Abstract
HOLGER CAHILL REMAINS TODAY the most frequently cited authority on American folk art. Few books fail to mention or to quote at length his definition (Cahill 1932a:6; Lipman and Winchester 1974:12-13; Bishop 1979:9; Johnson and Ketchum 1983:vii). Yet Cahill was not, nor apparently did he ever think of himself as, a folklorist. In fact, it is difficult to find an appropriate category for him. While he held several jobs throughout his life, he always considered himself primarily a writer. Turning his interpretive and organizational abilities to folk art at the moment of its 20th-century rediscovery in the 1920s, Cahill rose to prominence as its advocate and eventually established the standards for its evaluation. Given the current enthusiasm for folk art in the
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