did do."

After her marriage with Maynard Dixon, Dorothea Lange married Paul Schuster Taylor, a progressive agricultural economist who taught at Berkeley. What is certain of Dorothea's depression era photography is she gave dignity to the economic refugees as they moved about the county in search of work. Her images capture the extraordinary character of desperate people, visually conveying the character people seem to be able to draw upon when faced with immeasurable challenge and hardship. Her images of mothers in particular show the demands of caring for children's needs when there was no place to turn for help.

The first reviews of his portrait were not kind. The portrait was painted by Austrian portrait artist Gottfried Helnwein, a realist who previously illustrated Andy Warhol and John F. Kennedy. But critics quickly pointed out there was little realism, because in the portrait, Arnold appears thirty years younger. Also, there were reports that Arnold's lapel pin originally referenced

ex-wife Maria Schriver. The divorce came after the portrait was finished, and the lapel pin had to be blurred before the unveiling.

Next were humorous comparisons to Governor Brown's non-traditional portrait. Gov. Brown joked that his father, former Gov. Pat Brown said that after people saw that portrait, Jerry would never be elected to office again.

Trail of the Giants by Robert Rishell
Bodega Bay Heritage Gallery Collection
Above ... Robert Rishell Interview, KGO Radio, March 1, 1969

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