Folk Art With Gitl in Green Dress With Cat Snd Fog

American painter

Ammi Phillips (April 24, 1788 – July xi, 1865) was a prolific American afoot portrait painter active from the mid 1810s to the early on 1860s in Connecticut, Massachusetts, and New York.^[i] His artwork is identified as folk art, primitive art, provincial fine art, and afoot art without consensus among scholars, pointing to the enigmatic nature of his work and life. He is attributed to over eight hundred paintings, although only eleven are signed.^[2] While his paintings are formulaic in nature, Phillips paintings were under constant construction, evolving as he added or discarded what he constitute successful, while taking intendance to add personal details that spoke to the identity of those who hired him.^[three] He is near famous for his portraits of children in red, although children only account for ten percentage of his entire trunk of work.^[4] The almost well known of this series, Girl in Crimson Dress with True cat and Dog, would be sold for one million dollars, a first for folk art. His paintings hung mostly unidentified, spare for some recognition in the collections similar those of Edward Duff Balken,^[5] for decades until his oeuvre was reconstructed by Barbara Holdridge and Larry Holdridge, collectors and students of American folk art, with the back up of the art historian Mary Blackness. Ammi Phillip'southward body of work was expanded upon their discovery that the mysterious paintings of a "Kent Limner" and "Border Limner" were indeed his.^[6]

Life [edit]

Phillips was born in Colebrook, Connecticut, on April 24, 1788, to Samuel Phillips (1760–1842), a farmer past trade and veteran of the Revolutionary state of war, and Millea Phillips (1763–1861), as 1 of xi children, first a life that spanned the period from George Washington'south presidency to the American Civil War.^[seven] Phillips moved out of his family home at some betoken before 1810, and married Laura Brockway in Nassau, New York, on March 18, 1813. Laura Brockway's family had roots in Sharon, Connecticut. The first signed portraits produced by Phillips date from 1811, meaning he was by and then starting time his career as a portrait painter.^[8] Ammi Phillips and Lauren (Brockway) Phillips had iv sons—Henry, George, William, and Russell Phillips—and i unknown daughter, although the order in which they had them is unclear, and one may not accept survived. Laura Brockway died February ii, 1830, at the age of 38, and Phillips remarried Jane Ann Caulkins, 20 years his junior, five months later. Jane would accept four more children: Anna, Jane, Samuel, and Sarah Phillips. Sarah Phillips would die at the age of iv and a half.^[9]

Ammi Phillips reported he and his family unit living in a dissimilar residence in every recorded census. In 1820, he reported living in Troy, New York. He sold this property in 1828, moving to a forty-v acre holding in Rhinebeck, New York. This country would exist sold in part to its original owner every bit well as his blood brother-in-law, equally the family unit moved nevertheless again inside New York to a ane-acre holding in Amenia. In the 1850 census, Phillips is recorded for the offset fourth dimension under the profession of portrait painter, at present living in North Due east, New York. In 1855 he was recorded every bit "artist", and was living in New Mariborough, Massachusetts. In 1860 and 1865 he was living in Curtisville (now Interlaken), Stockbridge, Massachusetts.^[10]

Career [edit]

