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Howard Finster (December 2, 1916 – October 22, 2001) was an American artist and Baptist minister from Georgia. He claimed to be inspired by God to spread the gospel through the design of his swampy land into Paradise Garden, a folk art sculpture garden with over 46,000 pieces of art. His creations include outsider art, naïve art, and visionary art. Finster came to widespread notice in the 1980s with his album cover designs for R.E.M. and Talking Heads.

Key Information

Artistic works

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Finster began building his first garden park museum in Trion, Georgia, in the late 1940s. It featured an exhibit on the inventions of mankind in which Finster planned to display one of everything that had ever been invented, models of houses and churches, a pigeon flock and a duck pond.

When he ran out of land in Trion in 1961, he moved to Pennville, Georgia, near Summerville, and bought four acres (1.6 ha) of land upon which to build the Plant Farm Museum "to show all the wonderful things o' God's Creation, kinda like the Garden of Eden."[1] It features such attractions as the "Bible House," "the Mirror House," "the Hubcap Tower," "the Bicycle Tower," "the Machine Gun Nest," and the largest structure in the garden, the five-story "Folk Art Chapel." He also started putting up signs with Bible verses on them because "he felt that they stuck in people's heads better that way."

He retired from preaching in 1965 and focused all of his time on improving the Plant Farm Museum. In 1976, he had another vision to paint sacred art. According to Finster, "...one day I was workin' on a patch job on a bicycle, and I was rubbin' some white paint on that patch with this finger here, and I looked at the round tip o' my finger, and there was a human face on it... then a warm feelin' come over my body, and a voice spoke to me and said, 'Paint sacred art.'"[2]

One of Finster's last portraits; Don Swartzentruber.

His diverse range of subjects include pop culture icons like Elvis Presley, historical figures like George Washington, Ronald Reagan, religious images like The Devils Vice and "John the Baptist," UFOs and aliens, war and politics.[3] His paintings are colorful and detailed; they use flat picture plane without perspective and are often covered with words, especially Bible verses. Every painting also has a number: God had asked him to do 5,000 paintings to spread the gospel and Finster wanted to keep track.

He finished the 5,000 a few days before Christmas in 1985, but continued painting and numbering until the day he died. By 1989, he was already numbering in the ten thousands.

He first started receiving outside publicity in 1975. That year, Atlanta-based WAGA ran a story; he also appeared in an Esquire magazine article that first dubbed his museum Paradise Garden. He made his first exhibition appearance in 1976 and painted four paintings for the Library of Congress in 1977. He was also selected to be part of the Venice Biennale in 1984. Several of Finster's pieces are on display at the Smithsonian American Art Museum in Washington, D.C.[4]

Finster gained national fame after his collaborative work with Athens, Georgia-based rock band R.E.M. The group filmed the video for the group's debut single "Radio Free Europe" in Finster's Paradise Gardens in 1983. The following year, the band's singer Michael Stipe and Finster collaborated on a painting for the cover of their second album Reckoning. After that the band made the song "Maps and Legends" (in its third album Fables of the Reconstruction) as an homage to Finster. Along with R.E.M., Finster also appeared in the documentary film Athens, GA: Inside Out, filmed in 1985, in which he tells the story of how he came to be an artist. Finster (and his art) also appears in the band's video for Radio Free Europe.

In the mid-1980s, Finster participated in the Mountain Lake Workshop in Virginia, led by educator and curator Ray Kass, where he came to do what he called a “work out” with the students alongside other artists in a collaborative, interdisciplinary environment.[5][6]

The band Talking Heads commissioned a Finster painting for Little Creatures in 1985 that was subsequently selected as album cover of the year by Rolling Stone magazine. Other artists to use Finster as an album cover designer include Memory Dean, Pierce Pettis, and Adam Again. In 1994, a portion of his Paradise Garden was installed as part of the permanent collection of Atlanta's High Museum. Bill Mallonee of the Vigilantes of Love (also a Christian from Athens, Georgia) wrote a song inspired by Finster's artwork called The Glory and the Dream in 1994.

Howard Finster was responsible for introducing millions to outsider art, but even with his fame, he remained focused on religious outreach. He said of the Talking Heads album, "I think there's twenty-six religious verses on that first cover I done for them. They sold a million records in the first two and a half months after it come out, so that's twenty-six million verses I got out into the world in two and a half months!"[7]

The classification of his creations overlap folk art[8] and outsider art[9][10] for the origin, naïve art[10][11] and visionary art[12] for the content.

