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Niki de Saint Phalle (born Catherine-Marie-Agnès Fal de Saint Phalle, 29 October 193021 May 2002) was a French sculptor, painter, and filmmaker. ==Early years== Catherine Marie-Agnès Fal de Saint Phalle was born on October 29, 1930 in Neuilly-sur-Seine, Hauts-de-Seine, near Paris.〔("Biography - 1930-1949" ), Niki de Saint Phalle Foundation, Retrieved 8 November 2014.〕 Her father was Count André-Marie Fal de Saint Phalle (1906–1967), a French banker, and her mother was an American, named Jeanne Jacqueline Harper (1908–1980).〔"Jacqueline Harper American Lawyer's Daughter Marries Count Andre de St. Phalle at Château de Fillerval", ''New York Times'' 7 June 1927〕〔Biographical information, title of count, and birth dates cited in Joseph Valynseele's ''Les maréchaux de la Restauration te de la Monarchies de Juillet, leur famille et leur descendance'' (1962), page 292〕〔According to the Saint Phalle's wedding announcement in ''Town and Country'' (1927), Jeanne Jacqueline Harper, known as Jacqueline, was a daughter of Donald Harper, an American living in Paris, France, and his wife, the former Jeanne Bernard.〕 She had four siblings, and a double first cousin was French novelist Thérèse de Saint Phalle (Baroness Jehan de Drouas). After being wiped out financially during the Great Depression, the family moved from France to the United States in 1933, where her father worked as manager of the American branch of the Saint Phalle family's bank. Saint Phalle enrolled at the prestigious Brearley School in New York City but was dismissed for painting fig leaves red on the school's statuary. She went on to attend Oldfields School in Glencoe, Maryland, where she graduated in 1947. During her teenaged years, Saint Phalle was a fashion model; at the age of eighteen, she appeared on the cover of ''Life'' (26 September 1949) and, three years later, on the November 1952 cover of ''French Vogue''. At eighteen, Saint Phalle eloped with author Harry Mathews, whom she had known since the age of twelve through her father, and moved to Cambridge, Massachusetts. While her husband studied music at Harvard University, Saint Phalle began to paint, experimenting with different media and styles.〔("Biography: 1950-1959" ), Niki de Saint Phalle Foundation, Retrieved 8 November 2014.〕 Their first child, Laura, was born in April 1951. Saint Phalle rejected the staid, conservative values of her family, which dictated domestic positions for wives and particular rules of conduct. Poet John Ashbery recalled that Saint Phalle's artistic pursuits were rejected by members of Saint Phalle clan: her uncle "French banker Count Alexandre de Saint-Phalle, ... reportedly takes a dim view of her artistic activities," Ashbery observed.〔According to John Ashbery, Alexandre de Saint-Phalle was the brother of Niki de Saint Phalle's father and also married to her mother's sister, the former Helen Georgia Harper, as explained in "Jacqueline Harper Marries Count: American Lawyer's Daughter Marries Andre de St. Phalle at Château de Fillerval", ''The New York Times'', 7 June 1927. See John Ashbery, ''Reported Sightings: Art Chronicles, 1957-1987'' (Carcanet, 1989).〕 However, after marrying young and becoming a mother, she found herself living the same bourgeois lifestyle that she had attempted to reject; the internal conflict, as well as reminiscences of her rape by her father when she was only 11 caused her to suffer a nervous breakdown. As a form of therapy, she was urged to pursue her painting. While in Paris on a modeling assignment, Saint Phalle was introduced to the American painter Hugh Weiss, who became both her friend and mentor. He encouraged her to continue painting in her self-taught style. She subsequently moved to Deià, Majorca, Spain, where her son, Philip Abdi, was born in May 1955. While in Spain, Saint Phalle read the works of Proust and visited Madrid and Barcelona, where she became deeply affected by the work of Antoni Gaudí. Gaudí's influence opened many previously unimagined possibilities for Saint Phalle, especially with regard to the use of unusual materials and objets-trouvés as structural elements in sculpture and architecture. Saint Phalle was particularly struck by Gaudí's "Park Güell" which persuaded her to create one day her own garden-based artwork that would combine both artistic and natural elements. Saint Phalle continued to paint, particularly after she and her family moved to Paris in the mid-1950s. Her first art exhibition was held in 1956 in Switzerland, where she displayed her naïve style of oil painting. She then took up collage work that often featured images of the instruments of violence, such as guns and knives. In the late 1950s, Saint Phalle was ill with hyperthyroidism, which was eventually treated by an operation in 1958. Sometime during the early 1960s, she left her first husband. ;Shooting Paintings and Nanas Saint Phalle created "Shooting Paintings" in the early 1960s. These pieces of art were polythene bags of paints in human forms covered in white plaster. The pieces were shot at to open the bags of paint to create the image.〔Johnson, Ken. ("Niki de Saint Phalle, Sculptor, Is Dead at 71" ), ''The New York Times,'' Retrieved 8 November 2014.〕 After the "Shooting paintings" came a period when she explored the various roles of women. She made life-size dolls of women, such as brides and mothers giving birth. They were primarily made of plaster over a wire framework and plastic toys, then painted all white. Inspired by the pregnancy of her friend Clarice Price, the wife of American artist Larry Rivers, she began to use her artwork to consider archetypal female figures in relation to her thinking on the position of women in society.〔 Her artistic expression of the proverbial everywoman were named 'Nanas', after a French slang word that is roughly equivalent to "broad".〔 name The first of these freely posed forms—made of papier-mâché, yarn, and cloth—were exhibited at the Alexander Iolas Gallery in Paris in September 1965. For this show, Iolas published her first artist book that includes her handwritten words in combination with her drawings of 'Bananas'. Encouraged by Iolas, she started a highly productive output of graphic work that accompanied exhibitions that included posters, books, and writings. In 1966, Saint Phalle collaborated with fellow artist Jean Tinguely and on a large-scale sculpture installation, "hon-en katedral" (also spelled "Hon-en-Katedrall", which means "she-a cathedral") for Moderna Museet, Stockholm, Sweden. The outer form is a giant, reclining sculpture of a woman ('Nana'), whose internal body can be entered from a door-sized vaginal opening between her legs.〔("Biography - 1965-69" ), Niki de Saint Phalle Foundation, Retrieved 8 November 2014.〕 The piece elicited immense public reaction in magazines and newspapers throughout the world. The interactive quality of the "hon" combined with a continued fascination with fantastic types of architecture intensified her resolve to see her own architectural dreams realized. During the construction of the "hon-en katedral," she met Swiss artist , who became an important assistant and collaborator for both de Saint Phalle and Jean Tinguely. During the 1960s, she also designed decors and costumes for two theatrical productions: a ballet by Roland Petit, and an adaptation of the Aristophanes play "Lysistrata." In 1971, Saint Phalle and Tinguely married.〔("Biography - 1970-1974" ), Niki de Saint Phalle Foundation, Retrieved 8 November 2014.〕 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「Niki de Saint Phalle」の詳細全文を読む スポンサード リンク
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