While it is unknown whether Ammi Phillip was entirely self taught, or had interacted or been taught by other artists in the Colebrook, Connecticut area, there were such painters whose piece of work Phillips might have seen growing upwards. Rueben Moulthrop, Nathaniel Wales, Uriah Brownish, and Samuel Broadbent are all artists traced by documents to the area, and stylistic elements of their work can exist seen in Phillips'due south early on paintings.^[11] He enters the documentary record as an artist himself in 1809, at the historic period of 21, with advertisements in both The Berkshire Reporter ^[12] and a Pittsfield, Massachusetts, tavern proclaiming his talent for painting "correct likenesses" distinguished by "perfect shadows and elegantly dressed in the prevailing fashions of the day."^[13] Although Phillips also advertised his talent for "fancy painting, silhouettes, sign and ornamental painting",^[12] he presently specialized equally a portraitist. Phillips was recorded in the diary of Dr. Samuel Barstow of Great Barrington, Massachusetts, dated October vi, 1811, mentioning small portraits he had deputed of himself and his wife.^[9] Phillips'due south work satisfied the local standard, and within two years he was receiving regular portrait commissions from community leaders in this expanse of western Massachusetts.^[12] Phillips'southward earliest recorded portraits are that of Rev. and Mrs. Ephraim Judson and Gideon Smith of Stockbridge, Massachusetts in 1811.^[14] Gideon Smith was an innkeeper, and displayed his portrait in his tavern, implying that instead of a struggling painter trying to make ends meet, Phillips may accept been quite business savvy.^[14]

Different Phillips' illustrious predecessors in American art, such as Benjamin Westward of Philadelphia and John Singleton Copley of Boston, Phillips lived and worked not in established city centers, just new territories opening upwards throughout New England and the Mid-Atlantic.^[15] Though he was able to successfully market his skills from a immature age, it'due south likely that the relatively thin demand for painted portraits, a luxury proficient, was the chief cistron necessitating an itinerant career that saw the creative person movement regularly, family perhaps in tow, between western Massachusetts, Connecticut, and the Hudson River Valley. The artist moved on as he exhausted the need of the local customs for painted "likenesses". This wandering lifestyle is archetypically Romantic, rather contrasting with the bourgeois domesticity of his portraits, which are nearly ever set within interiors. A letter from the American creative person John Vanderlyn to his nephew, John Vanderlyn, Jr., from Kingston, New York, dated September 9, 1825, stated, "Were I to begin life once more, I should not hesitate to follow this program, that is, to paint portraits cheap and slight, for the mass of folks can't judge of the claim of a well finished picture, I am more than and more persuaded of this. Indeed, moving well-nigh through the state every bit Phillips did and probably notwithstanding does, must be an agreeable way of passing ones time. I saw 4 of his works at Jacobus Hardenburgh's the other day painted a year or two agone, which seemed to satisfy them."^[16] Such comments from a well established academic painter such as Vanderlyn positions Phillips not as a wandering peddler of art, simply instead as an artist with social and economic importance. This is besides visible in his clientele, which consisted of judges, doctors and business owners.^[17]

This supercilious opinion of Phillips'southward creative worth tin be contrasted with the conclusion of the twentieth-century art critic Hilton Kramer, who wrote in The New York Times in 1970, "In the Obviously and Fancy exhibition, for example, in that location are five portraits by the amazing Ammi Phillips (1788–1865), and at to the lowest degree two of them—the portraits of Mrs. Isaac Cox and of Deacon Benjamin Benedict (both about 1836)—are of superb quality. To the modern heart, the portrait of Mrs. Cox peculiarly speaks with a clarity, precision, and sympathy that places information technology considerably nearer to our own standards of artistic probity than annihilation to be found in the common run of 'serious' painting at the time. If this is 'innocent' painting, it is innocent only of those flatulent academic pretensions which remained the curse of so much of our art in the 19th century."

Phillips lived into the era of the daguerreotype, and his last portraits show this influence.

Death [edit]

Phillips died on July 11, 1865, at his habitation in Curtisville, merely outside Stockbridge, where his death certificate is filed in the Town Hall. His body was buried in Amenia, New York. His extensive, continuously evolving body of artwork over a catamenia of five decades provided posterity with a vast archive of early on American self-fashioning.^[x]

Daughter in Scarlet Apparel with Cat and Dog [edit]

Ammi Phillips, Girl in Red Dress with Cat and Dog, 1830-1835

Phillip's most famous piece of work is Daughter in Red Dress with Cat and Dog, which is in the drove of the American Folk Art Museum in New York. It was purchased for the museum at 1 million dollars,^[18] a first for folk art.^[xix] The painting is one of a group of four portraits of children in vibrant ruddy with a dog on the floor that Phillips produced while living in Dutchess County, New York, in the mid-1830s.^[thirteen]

