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Nan Phelps (née Hinkle; August 25, 1904 – January 17, 1990), was an American folk artist from London, Kentucky. Phelps’ work has often been compared to the more famous Grandma Moses in both style and subject matter. ==Biography== Phelps was born in Lily, Laurel County, Kentucky, the second child of Baptist preacher John Hinkle and Lula Hinkle (née Weaver). Phelps paternal grandfather William Hinkle was of Dutch descent.〔Hinkle, John (1953) I Saw my Savior. Pageant Press, New York, New York.〕 At a very young age, Phelps demonstrated an unusual interest in nature. She spent countless hours studying rocks, flowers, plants, streams, clouds, and small animals. The gift of a nickel box of crayons at age five unleashed a talent and unrelenting love for drawing.〔Holthaus, David “Solo exhibition showcases a remarkable artist.” The Cincinnati Post. Monday, May 10, 1999.〕 Phelps branched off into painting during her teen years when fortuitously a teacher provided her with some watercolors and paper. In 1922 Phelps moved from Kentucky to Hamilton, Ohio. Through the difficult depression years, child-rearing, a divorce, remarriage and rearing a family of five children she continued her painting. It was during this time that Phelps began primarily using oil paints. In the 1930s Phelps’ work was exhibited at the nearby Cincinnati Art Museum and in local arts and crafts shows. As the winner of a local talent show in 1940, Phelps won a scholarship to attend the Art Academy of Cincinnati. In the 1950s Phelps traveled to New York City with a sample of her work in order to increase her exposure in the art world. During this visit, Phelps’ work gained the attention of Otto Kallir, the founder of the Galerie St. Etienne. Kallir is most widely known for discovering Grandma Moses and promoting her work.〔Kallir, Otto (1973) Grandma Moses. Harry N. Abrams, Inc., New York, New York.〕 This began a long relationship between Phelps and the Galerie St. Etienne that continues today, through the children of Phelps and current Galerie St. Etienne directors Hildegard Bachert and Jane Kallir. After this trip, Phelps paintings became more widely known in the folk art world, leading to her work being exhibited in various museums. In the 1980s, Phelps’ work came to the attention of New York gallery owner and scholar of American folk art Jay Johnson. Johnson proceeded to acquire and display Phelps’ paintings in many exhibits, culminating in a solo exhibition of her work at the Jay Johnson America’s Folk Heritage Gallery. In 1989 Phelps’ exhibited two paintings in Daimaru Museum Kyoto, Japan along with other folk artists including Grandma Moses and Horace Pippin.〔Kallir, Jane (1989) Masters of Naïve Art. Daimaru Museum, Kyoto, Japan.〕 As part of the Friends of Art and Preservation in Embassies (FAPE), Phelps paintings have been displayed in United States Embassies in West Germany, Finland, and Denmark.〔Russell, Emily (Ed.), (2001) Gift to the Nation. Friends of Art and Preservation in Embassies. Washington D.C.〕 Phelps’ painting ''Riverfront Stadium: Phillies and Reds'' was featured prominently on the front cover of ''A People and a Nation''〔Norton, Mary; Katzman, David; Escott, Paul et al. (1991). A People and a Nation: A History of the United States. Houghton Mifflin Company. Boston, Massachusetts.〕 and during the “Feelin’ in Love” segment of David Letterman’s Second Holiday Film Festival which aired in 1986.〔http://www.youtube.com/watch?v=9tpX9pqZqWY〕 Phelps died in early 1990 at age 85. She continued to paint up until her admittance to the hospital in late 1989. During the short hospital stay before her death, Phelps requested her paint brushes in order to paint, though she was not physically able. Some of the last words she spoke as she looked out the hospital window were “I wish I could paint those clouds”.〔Eaton, Ercel “Gone – Never forgotten: Artist’s work appreciated worldwide.” Hamilton Journal – News. Sunday, March 28, 1999, Page D1.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Nan Phelps」の詳細全文を読む スポンサード リンク
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