Ammi Phillips

(1788-1865), a self-taught New England portrait painter, is regarded as one of the most important folk artists of his era. Phillips was born in Colebrook, Connecticut, and began painting portraits as early as 1810. He worked as an itinerant painter in Connecticut, Massachusetts, and New York for five decades. In 1924, a group of portraits of women, shown leaning forward in three-quarter view and wearing dark dresses, were displayed in an antique show 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 light. Stylistically distinct from those of the "Kent Limner," a second group of early-19th-century paintings emerged after 1940 in the area near the Connecticut?CNew York border. Attributed at the time to an unknown "Border Limner," these works, dating from the period 1812?C1818, were characterized by soft pastel hues, as seen in the portrait of Harriet Leavens, now in the Fogg Art Museum, Harvard University. It was not until 1968 that Ammi Phillips's identity as the painter of both groups of portraits was established. Additional works were identified, showing the artist's transition from the delicate coloration of the Border period to the bold and somber works that followed.
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Ammi Phillips Betsey Beckwith oil


Betsey Beckwith
Painting ID::  71236 		Betsey Beckwith
between 1815(1815) and 1820(1820) Oil on canvas 77.4 x 62.4 cm (30.47 x 24.57 in)
   
   
     
Ammi Phillips Jeannette Woolley, later Mrs. John Vincent Storm oil


Jeannette Woolley, later Mrs. John Vincent Storm
Painting ID::  71465 		Jeannette Woolley, later Mrs. John Vincent Storm
between 1835(1835) and 1845(1845) Oil on canvas 83.8 x 71 cm (32.99 x 27.95 in)
   
   
     
Ammi Phillips Mrs. Wilbur Sherman and daughter Sarah oil


Mrs. Wilbur Sherman and daughter Sarah
Painting ID::  72968 		Mrs. Wilbur Sherman and daughter Sarah
"Mrs. Wilbur (Sarah 'Sally' Stearns) Sherman (1789-1845) and daughter Sarah (1814-1872)," oil on canvas, by the American artist Ammi Phillips. 36 in. x 30 in. Yale University Art Gallery, the Teresa and H. John Heinz III Charitable Lead Trust. Courtesy of Yale University, New Haven, Conn. cjr
   
   
     
Ammi Phillips Caleb Sherman oil


Caleb Sherman
Painting ID::  72987 		Caleb Sherman
"Caleb Sherman (1736-1822)," oil on canvas, by the American artist Ammi Phillips. 36 in. x 30 in. Yale University Art Gallery, the Teresa and H. John Heinz III Charitable Lead Trust. Courtesy of Yale University, New Haven, Conn. cjr
   
   
     
Ammi Phillips The Teresa and H. John Heinz III Charitable Lead Trust oil


The Teresa and H. John Heinz III Charitable Lead Trust
Painting ID::  72989 		The Teresa and H. John Heinz III Charitable Lead Trust
The Teresa and H. John Heinz III Charitable Lead Trust cjr
   
   
     
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     Ammi Phillips
     (1788-1865), a self-taught New England portrait painter, is regarded as one of the most important folk artists of his era. Phillips was born in Colebrook, Connecticut, and began painting portraits as early as 1810. He worked as an itinerant painter in Connecticut, Massachusetts, and New York for five decades. In 1924, a group of portraits of women, shown leaning forward in three-quarter view and wearing dark dresses, were displayed in an antique show 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 light. Stylistically distinct from those of the "Kent Limner," a second group of early-19th-century paintings emerged after 1940 in the area near the Connecticut?CNew York border. Attributed at the time to an unknown "Border Limner," these works, dating from the period 1812?C1818, were characterized by soft pastel hues, as seen in the portrait of Harriet Leavens, now in the Fogg Art Museum, Harvard University. It was not until 1968 that Ammi Phillips's identity as the painter of both groups of portraits was established. Additional works were identified, showing the artist's transition from the delicate coloration of the Border period to the bold and somber works that followed.

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