The prototype is frequently reproduced and admired. It was featured on a United States postage postage stamp in 1998. Nicholas B.A. Nicholson wrote a novel told from the perspective of the depicted girl.^[20]

Ken Johnson, an art critic for The New York Times, has repeatedly praised the picture. In a review of the American Folk Art Museum's exhibition Self-Taught Genius, Johnson contends that Girl in Red Clothes with True cat and Dog is "one of the most beautiful paintings made past whatsoever American artist ever."^[21] Previously he described the piece of work as "heartbreakingly lovely."^[22]

The novelist and fine art historian Teju Cole, in the tertiary chapter of his debut novel Open up Metropolis, describes a visit to the American Folk Art Museum. The narrator notices and evaluates Girl in Cherry-red Dress with Cat and Dog: "At the landing of the first flight of stairs, I saw an oil portrait of a young girl in a starchy red dress holding a white true cat. A dog peeked out from under her chair. The details were saccharine, but they could not obscure the force and dazzler of the painting."^[23]

Rediscovery and reconstruction of work [edit]

Phillips'southward modern rediscovery began in 1924, when a group of portraits of women, shown leaning forward in iii-quarter view and wearing nighttime dresses, were displayed in an antique testify in Kent, Connecticut. The anonymous painter of these strongly colored works, which dated from the 1830s, became known as the "Kent Limner", after the locality where they had come to lite.^[24]

Stylistically distinct from those of the "Kent Limner", a second grouping of early-19th-century paintings emerged after 1940 in the area virtually the Connecticut–New York border. Attributed at the fourth dimension to an unknown "Border Limner", these works, dating from the catamenia 1812–1819, were characterized by soft pastel hues and express drawing skills, as seen in the portraits of Mrs. Russell Dorr and Baby, at present in the Abby Aldrich Rockefeller Folk Art Collection, Williamsburg, Virginia, and of Harriet Leavens, now in the Fogg Fine art Museum, Harvard University.^[25]

It was not until 1958 that Ammi Phillips's identity as the painter of both groups of portraits was established past Barbara and Larry Holdridge, and endorsed past Mary Blackness, writing on May 21, 1959, to 3 fellow folk-art historians, "You are the ones who should exist the first to know that I have joined the opposition [i.due east., the Holdridges] and now believe that the Edge Limner, Ammi Phillips, A. Phillips, and the Kent Limner are i and the same person."^{[ citation needed ]} Additional works were identified, showing the artist's transition from the delicate coloration of the Edge menstruum to the assuming and dramatic works that followed. Some paintings that had previously been attributed to John Bradley were besides identified as the work of Ammi Phillips.^[26] Past 1976, there were approximately 400 paintings securely attributed to Phillips, who is now recognized equally ane of the almost prolific American folk painters of his time.^[24] Scores more have been discovered since so.

The art historian Mary Black said Phillips's early and belatedly styles reveal the untrained creative person's creativity in dealing with the difficulty of representing the figure: "In his Border period he made his limitations piece of work for him and the lumpy coats, gangling limbs, huge hands, wooden artillery—even the tables tilted at crazy angles—were all part of well-composed and beautiful portraits. Afterwards he glossed over problems with anatomy by using flat dark-colored backgrounds and dark dresses and suits".^[24] Phillips's piece of work influenced the style of his younger contemporary, Erastus Salisbury Field, who worked every bit an afoot portrait painter in the region just east of Phillips.^[24]

The Museum of American Folk Art showed its first major exhibition devoted to the work of a single folk portraitist to "Ammi Phillips, Portrait Painter 1788–1865," on exhibit from October 16 to December ii, 1968.^[27]