Notes

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References

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Howard Finster

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Howard Finster (December 2, 1916 – October 22, 2001) was an American self-taught folk artist and Baptist minister from the rural South, best known for his prolific output of sacred paintings, sculptures, and the environment Paradise Garden in . Born into poverty as one of thirteen children in Valley Head, , Finster left school after the and worked in over twenty trades, including bicycle repair and carpentry, to support his family before dedicating himself to preaching and art. He began preaching at age sixteen in 1933, leading tent revivals across the South and hosting a radio program in the late and early 1940s, while also religious poetry and songs in local newspapers during the . A pivotal 1976 vision—triggered by seeing a human face emerge in white paint on his fingertip—commanded Finster to "paint sacred " as a divine form of , marking the start of his intensive artistic career. From then until his death, he created over 46,000 numbered artworks, often on found materials like plywood or metal, depicting biblical scenes, historical figures, celebrities such as , and personal visions infused with moral and evangelistic messages. His style blended vibrant colors, folk motifs, and handwritten text, earning him recognition as a leading figure in the movement and the "grandfather of Southern ." Finster's Paradise Garden, begun in the early 1960s on swampy land behind his home, evolved into a sprawling three-acre assemblage of recycled objects, mirrors, sculptures, and biblical shrines, serving as both a personal sanctuary and a public attraction that drew thousands of visitors. He gained national prominence in the 1980s through media appearances, including The Tonight Show, and collaborations like designing album covers for Talking Heads' Little Creatures (1985) and R.E.M.'s Murmur (1983), which amplified his influence in popular culture. Today, his works are held in major collections, such as the Smithsonian American Art Museum and the High Museum of Art, which maintains the largest public holding outside Paradise Garden, underscoring his enduring legacy as a bridge between religious fervor, environmental art, and American folk traditions.

Early Life

Childhood and Family Background

Howard Finster was born on December 2, 1916, in Valley Head, Alabama, to Samuel William Finster, a lumberjack, and Lula Alice Henegar Finster, in a poor farming family. He was one of 13 children raised in rural DeKalb County, an area marked by economic hardship and the rhythms of agricultural life in the Appalachian foothills. The family's modest circumstances instilled in Finster a deep sense of resourcefulness and resilience from an early age. A pivotal event in Finster's childhood occurred at age three, when his sister Abbie Rose died, prompting what he described as his : she appeared to him on a floating stairway, foretelling that he would become "a man of many visions." This experience, amid the deaths of five siblings during his youth, profoundly shaped his preoccupation with mortality, spirituality, and the . Finster's formal education ended after the , around age 12, when he left to contribute to the family by working in local cotton mills. He later took up and other manual trades to support himself, honing practical skills in a region where was essential. Growing up in the Appalachian region, Finster was immersed in Baptist revivalism through meetings and shape-note singing traditions, which fostered a vibrant communal . These folk customs, combined with his family's devout Baptist faith, naturally paved the way for his later entry into ministry.

Early Ministry and Influences

Finster felt a calling to preach at age fifteen after a religious experience, and by 1940 he was ordained as a Baptist minister at Violet Hill Baptist Church in . He soon began serving as pastor at small rural churches in North Georgia, including Rock Bridge Baptist Church near DeSoto State Park in 1940, and later several congregations in Chattooga County during the 1940s. As a tent revivalist, Finster traveled extensively across Georgia, , and , delivering fervent sermons to rural audiences and performing baptisms and foot washings as part of traditional Baptist practices. His preaching emphasized evangelical zeal, shaped by a childhood marked by poverty and the early deaths of five of his siblings, which deepened his commitment to spreading moral and biblical messages. Over the next two decades, he balanced ministry with various trades, including factory work in Trion, Georgia, while pastoring multiple churches. In 1965, Finster retired from full-time preaching, feeling that his spoken words had limited lasting impact on congregations, and shifted focus to broader expressions of "God's work" through community-oriented projects like an outdoor educational museum in Trion featuring replicas of churches and inventions. He supported his family by repairing bicycles, lawnmowers, and small engines, during which he began tinkering with discarded parts and found objects, foreshadowing his later creative methods. Finster's ministry was influenced by regional folk traditions, including visits to roadside attractions like Rock City, which sparked his appreciation for vernacular environmental art and public displays of spirituality. Throughout his preaching career, he wove biblical narratives and moral lessons into everyday interactions, using simple diagrams and stories to convey scripture, a practice that embedded religious motifs deeply into his worldview without yet manifesting in dedicated artistic output.

