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SePTer\dBER 28-NorrunaBER
24, L996
A PION EER IN TH E ARTS OF TH E SOUTH,
MARY LEATH THOMAS SEPTEM BER 28.NOVEM BER
Time is the most valuable possession of the creative person. A painter must be able rc
o many demands which occupy other
say no
people. . .
Mry
Leath Thomas
24, 1996
in the field ofart education, serving as president of the North Carolina Art Teacher's Associarion and chairing ics commirtee ro rewrice lhe art secrion a Ieader
of che Course of Study. Shortly thereafter, she was appointed as-
sistant professor of arc at the W'oman's College of the Universicy of Norch Carolina in Greensboro. Her personal search as an
artist led her to take summer courses at the University of Chi-
These words seem particularly
poignant when considering the life of Mary Leath Thomas that ended abruptly at che age of fifty-four wirh a heart attack. One might infer char rhis dedicated artist was frugal with moments spent out of the studio.
On the contrary, the list of Thomas's contribucions to the cre-
ative atmosphere of the South in
the 1930s, 1940s, and 1950s i,s so extensive that it is difficult to believe that the woi-d "no" was in the
in
1940 where she met the painrer Howard Thomas. Five years later, the two artists married and setrled in Athens, Georgia, where Howard was apcago
pointed professor of arc at the
University of Georgia. Mary taught at the university as well and served as a consultant to Atlanta schools and the South Caro-
the posicion of art supervisor for the Athens School System. Art classes in the district were in cheir formative stages; only a few years earlier Mrs. Hampton Rowland, principal of Chase Streec E1ementary, receled approval to hire a graduate student, Miss Jeffie Landers (soon to become Mrs. Jack Rowland), from che university's art department to teach fourth grade for half che day and art the other half. By 1950, when Mary Thomas was appointed art supervisor, the program had expanded to include
Athens' four other elementary schools and within the nexc few years, classes were offered at the junior and high school levels. The art supervisor's responsibilities included visiting each class once a week to initiate apartrcular art activity. Thomas often presented original works of art for group discussion and demonstrated specific techniques. The supervisor then provided materials and guidance as students created their own works. The following week Thomas would
lina Department of Education.
relurn to critique the completed works and follow up with a related
During the same period,
assignment.
she was
ofthe Southeastern
Those who knew Thomas re-
artist's vocabulary. \Xlhether creating works ofart, teaching, consult-
Arts Association and collaborated
call her gentle yet commanding
with her husband on a book
ing, exhibiting, traveling, or
presence chac facilitated learning
abouc design for which the couple received a Carnegie Granc-in-Aid.
among students and inspired the involvement of classroom teachers, administrators, parents, and the public. To prepare area teachers co
engaged in research, MaryThomas approached these tasks with eagerness
vice president
and incensity, despite her limited
About that time, Mary Thomas's gouache, Muted Birds, receled
time.1
second prize
in
Born in Hazelhurst, Georgia, 1905, Mary Thomas received a
bachelor's degree from Georgia College in 1930 and began teaching in
Durham, North Carolina, while completing her master's degree at Duke Universicy. Within the next few years, Thomas quickly became
in
che 1947 North
Carolina Art Society Annual Exhibition. The abstract nature of this image caused a stir among an audience unfamiliar with modern approaches to art which, as a result, were thoroughly debated in the regional press. In 1950, Thomas was offered
assist her and co encourage them co develop their own art projects, Tho-
mas led specialized workshops in subjects such as drawing and clay
modeling on Saturdays at the university's Fine Arts Building and later, at che newly established Georgia Museum ofArc, then located on che ground floor of the library on
north campus. During these meet-
Scholastic Magazine. Thanks to
ings she would introduce new ma-
her efforcs, twenty Clarke County srudents were honored with cita-
terials and techniques, frequently through the presentation and discussion of work by visiting professional artists as well as the works in the museum's collection. She encouraged teachers to share ideas and lesson plans with one another. Eventually, these workshops were
augmenced to include teachers
tions in the Nacional Schoiastic Art Awards in one year. While making such contribu-