Phillips's work was displayed aslope the American modernist painter Mark Rothko in a 2008 exhibition "Seduction of Light" at the American Folk Fine art Museum, cartoon attention to parallels of style and technique in the work of two American masters.^[28]

Gallery [edit]

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  Mrs. Wilbur Sherman and daughter Sarah, 1815, Yale University Fine art Gallery

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  Mrs. Charles Westley Powers, 1829

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  Daughter in a Red Apparel, c. 1835, Terra Foundation for American Art, Daniel J. Terra Collection

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  Andrew Jackson Ten Broeck, 1834, Individual Collection

Notes [edit]

1. ^ Allaway, David R. (March 2020). My People: The Works of Ammi Phillips Volume 2. https://issuu.com/n2xb/docs/ammi_phillips_-_analysis__indexed_. p. 5. ISBN978-0-9987122-1-5. CS1 maint: location (link)
2. ^ Grigg, Bob. "Ammi Phillips, Colebrook Native" (PDF). Colebrook Historical Guild.
3. ^ Allaway, David (March 2020). My People: The Works of Ammi Phillips Book 2. https://issuu.com/n2xb/docs/ammi_phillips_-_analysis__indexed_. p. 6. ISBN978-0-9987122-ane-5. CS1 maint: location (link)
4. ^ Allayway, David R. (March 2020). My People: The works of Ammi Phillips Volume 2. https://issuu.com/n2xb/docs/ammi_phillips_-_analysis__indexed_. p. 5. ISBN978-0-9987122-1-v. CS1 maint: location (link)
5. ^ Moore, Charlotte Emans (1998). "Another Generation'south Folk Art: Edward Duff Balken and his Drove of American Provincial Paintings and Drawings". Record of the Art Museum: Princeton University. 57 (i/2): 10–28. doi:10.2307/3774772. JSTOR 3774772.
6. ^ Black, Mary Ammi Phillips: Portrait Painter 1788-1865. Clarkson North. Potter, Inc., New York: 1981. preface.
7. ^ Allaway, David R. (March 2020). My People: The Works of Ammi Phillips Book ii. https://issuu.com/n2xb/docs/ammi_phillips_-_analysis__indexed_. p. 103. ISBN978-0-9987122-1-v. CS1 maint: location (link)
8. ^ Blackness, Mary (1981). Ammi Phillips: Portrait Painter, 1788 - 1865. New York: Clarkson North. Potter, Inc. p. 9.
9. ^ ^{a b} Allaway, David R. (March 2020). My People: The Piece of work of Ammi Phillips Volume 2. https://issuu.com/n2xb/docs/ammi_phillips_-_analysis__indexed_. p. 104. ISBN978-0-9987122-one-five. CS1 maint: location (link)
10. ^ ^{a b} Allaway, David R. (March 2020). My People: The Piece of work of Ammi Phillips. https://issuu.com/n2xb/docs/ammi_phillips_-_analysis__indexed_. p. 105. ISBN978-0-9987122-1-5. CS1 maint: location (link)
11. ^ Blackness, Mary (1981). Ammi Phillips: Portrait Painter 1788 - 1865. New York: Clarkson N. Potter, Inc. pp. 10–eleven.
12. ^ ^{a b c} Hollander, Stacy C. (Bound 1994). "Revisiting Ammi Phillips". Folk Fine art. 42–45. Retrieved June 16, 2014.
13. ^ ^{a b} folkartmuseum.org. Retrieved June 16, 2014.
14. ^ ^{a b} Black, Mary (1981). Ammi Phillips: Portrait Painter 1788-1865. New York: Clarkson Due north. Potter, Inc. p. 11.
15. ^ Blackness, Mary (1987). "Ammi Phillips: The Country Painters Method". The Clarion. Wintertime 1986: 33 – via Issuu.
16. ^ Blackness and Holdridge 1969, p. fourteen.
17. ^ Black, Mary (1981). Ammi Phillips: Portrait Painter 1788 - 1865. Clarkson N. Potter, Inc. p. fourteen.
18. ^ "ART COLLECTORS Of a sudden ARE WILD ABOUT FOLK Artist AMMI PHILLIPS". Sun-Sentinel. 1985.
19. ^ Blackness, Mary (1986). "Ammi Phillips: The State Painters Method". The Clarion. Winter 1986: 35 – via Issuu.
20. ^ goodreads.com. Retrieved June 16, 2014.
21. ^ Johnson, Ken (22 May 2014). "A Confederacy of Mavericks". The New York Times . Retrieved 24 Dec 2018.
22. ^ Johnson, Ken (26 Oct 2008). "Yankee Spirit of Disparate Masters: Marking Rothko and Ammi Phillips at the American Folk Art Museum". The New York Times . Retrieved 24 December 2018.
23. ^ Cole, Teju. Open City. New York: Random Firm Trade Paperbacks, 2012. P. 36.
24. ^ ^{a b c d} Black 1976.
25. ^ Mills, Sally. "Phillips, Ammi." Grove Art Online. Oxford Art Online. Oxford Academy Press. Retrieved June 2, 2014.
26. ^ Black, Mary C.; Stuart H. Feld (October 1966). "Fatigued by I. Bradley from Great Britton". Antiques. 90: 501–509.
27. ^ Blackness, Mary (1986). "Ammi Phillips: The Country Painter'due south Method". The Blaring. Winter 1986: 34 – via Issuu.
28. ^ Hollander, Stacy C. (2008). "The Seduction of Calorie-free". folk art museum.

