BACK TO THE FUTURE: ELEMENTS OF “MODERN” IN MID-CENTURY TEXAS ART

BACK TO THE FUTURE: ELEMENTS OF “MODERN” IN MID-CENTURY TEXAS ART

Robert Preusser, Flight #1, 1953

WILLIAM REAVES FINE ART September 11-26, 2009

Texas art underwent a metamorphosis in the middle

was nurtured and fed through a loosely-coupled network of art

years of the twentieth century. The nation and Texas experi-

museums, artist’s leagues and university art departments. Dur-

enced bold and dynamic changes during the years between 1945

ing the period of reference, these art establishments ushered in

and 1965, and art was no different. The times were rife with

progressive art movements by mounting exhibitions, sponsoring

creative expansion; sparking a period of broadened artistic ex-

demonstrations and offering art instruction which exposed Tex-

pression which pushed far beyond comfortable traditions of im-

ans (both artists and patrons alike) to modernist trends extant in

pressionist landscapes and familiar modes of American Scene to

the larger American and international art circles. Inspired and

make room for a newer, more abstract milieu. It was in this mo-

informed by such art movements as cubism, Dadaism and ex-

ment that Texas art fully confronted, and eventually came to

pressionism, abstraction grew and progressed in Texas, assum-

embrace, the elements of “modernism”.

ing both objective and non-objective modes. Annual juried ex-

It is not that abstract art forms were unknown in Texas

hibitions such as The Texas Generals and competitive exhibi-

prior to this time. Indeed, sophisticated collectors such as San

tions such as those sponsored by Dallas oilman D.D. Feldman

Antonio’s Marion Koogler McNay were accumulating European

presented new venues for public display of modernist works and

masters such as Van Gogh and Picasso as early as the late

gave state-wide exposure to Texas painters working in this

1920s, and a few indigenous artists such as Robert Preusser and

mode.

Frank Dolejska were actively producing and entering abstract

As a consequence, the imagery and style of Texas works

works in Houston Annuals by the late 1930s. Still, abstract

produced in this time assumed a dramatically different “look”

statements remained on the margins of the art field in Texas un-

from their pre-war predecessors. Paintings of the period, and

til after World War II, resting in static states until the energy

particularly those of younger Texas artists, began to reference

surge that jolted post-war America propelled new and varied

more diverse and sophisticated subject matter. Artists presented

approaches to the fore.

their subjects through flattened planes, altered perspectives and

The emergence and growth of “modern art” in Texas

stylized compositions. Color assumed greater prominence in 2

these mid-century paintings and vivid palettes prevailed in mod-

their roles as professors and art instructors. No less than four-

ernist works. Brush stroke and paint application were enhanced

teen of the artists included here were faculty members at Texas

as elements of design and composition. New medium and mate-

universities, including The University of Texas, Texas Christian

rials were in vogue.

University, Southern Methodist University, Lamar University,

Today these qualities of Texas painting seem common

Steven F. Austin, Sam Houston State, Incarnate Word, and

place, but in the decades comprising the middle of the twentieth

hometown institutions such as Rice, the University of Houston

century these trends constituted the elements of “modern” and

and St Thomas University, and at least nine of the artists shown

were groundbreaking developments for conservative post-war

here served as instructors at the Museum School of The Mu-

Texas. In this first exhibition of a new season, William Reaves

seum of Fine Arts, Houston.

Fine Art affords patrons an opportunity to explore the begin-

Viewers of this show receive the rare opportunity to step

nings of modern art in Texas by experiencing the vintage works

back some six decades in time to examine great art that pres-

of more than twenty-five master artists of the period.

aged the “future” (read now as the “present”) of Texas and

The artists included in this show read like a veritable

Houston art. We believe that most will be pleasantly surprised

“Who’s Who” of mid-century giants. All were actively exhibit-

at how “fresh” these vintage pieces seem today, and how well

ing and showing in important galleries within the state. Several,

these collected works have stood the proverbial “test of time”.

such as Jack Boynton, Richard Stout, McKie Trotter and Doro-

We also believe that the works included in this exhibition are

thy Hood were regularly exhibiting in important exhibitions and

consistently strong in quality and represent excellent examples

galleries beyond the boundaries of Texas, in such art centers as

of the artists’ work during the period. Yet even in this impres-

New York, Chicago, San Francisco and other locales about the

sive array of Texas “gems”, we feel compelled to call special

country. Not only were the artists in this show among the most

attention to several works which we believe to be of exceptional

heralded Texas painters of their day, but many made lasting

quality and importance.

contributions to the growth of modernism in the state through

Take for instance, the four excellent selections from Ben 3

Culwell’s seminal war-time series. Culwell’s wartime subjects

Houston.) Through these paintings, viewers gain a glimpse of

were presented with acclaim in The Museum of Modern Art’s

Mears’ earliest mature style, as it was when he arrived in the

1946 exhibition entitled Fourteen Americans, and were featured

city fresh from study with Ferdinand Leger in France.

with works by Motherwell, Gorky, Tobey and a host of other

Richard Stout’s Nest, painted in 1958, is clearly one of

American masters. Walter Hopps introduced these same war

the most engaging and important paintings in this exhibition.