tions to art education in
the
South, Thomas continued her career as an arrisr working in warercolor, gouache, etching, lithography, and diverse materials such as
from rhroughour Georgia in an assembly of educators that prefigured the School Arts Symposium co-
vited schooi administrators, officers of the Parent-Teacher Association, and members of the Board of
ship, students'work appeared in shows throughouc the city at local businesses and the-county fair as well as in the Clarke Counq, School Art Exhibition shown at the Geor-
gia Museum of Art annually for many years. As the program expanded into the higher grades, so
did rhe curriculum. incorporaring advanced mechods in such media as
watercolor, copper enameling, ceramics, and linoleum and woodcuts, as well as drypoint cechniques in printmaking. Thomas shared her ideas and the achievements of her students and fellow teachers with
tragedy. Having given asmall paperback book ofcolor reproductions to
Jeffie Landers Rowland for "inspi-
ration" in her teaching, Thomas was evidently well acquainted with
Klee's work. Furthermore, Mary and Howard Thomas are said to have referred frequently in conversation to the Swiss artist's Pedagogical Sketchbook, a collection of nores and illusrrarions concerning visual principles Klee taught at the Bauhaus. The subject matter and composicion of Sea Sfiapes may also
sponsored annually by the Georgia
Museum of Art and the Larnar Dodd School of Art. Thomas in-
Education to parricipate in hopes thac their greater understanding and appreciation ofthe visual arts would result in increased resources for scudents. She sought patronage from local businesses and acquired a variety of materials and equipment, including kilns for firing clay. Under Mary Thomas's leader-
result of his retrospective ac the Museum of Modern Art in 1941, is distinguished by its flattened space and use of primal symbols that evoke a sense ofmyscery and often
have been
inspired by a work by an-
other European painter; Wassily Kandinsky's Capricious Forms (1937) depicts various sea life in a comparable design. Checklist NumberTwelve
lacquer and enamel on copper. Three images from che eariy 1950s, each entitled Sea Shapes, reveal Thomas's interest in work-
ing in series. The gouache from
this group presents simplified plant and animal forms from the ocean floor and is charactert-zed by scumbled and scratched layers
of thick paint in a nearly neutral color scheme (Checklist No. 12). The anguished eyes of urchins eerily peer out ar the viewer. The overall effect of chis and corresponding images, as well as the
grid-like arrangement emphasized by che segmentation of copper plates in the enamel, reveals
Thomas's affinity with the mod-
art educators across the nation through articles published in
ern master Paul Klee. Much of
School Arts, Art and Activirres, and
known in the United States as a
Klee's work, which became
widely
It is important to menrion the work ofAdolph Gottlieb, anAmerican artist also inspired by the abstract surrealism of Klee and Kandinsky.2 In the 1940s Gottlieb created a series of "Pictographs" consisting of irregular grids filled
with emblematic objects drawn from a variety of sources to which Thomas's Sea Shapes and other works bear a striking similarity.
One source of inspiration for
Gottlieb was the art of Native American cultures from the Northwest. In 7948 Mary and Howard Thomas drove to California and returned to Georgia via New Mexico, where the couple stopped to study the art and artifacts native to the region. This trip as well as the series of "petroglyph bird" images produced by Mary in the following years indicates a keen awareness of
and interest
in
che most recent
r
- :-: --: .rintempOfary art, in thiS
r : ,,-.: :-ascination with and at-:-: -- imirare rhe unrque ex: -:. , .-:ess of art produced by : - --..::-. e cultures. Thomas
':.::.: :*Jh insights, as well as a - - - .i:crvledge oI arrisrs. pasr -"-: ::.i3nr. $.ith southern audi- : . . : .-:i rhrough her own works '---:
.::j
her teaching. :,.uache srudy, intaglio prinr , ..:.:.:s: No. 1), and an enamel :-r:::sa another series, this one ::: --::1S birds ofvarious sizes and . -;-:=,-:ers along electrical wires. .-
- - - :':.e Singing Wires. isparticu;.:-', --
:
i:ring
as rhe image rakes on
--:rir zCter
of musical nocation,
'.-- --i:ds actingas notes andwires
.::.:::i
as
bars of the staff. The ar-
'::_i.:r1ent of these avian figures j * r_i.srs a rhythm from left ro righr :' .r:il. This light-hearred image -'. :erhaps inspired by rhe collec-
-.--r Lrtpigeons owned by a friend .:: '.i';rich Thomas is said ro have :'.