Artistic Beginnings

Initial Creative Projects

In the late 1940s, Howard Finster began constructing his first art environment, known as the Garden Park Museum, at his home in Trion, Georgia. This outdoor installation was envisioned as a comprehensive display featuring one example of every human invention, tool, and product known to man, reflecting his ambition to educate and inspire through tangible representations of human ingenuity. By 1961, constrained by space in Trion, Finster relocated his family to Pennville, Georgia (a community within Summerville), where he purchased four acres of land and expanded his project into the Plant Farm Museum, an attraction meant to display all of the inventions of mankind. There, he developed a series of outdoor installations, including towering structures made from and lawnmower frames, plywood and concrete sculptures, and hand-painted signs inscribed with biblical messages that drew from his background as a Baptist minister to promote themes of and instruction. Finster's creations emphasized resourcefulness, incorporating found objects such as glass bottles, mirrors, car parts, and other discarded items to build folk environments that blended educational displays with spiritual symbolism, often forming whimsical yet didactic structures like a and mirrored walls. These early sites attracted modest local interest, with Finster personally leading tours for neighbors, family, and curious visitors from the surrounding community, fostering a appreciation for his unconventional blend of , , and before gaining broader recognition.

The 1976 Vision and Shift to Art

In 1976, while repairing a in his , Howard Finster experienced a transformative vision that marked a profound turning point in his life. As he wiped a dab of white paint from his finger, the smudge unexpectedly formed the face of , which spoke to him with a divine command: "Howard, paint sacred art." This supernatural encounter, which Finster described as a direct message from God, compelled him to redirect his energies from traditional preaching toward creating visual works infused with religious purpose. Responding to the vision, Finster committed to producing 5,000 pieces of sacred as a divine mandate, embarking on a rigorous daily practice that transformed his output from sporadic inventions to prolific creation. He began numbering each work sequentially, starting with simple plywood panels coated in , and maintained this discipline for the remainder of his life, ultimately exceeding the initial goal by creating nearly 47,000 pieces. This shift built upon his earlier creative endeavors, such as the small museum he established in Trion, Georgia, in the late to display found objects and inventions, but elevated them into a focused evangelistic mission. Finster's emerging style blended personal theology with eclectic imagery, featuring Bible verses scrawled alongside depictions of historical figures like , popular icons such as , and apocalyptic themes drawn from his Baptist upbringing. Each painting served as a in visual form, intended to convey spiritual truths accessibly and draw viewers into reflection on , , and redemption. Through this approach, Finster reconceived his ministry, viewing not as a but as a God-ordained tool for spreading more effectively than spoken words alone.

Major Artistic Works

Paradise Garden

Paradise Garden, Howard Finster's monumental environmental artwork, began development in 1961 on a four-acre plot of swampland in Pennville, Georgia, which he dredged and transformed into a visionary landscape. Initially conceived as a roadside park to attract visitors and share moral teachings influenced by his Baptist ministry, the site evolved over decades into a sprawling complex incorporating thousands of sculptures, structures, and found-object assemblages by the . Finster's 1976 divine vision to create 5,000 sacred artworks accelerated its growth, leading to over 46,000 individual pieces across his oeuvre, many integrated into the garden as a living testament to his creative output. The garden's key features blend immersive narratives with symbolic elements, such as the Walkway of Fame, a path lined with hand-painted portraits of historical and celebrity figures like , , and , intended to draw visitors into Finster's eclectic worldview. Standout structures include the Mirror House, constructed from reflective glass shards and mirrors to evoke spiritual introspection, and the Bottle House, built with embedded glass bottles that catch light like jewels, symbolizing abundance in an Edenic paradise. Plantings of flowers, vines, and trees were strategically placed to represent the , intertwining natural growth with Finster's concrete "mountains," mosaic walkways, and a towering , creating a harmonious yet chaotic vision of biblical renewal. Finster exclusively used recycled and discarded materials to construct the , including hubcaps, rusted parts, broken , bottles, , tin scraps, jewelry, and even embedded personal artifacts like a neighborhood boy's tonsils, transforming into a narrative space that fused religious , American history, and inventive ingenuity. He described the site as a "Bible in the woods," a public edifice designed for moral edification where visitors could wander paths inscribed with biblical texts and encounter sculptures depicting angels, devils, and heavenly mansions, extending his evangelical mission through tangible, experiential art. Maintenance challenges arose after Finster's death in 2001, as the fragile, weather-exposed structures deteriorated amid overgrown vegetation and structural instability, prompting its listing on Georgia's Places in Peril in 2010 and subsequent restoration by the Paradise Garden Foundation, which secured a 50-year and community funding to preserve its integrity. In 2025, the World's Folk Art Church within the garden was restored in time for Finster Fest, continuing these efforts. Despite these efforts, the garden's organic evolution—marked by Finster's ongoing additions without formal plans—continues to embody his philosophy of art as a divine tool for communal inspiration and redemption.