images to the Houston art crowd in The Menil Collection’s 1987

As with all of Stout’s work, Nest is meticulously painted, rich

exhibition called Adrenalin Hour.

with tonality and glowing with energy. In addition to serving as

Another prime work is that of Robert Preusser, entitled

the cover piece for Stout’s first one-man show at the Art Mu-

Flight #1. Preusser, who left Houston in 1954 to teach first at

seum of Southeast Texas, this work was featured in the Brazos

Harvard and subsequently at MIT, is generally acknowledged as

Book Store’s now famous exhibition entitled 15/15.

the state’s earliest indigenous artist to produce and show ab-

Jack Boynton’s Rainbow Eater is a stellar example of

stract work. Flight #1 was produced and exhibited by the artist

the artist’s work from his provocative “beast” period. It was

while still a Houston resident.

created in 1957, at a time when Boynton was finding critical

Also featured in this show are three newly discovered

acclaim at museums such as the Whitney and the Guggenheim

works by Henri Gadbois, including cubist-inspired figuratives

in New York. Boynton’s Firewall II also holds its own as one

from the early 1950s, and a beautifully composed minimalist

of the most dynamic and compelling works in the show. De-

landscape from 1958 entitled Winter. The gallery is also

spite its 2006 execution date, it is presented in this mid-century

pleased to show early figurative works by Houston icon, Herb

show since it represents the artist’s reprise (of sort) of a favorite

Mears. The Magician and Artist and Balancing Act, both com-

painting with a similar title painted in the 1950s and later de-

pleted in 1952, are included in this exhibition (The Magician

stroyed by fire!

and Artist is perhaps Mears’ earliest entry into the Houston An-

This exhibition includes a fine example by Dorothy

nual, bearing the exhibition label of The Museum of Fine Arts,

Hood entitled Winter and the Sea. Hood rose to prominence as 4

one of the state’s foremost artists in the 1960s, culminating in

are stellar examples by the TCU artist/teacher whose work was

her receipt of the Childe Hassam Prize in 1973 by the American

instrumental in maintaining Fort Worth at the forefront of mod-

Academy of Arts and Letters. Winter and the Sea exemplifies

ernist movements during the middle of the twentieth century.

Hood’s best work of the middle 1960s, incorporating the dis-

Finally, the exhibition presents a collection of surrealis-

tinctive raking brushwork characteristic of her early expression-

tic miniatures and assemblages by Robert Morris. Morris was

ist work in oil. An equally strong and important expressionist

in Houston for only a brief time, from the late 1950s through the

standard is Floating Signal, by the late Charles Schorre. This

middle 1960s, before returning to live and teach in Connecticut.

colorful work is hard to miss. While later in execution than

He compensated for this short stay, however, through a litany of

other works in the show, the painting is included here because it

important contributions to the city’s art scene. While in Hous-

is reflective of works from Schorre’s earlier periods, and rein-

ton, Morris simultaneously created art, taught art and ran a con-

forces his position as an important art force on the Houston

temporary arts organization. He joined the faculty at the Uni-

scene during the period addressed by this show.

versity of Houston in 1957 and became the director of the Con-

Major works by San Antonio’s Bill Reily and Fort

temporary Arts Association with the departure of Jerry MacAgy

Worth artist McKie Trotter also warrant attention. Reily’s Fac-

in 1958.

tory I and Façade are significant works executed by the artist in

In this show we feature a selection of Morris’ tightly

the late 1950s, a period when he was Artist of the Year for the

compressed, quirky paintings and assemblages. Most of these

San Antonio Art League. Factory I was exhibited in Reily’s

small works were executed after his departure from Houston,

1959 award exhibition at the Witte Memorial Museum in San

but all are definitely informed and inspired by his opportunities

Antonio. The gallery follows last year’s highly successful

and experiences in the city. Aside from their obvious appeal as

McKie Trotter show by introducing two fabulous “new” Trotter

intriguing works of art, this wonderful collection underscores

works in the current exhibition. We include Watermelon (ca.

the significance of surrealism in mid-century art developments.

1949) and Two Tumbleweeds with No Moon (ca. 1958). These

Furthermore, Morris’s work reminds us that the mid-century art 5

scene in Texas benefitted greatly from such imported artists and thought leaders.

With this, we welcome you to an exciting new season of early Texas art. We invite you to examine the range of works exhibited in BACK TO THE FUTURE, along with the complete gamut of Texas works presented by William Reaves Fine Art. We hope that you find your experiences pleasing and the art work inspirational. As always, we are grateful for your patronage and encourage your continued interest in vintage Texas art.

Please let us know how we may assist you.

Bill Reaves William Reaves Fine Art, Gallery Owner

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Exhibition Checklist 1. David Adickes, Antibe in Blue, c. 1960, oil/canvas, 40 x 30 in.