-:J
great amusement.
-\lrhough conrinuing as a con. --:anr. Mary Thomas retired from -.-.: posirion oI arr supervisor in
-i56. and larer rhar year, rhe I::omases commenced a five:-icnrh trip around rhe world visir-
:rq Turkey, India,
Java, Bali, Hong rong, andJapan. Following rhis ex--'ision, retirement allowed the art'ii to [-ocus attention once again on .rer creative career. An entry dated \ovember 8, 1958, from Howard Thomas's diary inciudes rhe sen:ence, "Mary painted all day on a ^arge lacquer with mecal leaf." This nay have been a frequent siruation Juring rhis period as rhe arrisr completed an impressive number of n'orks; parricularly norable is rhe "White Lady" series. An enamel on copper and an unsigned lithograph
(Checklist No. 10) from rhis group portray a red-haired
Thomas's life was ful1 of successes.
woman in white looking rou,ard
institutions including rhe Pennsyl-
the viewer, her features reduced to
vania Academy of the Fine Arrs, the
simple lines and shapes; the Face is similar to that of the woman in Paul Klee's Mother and Child
Metropolitan Museum of Art, and the Brooklyn Museum of Art, and
She exhibited ar many presiigious
her work appears in the collections
(1938). Behind her srands anorher
of the Virginia Museum of
woman) wearing a white veil,
Arts, the High Museum of Art, rhe
whose form merges wirh that of a scately chicken, its wing evidenr along the right side of rhe image.
North Carolina Museum of Arr, and several others. As an art supervisor. Tlromas r nspired generarions
An exchange between the rwo
of students and teachers through-
women occurs as a hand extends
from the right; this hand also serves as the tail feathers of a
out Georgia and beyond ro expiore and use cheir creative abilities; she accepted only quality work while in-
as a
small red bird. In this work as well similar lacquer and leaf piece (Checklist No. 4), a face, irs fea-
stilling confidence in all those she insrructed as well as an appreciation for the visual world. Accord-
tures distorted wichin the shape of a single eye, hovers above. While the veiled woman has disappeared in the lacquer, rhe redhaired figure is now crowned. It is obvious that she is pregnant, and in her hand, a bird stands on spindly legs. Birds frequently appear in images of classical themes as an attribute of Juno, wife of Jupiter. According to Roman mythology,Juno is the protectress of women. warching over marriage
ing toJetEe Landers Rowland, Mary was not just a "supervisor" but rather "a friend who was there ro help" with an approach rhat made learning easy, both in the classroom and during teacher conferences. In all aspects ofher life, whether demonstrating a watercolor technique in front oFa group or parienrly creating in her studio, Thomas worked with an intensity to which many only aspire. We are fortunate to enjoy the products of these diligenr
and childbirth. The exchange depicted in the print and enamel pieces may then be read as an an-
and far-reaching efforts, the echoes ofwhich continue to resound in our region's schools, as well as in r1-re engaging paintings, drawings, and
nunciation scene, complete with a representation ofthe holy spirit
Fine
prints of Mary Leath Thomas.
presiding over rlre evenr. an in-
triguing interpretation consideringThomas never had children of her own. Perhaps Thomas rnrerprered rhe scene as representing
rhe gi[L ol- creative inspirarion with various birds symbolizing the "soul" of the artist, a gift this
particular artist most certainly treasured.
Though brief,
Mary
JosrnurNr Brooocooo Curator Museum Srudies Program ' The author thanks Anne Vall Thomas,Jeffre Landers Ror,land, Dr. Robert\V Nix, Vrilliam D. Paul Jr., Lamar Dodd, and InezJohnston for sharing cheir
personal recollections concerning Thomas's life and creative influences as well asJenniler Casserly for her
initial
research.
2 SanFord Hirsh, ed., The Picrographs of Addph Gotdieb (New York: Hudson Hills Press,
199.1), passim.
CH ECI<LIST
6.
OFTHE EXH IBITION
Collection ofAnne Wall
8.
9.
Thomas
14.
Bird Forms, c. 1957 Lacquer and leafon masonite 12 x 4 inches Coliection of Anne Wall Thomas
78
1,1314x3 Lf2inches Collection of Anne Wali Thomas 5.