Paintings and the Numbered Series

Finster began his numbered series of paintings in 1976, following a divine vision that instructed him to create sacred art as a means of spreading . He started with Painting #1 and meticulously numbered each subsequent work, often including the exact date and time of completion on the reverse. By 1985, he had reached his initial goal of 5,000 pieces, but continued producing at an extraordinary pace, ultimately creating over 46,000 numbered artworks by the time of his death in 2001. The paintings featured a wide array of motifs drawn from religious, historical, and popular culture, reflecting Finster's evangelical worldview and fascination with American icons. Common subjects included depictions of as a spiritual figure, U.S. presidents such as , biblical scenes like , UFOs symbolizing otherworldly visions, and imaginative inventions. Each work was densely inscribed with hand-lettered quotes and personal commentary, serving as visual sermons that blended , humor, and moral instruction. Finster's technique embodied a folk-naïve style, characterized by raw, untrained expression and vibrant colors applied with household tools. He primarily used enamel house on , wood cutouts, metal sheets, or found objects like old shoes and hubcaps, often incorporating elements such as bottle caps or mirrors to enhance the visionary effect. This approach emphasized accessibility and immediacy, transforming everyday materials into sacred artifacts. Over time, the series evolved from modest, small-scale devotional pieces intended for personal or local use—some of which were displayed in his Paradise Garden—to larger, more elaborate compositions that incorporated bolder colors and broader cultural critiques. By the 1980s, the works grew in scale and complexity, featuring apocalyptic themes alongside pop culture references, as Finster sought to address contemporary issues through his art. This progression highlighted his shift from intimate preaching aids to internationally recognized expressions of faith and imagination.

Recognition and Collaborations

Exhibitions and Public Acclaim

Finster's artwork began attracting national media attention in the mid-1970s, marking the start of his rise in public visibility. A 1975 article in Esquire magazine highlighted his Paradise Garden as an exemplary self-taught art environment, dubbing it the "Garden of Paradise" and introducing his visionary folk creations to a broader audience. This exposure was followed by local coverage on Atlanta's WAGA-TV in the same year, further amplifying interest in his unconventional sculptures and paintings. These early features sparked national curiosity, positioning Finster's numbered series of paintings—often featuring biblical scenes, historical figures, and personal visions—as central to his emerging reputation. Finster's formal entry into institutional art circles came swiftly thereafter. In 1977, the commissioned four paintings from him for its American Folklife Center, providing an early platform for his sacred art themes and marking one of his initial high-profile displays in His international breakthrough occurred in 1984 with inclusion in the United States Pavilion at the 41st , where he represented American self-taught artists alongside more conventional figures, drawing significant attention to on a global stage. Domestically, his works have been exhibited at the , which holds several pieces in its permanent collection, including biblical narratives like The Lord Will Deliver His People Across (1976), underscoring his influence in folk and visionary traditions. Finster's acclaim deepened through major shows and acquisitions at prominent institutions. The in hosted the landmark exhibition Howard Finster: Visions from Paradise Garden in 1996, celebrating his prolific output and environmental installations. In 1994, the museum acquired key elements from Paradise Garden for its permanent collection, including sculptural components and painted artifacts, ensuring long-term preservation of his site-specific creations. These milestones, combined with a 1981 National Endowment for the Arts grant—the first awarded to a self-taught artist—solidified Finster's status as a pivotal figure in , bridging religious fervor with cultural innovation.

