Minnie Eva Evans[1] (December 12, 1892 – December 16, 1987) was an African American artist who worked in the United States from the 1940s to the 1980s.[2] Evans used different media in her work, but started with using wax and crayon.[2] She was inspired to start drawing due to visions and dreams that she had when she was a young girl.[2] She is known as a southern folk artist and as a surrealist and visionary artist as well.[2]

Evans (born Minnie Eva Jones) was born to Ella Jones on December 12, 1892 in Long Creek, Pender County, North Carolina.[2] Ella was only thirteen years old at the time. Evans' biological father, George Moore, left after she was born. After Evans was only two months old, she and her mother moved to Wilmington, North Carolina to live with Evans' grandmother, Mary Croom Jones in 1893.[3] Minnie Jones attended school until the sixth grade and in 1903, Minnie Jones, Ella, and Mary Croom Jones moved to Wrightsville Sound which was a town close to Wilmington.[4] In Wrightsville, Ella Jones met her future husband, Joe Kelly, and they married in 1908.[3] During this time, Jones worked as a "sounder" selling shellfish door to door.[5] In 1908, one of Joe Kelly's daughter's from a previous marriage introduced Minnie Jones to Julius Caesar.[3] Minnie Jones, who was sixteen at the time, married Julius (19) that same year.[4] The couple had three sons, Elisha Dyer, David Barnes Evans, and George Sheldon Evans.[4]

Beginning in 1916, Minnie Evans was employed as a domestic at the home of her husband's employer, Pembroke Jones, a wealthy industrialist.[4] The Evans family lived on Jones's hunting estate, "Pembroke Park," known today as the subdivision Landfall. Pembroke Jones died in 1919 and his wife, Sadie Jones remarried Henry Walters. The couple moved nearby to the Arlie Estate which was left to Sadie Jones from Pembroke Jones. Evans continued to work from Sadie Jones and now Henry Walters, on the Arlie Estate. After Walters died, Sadie Jones decided to turn the Arlie Estate into gardens which later became one of the most famous gardens of the south.[3] After Sadie Jones died, a man named Albert Corbet bought the property in 1947 and assigned Evans to be the gatekeeper and take admission from public visitors.[3] She held this position for the rest of her life.[3] She retired from her job as the gatekeeper when she was 82 years old in 1974.[3]

Evans began drawing on Good Friday 1935, where she finished two drawings using pen and ink "dominated by concentric and semi-circles against a background of unidentifiable linear motifs".[6] She heard a voice in her head that said ‘Why don't you draw or die?'[4] After this, Evans did not resume drawing until 1940.[4] She started using pencil and wax on paper for her beginning works and she later worked with oil paints and mixed media collages.[2] Her subject matter were usually either biblical scenes or scenes from nature. Her influences included African, Caribbean, East India, Chinese, and Western cultures.[2] Since she held the position as gatekeeper at the Arlie Gardens, she often used the gardens as her inspiration in her work to depict nature scenes.[2]

Evans first started selling her work at the Arlie Gardens by hanging her pieces on the front gate of the gardens. Those who would come and visit the Arlie Gardens began purchasing her work. Soon she became known throughout the south and visitors would come to the gardens just to see her work.[3] In 1961, she had her first formal exhibition of drawings and oils at the Artists Gallery in Wilmington, NC.[3]

In 1962, she met Nina Howell Starr, who would publicize her work for the next 25 years. Starr, also an artist herself (photographer), knew of Evans' work in 1961 and wanted to meet the artist in person. Evans sold her first painting for 50 cents apiece. Folk art specialist and photographer,Howell, encouraged Evans to sell her paintings for better prices, and assisted Evans throughout her career. Evans felt her work was too personal to share with the public which held her from releasing anything until 1961 when she had her first major art exhibition at The Little Gallery in Wilmington, now known as St. John’s Museum. From 1962-1973, Starr recorded interviews with Evans about her work. At first, Evans was weary to trust Starr with her work, but they gained a mutual respect for each other.[3] Starr helped to launch Evans' career by storing and selling her art in New York City. She also guided her in the art world by making her sign and date her pieces.[7] In 1966, Starr arranged for Evans' first New York exhibit at The Church of Epiphany and Clements Episcopal Church.[3] In August 1969, another exhibition of Evans' work took place at the Art Image Gallery of New York and in 1975, curated a major Evans exhibition at the Whitney Museum of American Art.[3] With failing health, another exhibition of her work was curated in 1980 at the St. John's Museum.[3] She also had many other exhibitions in New York as well.[3]

Many art critics have labelled Evans work as “surrealistic”, “visionary”, and “psychedelic”. Religion played a vital role in many of Evans paintings. Evans later confessed she wasn’t sure of the meanings behind her paintings, stating, “When I get through with them I have to look at them like everybody else. They are just as strange to me as they are to anybody else.”[8]

Evans created "one of the most powerful works of art "[9] which was a self-portrait on the cover of a scrapbook in 1981. Evans died December 16, 1987 at age 95, leaving more than 400 artworks to the St. Johns Museum of Art (now the Cameron Art Museum) in Wilmington. After Evans's death, artist Virginia Wright-Frierson designed and built the Minnie Evans Bottle Chapel at Airlie Gardens in her memory. "Minnie Evans" day was proclaimed on May 14, 1994 in Greenville, NC.[3]

Evans was the subject of the documentary The Angel that Stands By Me: Minnie Evans' Art in 1983.

Her first works, titled My Very First and My Second are ink on paper. The entire surface is filled with abstract designs and shapes with nature images and themes in both. These works are not in color.[11]

Another work titled "Design: Airlie Garden" depicts flowers, plants, and butterflies. The nature theme is shown here, but this piece is somewhat atypical due to the asymmetry of the painting.[3]

Two other works, both untitled are more typical works by Evans. One, dated 1996, depicts a woman with a feathered headdress and a green bird. This piece has bold colors, symmetrical, and includes nature themes. The media used is graphite, ink, tempera, and wax crayon on paper. The other is a female portrait including the theme of eyes, bold colors, and nature designs as well. The media used is Gauache, ink and wax crayon on paper.[12]

Now recognized as one of the most important visionary folk artists of the 20th century, her work is highly collected by many museums and collectors all across the world. Despite her prolific and long career, her works do not come up for sale often. When they do, there is always strong competition.[citation needed] Her work has been, and in some cases is still, on display at many museums across the country. Her work can be viewed at such museums as the Museum of Modern Art, the Smithsonian Institution, the Abby Aldrich Rockefeller Folk Art Museum, the American Folk Art Museum, the Whitney Museum of American Art, the Ogden Museum of Southern Art, and the High Museum of Art.

A review of a 2017 exhibit notes the contrast between Evans' later works -- "increasingly sophisticated" faces and greater "familiarity with nature" -- with her first drawings between 1935 and 1940, which "indicate her innate genius and awareness, in the raw and in transition."

Bio courtesy of Wikipidia.  Link to full bio:  https://en.wikipedia.org/wiki/Minnie_Evans