King ,7957 Lacquer and leafon masonite
1,2x33f4rnches Collection oflnez Johnston
inches
Untitled (White Lady), c.7957
Rowland
Color lithograph 15 ll4 x7 5f 8 inches
GMOA 95.38
15. 1.957
16.
15l16 x 13 inches
Collection of Mrs. Elbert Allison Farlow
masonice
I
Collecrion of Mrs. ElberL Allison Farlow
(sheet)
Lacquer and leafon
12 7f
U n ti tl ed ( Ch i cke ns ), n.d. Gouache on paper 1,4 ll2 x 18 1/2 inches Georgia Museum of Art, University of Georgia; gift ofJeffie andJack Rowland in honor oF Mr. and Mrs. Hampton
1,9
Bird, t957
x
(sheec)
Enamel on copper plare B x 4 inches Collection of Anne Wall Thomas
White Lady with
Shapes,1952
(image)
Untitled (White Lady with Bird), c.
10.
Sea
Color lithograph 13 718 x l0 lf 2 inches
(image)
4.
Sea Forms, c. 1952 Enamel on copper plates mounted on masonite 14 ll2 x ll ll4 inches
ln Search of Nirvana, 1957 Lacquer and leafon masonite 12 x 4 rnches Collection of Anne Wal1 Thomas
Sketch for Singing Wires, c. 1952 Gouache on paper 14 ll2 x 19 lf 2 inches Georgia Museum of Art. University of Georgia; gift of Anne \X/all Thomas cMoA 94.98
13.
Johnston
Singing Wires, c. 7952 Enamei on copper plates mounted on plywood 1,7 x 1,4 lf2 inches Collecrion of Anne Wall Thomas
Sea Forms, 1952 Gouache on board 14 1,14 x 11 inches Collection of Anne Wall Thomas
12x33f4rnches
Singing Wires, 1952 Color intaglio l0 314 x 74 lf 4 rnches
2.
12.
Collection oflnez
7.
(platemark) L3 x 18 lf 2 inches (sheet) Collection of Mrs. Elbert Allison Farlow
White Angel,195B-59 Lacquer and leafon masonite
We Bought
A Fish,1945
Gouache on paper L7 7 lB x 28 lf 2 inches Georgia Museum of Art, University of Georgia; Eva Underhill Holbrook
11
Revival,1955
Memorial Collection of
Lacquer and leafon masonite 36 314 x 15 inches
American Art; gift of Alfred
Collection ofLeath Finley
H. Holbrook, 1946 ctr,toe 46.0114 F.
ACI<NOWLEDC EM ENTS This exhibition is a projecr of rhe Museum Srudies Program at the Georgia Museum of Art. The sraff extends its graritude to the curator,Josephine Bloodgood, ro the lenders of the works, and particularly to Anne
Wa11
Thomas for her
assistance and guidance.
Wrluev U.
ErL.cNo
Director
Checklist Number One
Mary Leath Thomas laid the foundation for art educarion programs in the Athens public schools. She cared for teachthrough art, taught them an apprecration and enjoyment for the "finer thrngs in life." She inspired
ers and students, and
teachers and students in a quiet, gentle manner and 1ed them
from 1o11ipop "trees," patterns, and copy work to creative art activities. Mary shared what she learned from her own art experiences with Athens students and teachers and was always a friend, not a supervisor to then. For tl-rose she taught and for those who taught with her, and especially for me, Mary remains a guiding light in art education.
Jrrnr LeNorns RowlaNo
Docent, Georgia Museum of Art
Checklist NumberTen Partial support for the exhibirions and programs For rhe Georgia Museum of Art is provided by the Georgia Council for the Arts through appropriations
oF
the Georgia General Assembly and the National Endownent for the Arts. A portion of the museurn's general operating
support for this year has been provided through the Institute ofMuseum Services,
a lederal agency
that ofFers general operaring srLpporr ro
the nation's museums. Individuals, foundations, and corporations provide additional support through their gil'ts to rhe Univer-
sity of Georgia Foundarion. The Georgia Museum of Arr's hours are 10 a.m. to 5 p.m. Tuesday, Saurday; 10 a.m. to 9 p.m. on Fnday; and
1 p.m.
to 5 p.m. on Sunday.
Cover: Checklist Number Four
706.542.GMOA
Wednesday, Thursday, and