Music Album Covers and Cultural Ties

Howard Finster's foray into music album cover design marked a significant crossover from folk art to popular culture, beginning with his collaboration with the alternative rock band R.E.M. on their 1984 album Reckoning. The cover features a vibrant painting by Finster depicting a two-headed snake coiled around a tree, inspired by a sketch from R.E.M. frontman Michael Stipe, and incorporates Finster's characteristic script lettering for the band's name amid biblical and visionary motifs. Finster's subsequent work for ' 1985 album further elevated his profile in the music industry. The cover artwork portrays the band members integrated into a fantastical with mountains, animals, and bell towers, embedding twenty-six religious verses from the within the intricate design, as Finster himself described. This piece was honored as of the Year by magazine, highlighting Finster's ability to blend outsider aesthetics with mainstream appeal. Finster's influence extended beyond album art to inspire songwriting in the rock genre. R.E.M.'s track "Maps and Legends" from their 1985 album serves as a tribute to Finster, evoking his visionary artistry and Paradise Garden through lyrics about unseen maps and legends. Similarly, the band Vigilantes of Love drew from Finster's oeuvre for their 1994 song "The Glory and the Dream," with frontman Bill Mallonee incorporating imagery from Finster's paintings to explore themes of aspiration and divine inspiration. These musical collaborations underscored Finster's broader cultural impact, including his appearance in the 1987 Athens, GA: Inside/Out, where he recounted his artistic calling amid the Athens music scene. As a pivotal figure in the movement, Finster's raw, scripture-infused style influenced subsequent generations of self-taught artists, emphasizing vernacular expression over formal training.

Later Years and Legacy

Final Works and Personal Challenges

In the late 1990s, despite declining health that included and affecting his hand, Howard Finster persisted in his prolific output, completing works numbered well into the tens of thousands as part of his ongoing series inspired by divine visions. He adapted by switching to his left hand and maintained a rigorous schedule, often producing multiple pieces in a single session while continuing to welcome visitors to Paradise Garden. By the time of his death, Finster had created over 46,000 artworks, many reflecting his enduring commitment to spreading messages of faith through bold, scriptural imagery. Finster's wife, Pauline Freeman Finster, whom he married in 1935, provided steadfast emotional and practical support throughout his later years, managing household demands amid his relentless creative pursuits. His five children—four daughters (Earlene Brown, Gladys Wilson, Beverly Finster, and Thelma Bradshaw) and son —contributed variably to maintaining Paradise Garden, with Roy assisting in art sales and Beverly handling business aspects to sustain the site's operations. Financial pressures mounted in the as upkeep costs for Paradise Garden escalated, prompting Finster to sell individual elements like sculptures and walkways to collectors and institutions, including the , to cover expenses. Efforts to relocate or transfer ownership of the garden—to private buyers, museums, or the town of Summerville—proved unsuccessful, leaving the family to navigate ongoing maintenance challenges without external support. Finster died on October 22, 2001, at age 84 from at Redmond Regional Medical Center in . His final pieces, like many before them, embodied his unwavering faith, incorporating biblical motifs and calls to spiritual action even as his physical limitations grew.

Enduring Influence and Preservation Efforts

Howard Finster played a pivotal role in popularizing outsider and during the late , bringing these genres to mainstream attention through widespread media coverage and major exhibitions that reached millions of viewers. His appearances in national publications such as Time and Newsweek, alongside television features including an MTV documentary, helped demystify self-taught art and highlighted its spiritual and cultural significance, inspiring a broader appreciation for non-traditional creators. Finster's prolific output of over 46,000 works, often infused with religious themes and everyday materials, positioned him as a bridge between folk traditions and contemporary expression, influencing the recognition of as a vital American idiom. Preservation efforts for Finster's legacy began in earnest during his lifetime, with key elements of Paradise Garden acquired by the in in 1994 through a collaborative project that installed portions of the site as part of its permanent collection. This initiative, known as the Paradise Project, safeguarded architectural and sculptural components like walkways, mirrors, and found-object assemblages, ensuring their conservation for public access. Complementing this, the Howard Finster Vision House Museum was established in , as a dedicated space housing over 350 of his artworks and artifacts from his original studio, serving as a private repository that honors his visionary practice. These efforts transformed Finster's ephemeral environments into enduring institutions, preventing the decay of his immersive outdoor sculptures and paintings. Scholarly recognition of Finster has emphasized his contributions to , with studies portraying Paradise Garden as a seminal example of that integrates recycled materials, biblical narratives, and personal cosmology to critique modern society. Works like Norman J. Girardot's Envisioning Howard Finster (2015) analyze the garden's role as a sacred, evolving space that embodies Finster's theology and environmental ethos, influencing analyses of self-taught artists' spatial practices. Additionally, research highlights his impact on contemporary folk artists, as seen in examinations of how his text-heavy, narrative-driven style has shaped successors like Harry Underwood, fostering a lineage of Southern visionary expression that blends spirituality with . Recent developments through 2025 have revitalized Finster's sites via targeted restoration projects, including the $600,000 rehabilitation of the World's Folk Art Church at Paradise Garden, which reopened in June 2025 after 25 years of closure, featuring conserved murals and structural reinforcements led by the Paradise Garden Foundation. Digital archives have expanded accessibility, with institutions like the and the digitizing Finster's papers, photographs, and sketches to support global research and virtual tours of his environments. These initiatives, alongside cultural nods in modern movements—such as 2025 exhibitions pairing his works with emerging folk creators—continue to propagate his influence, including through album covers that embedded his imagery in music subcultures.