References [edit]

• Allaway, David R. "My People: The works of Ammi Phillips - Book two" March 2020.
• Black, Mary, Barbara C. and Lawrence B. Holdridge. "Ammi Phillips: Portrait Painter 1788–1865". New York: Clarkson N. Potter, 1969.
• Black, Mary. "The Search for Ammi Phillips," ARTnews, April 1976: 86–89.
• Blackness, Mary. "Ammi Phillips: The Country Painter's Method", The Blaring, Winter 1986.
• Hollander, Stacy C. American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum. New York: American Folk Art Museum in clan with Harry N. Abrams, Inc., 2001.
• Bulkeley, Morgan, "An Artist Arises". The Berkshire Eagle, Jan 13, 1966.
• Holdridge, Barbara and Larry. "Constitute: A Berkshire Old Master". Berkshire Calendar week, Baronial xxx–Sept. 5, 1959, 10-
• Holdridge, Barbara and Larry. "Ammi Phillips: Limner Boggling," Antiques, Dec 1961.
• Holdridge, Barbara and Larry. "Ammi Phillips," Fine art in America, Summer 1960: 98–103.
• Hollander, Stacy C. The Seduction of Light: Ammi Phillips | Mark Rothko Compositions in Pinkish, Greenish, and Red. New York: American Folk Art Museum, 2008.
• Hollander, Stacy C., and Brooke Davis Anderson. American Canticle: Masterworks from the American Folk Art Museum. New York: American Folk Art Museum in association with Harry North. Abrams, Inc., 2001.
• Hollander, Stacy C., and Howard P. Fertig. Revisiting Ammi Phillips: Fifty Years of American Portraiture. New York: American Folk Fine art Museum, 1994.
• History of Art: Ammi Phillips - all-art.org
• Kramer, Hilton. "Recovering the American By", The New York Times, Sunday, May 10, 1970.
• Mills, Sally. "Phillips, Ammi". Grove Art Online. Oxford Art Online. Oxford Academy Press. Retrieved June two, 2014.

External links [edit]

• "The Seduction of Light: Ammi Phillips | Mark Rothko Compositions in Pink, Green, and Ruby-red" at the American Folk Art Museum (2008–2009)

perezthavy1951.blogspot.com

Source: https://en.wikipedia.org/wiki/Ammi_Phillips

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