References

  1. https://americanart.si.edu/artist/howard-finster-1543
  2. https://howardfinster.com/about/
  3. https://paradisegardenfoundation.org/history/the-man-of-vision/
  4. https://high.org/highlight/howard-finster/
  5. https://encyclopediaofalabama.org/article/howard-finster/
  6. https://www.georgiaencyclopedia.org/articles/arts-culture/howard-finster-ca-1915-2001/
  7. https://americanart.si.edu/blog/howard-finster-art-music
  8. https://www.findagrave.com/memorial/5919109/howard-finster
  9. https://www.thekeencollection.org/artists/46-howard-finster/
  10. https://preserve.lehigh.edu/_flysystem/fedora/2023-12/38071.pdf
  11. https://thejohnsoncollection.org/howard-finster/
  12. https://www.avam.org/artists/howard-finster
  13. https://spacesarchives.org/explore/search-the-online-collection/paradise-garden/
  14. https://americanart.si.edu/artwork/lord-will-deliver-his-people-across-jordan-8327
  15. https://paradisegardenfoundation.org/history/
  16. https://savingplaces.org/stories/visions-become-reality-paradise-garden-georgia
  17. https://folkart.org/paradise-regained/
  18. https://timesfreepress.com/news/2024/jun/06/howard-finsters-paradise-garden-a-folk-art-haven/
  19. https://www.ajc.com/arts-entertainment/2025/09/how-worlds-folk-art-church-was-saved-in-time-for-finster-fest/
  20. https://collection.folkartmuseum.org/people/506/howard-finster/objects
  21. https://kids.kiddle.co/Howard_Finster
  22. https://archive.newmuseum.org/exhibitions/87
  23. https://dayoftheartist.com/2014/04/27/day-117-howard-finster-paint-sacred-art/
  24. https://www.udiscovermusic.com/behind-the-albums/r-e-m-reckoning/
  25. https://www.georgiaencyclopedia.org/articles/arts-culture/self-taught-artists/rem-recoking-001/
  26. https://www.smithsonianmag.com/travel/when-rock-bands-flocked-howard-finsters-remote-bizarre-artist-compound-180956012/
  27. https://www.anatomicallycorrect.org/HowardFinster.htm
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  30. https://bittersoutherner.com/features/2020/finster-finsters-paradise-garden-resurrected-and-revised
  31. https://faroutmagazine.co.uk/howard-finster-the-master-of-outsider-art/
  32. https://www.outsiderartfair.com/artists/howard-finster
  33. https://high.org/collection/section-of-sidewalk-from-paradise-garden/
  34. https://howardfinster.com/
  35. https://www.ucpress.edu/flyer/books/envisioning-howard-finster/paper
  36. https://www.tandfonline.com/doi/full/10.1080/08989575.2023.2286158
  37. https://www.ajc.com/arts-entertainment/2025/10/prolific-profundities-of-howard-finster-harry-underwood-in-art-of-belief/
  38. https://paradisegardenfoundation.org/
  39. https://www.aaa.si.edu/collections/howard-finster-papers-8596
  40. https://sclfind.libs.uga.edu/sclfind/view?docId=ead/ms3356.xml;query=;brand=default
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