2. David Adickes, Village Scene, c. 1965, oil/canvas, 21 1/2 x 17 1/2 in.

3. Jack Boynton, Rainbow Eater, 1957, oil/canvas, 48 x 34 in.

4. Jack Boynton, Firewall II, 2006 (after a similar 1950s painting), oil/canvas, 48 x 70 in.

5. David Cargill, Matthew V, c. 1953, terracotta, 23 x 12 in.

6. Patty Cargill, Still Life/Pitcher, c. 1955, oil/masonite, 48 x 19 in.

7. Patty Cargill, Dancing Harlequins, c. 1956, oil/masonite, 48 x 37 in.

8. Bill Condon, St. Mark’s Cathedral, 1965, oil/canvas, 48 x 48 in.

9. Bill Condon, Power Lines-Guanajuato, c. 1959, mixed media, 24 x 20 in.

10. Ben Culwell, Untitled (Airplane), 1942-44, ink, wax crayon, and tempera/paper, 6 1/4 x 9 5/8 in.

11. Ben Culwell, Critical Moment of Torpedo Plane Attack on Naval Task Force, Tarawa 11/43, 1943-44, pencil, ink, tempera/paper, 12 x 8 7/8 in.

12. Ben Culwell, The Blues Letter, 1942-44, ink, wax crayon, tempera, scraping/paper, 12 x 9 in.

13. Ben Culwell, Action, 1942, pencil, ink, wax crayon/paper, 7 3/4 x 8 in.

14. Henri Gadbois, Three Figures, 1953, oil/canvas, 28 x 14 in.

15. Henri Gadbois, Juggler, 1953, oil/canvas, 29 x 13 in.

16. Henri Gadbois, Winter, 1958, oil/canvas, 29 x 42 in.

17. William Hoey, Red Tent on Texas Beach, c. 1960, oil/masonite, 8 x 10 in.

18. Dorothy Hood, Winter and the Sea, c. 1963, oil/canvas, 58 x 35 in.

19. Amy Freeman Lee, Hercules, c. 1957, watercolor, 14 1/2 x 10 in.

20. Leila McConnell, Pale Fruit, 1954, oil/masonite, 24 x 30 in.

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21. Leila McConnell, Serious Sun, 1972, oil/canvas, 24 x 18 in.

22. Herb Mears, The Magician and Artist, 1952, oil/canvas, 39 x 32 in.

23. Herb Mears, Balancing Act, 1952, oil/canvas, 25 1/2 x 21 in.

24. Herb Mears, Boy in White Hat, c. 1962, oil/board, 12 x 16 in.

25. Robert Morris, Floaters, c. 1969, acrylic/board, 8 x 10 in.

26. Robert Morris, Hangers On II, c. 1965, acrylic/board, 8 x 10 in.

27. Robert Morris, Hangers On III, 1974, acrylic/board, 12 x 9 in.

28. Robert Morris, Hangers On IV, 1974, acrylic/board, 7 1/2 x 10 in.

29. Robert Morris, Fly Over I, 1973, acrylic/canvas, 6 x 8 in.

30. Robert Morris, Fly Over II, c. 1970, acrylic/canvas, 5 x 7 in.

31. Robert Morris, Trailer Park, 1978, acrylic/board, 8 x 10 in.

32. Robert Morris, Grant and Trees, 1978, acrylic/board, 7 x 4 1/2 in.

33. Robert Morris, Contemplating Flight, 1975, acrylic/canvas, 8 x 6 in.

34. Robert Morris, The Spectators, 1974, acrylic/canvas, 8 x 10 in.

35. Robert Morris, Portrait of the Artist, c. 1968, acrylic/board, 12 x 10 in.

36. Robert Morris, Assemblage with Self-Portrait, 1969, mixed media/assemblage, 12 x 10 in.

37. Robert Morris, A Shorty History of Art, 1969, mixed media/assemblage, 12 x 14 1/2 in.

38. Robert Morris, Annunciation, 1969, mixed media/assemblage, 12 x 14 1/2 in.

39. Joseph Polley Paine, Morocco, 1956, oil/board, 30 x 30 in.

40.Dimitri Parsons, Untitled, 1958, oil/board, 29 x 23 in.

41.Robert Preusser, Flight #1, 1953, plastic paint and oil/masonite, 12 x 30 in.

42. Jim Rabby, Houston Skyline, c. 1961, oil/canvas, 21 x 53 in.

43. Charles Bert Rees, Lime Kiln-Austin, 1966, oil/canvas, 44 x 44 in.

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44. Bill Reily, Factory I, 1958, oil/board, 36 x 48 in.

45. Bill Reily, Faรงade, c. 1957, oil/board, 30 x 40 in.

46. Robert Rogan, River Forms, c. 1969, oil/canvas, 36 x 40 in.

47. Robert Rogan, Tropical Interior, 1965, oil/canvas, 34 x 27 in.

48. Charles Schorre, Floating Signal, 1989/1994, mixed media, 36 x 48 in.

49. Charles Schorre, Sky Signal, 1976, acrylic/canvas, 27 x 23 in.

50. Richard Stout, Nest, 1958, acrylic/canvas, 43 1/2 x 39 in.

51. Richard Stout, Green Moon, 1963, oil/canvas, 36 x 53 in.

52. Richard Stout, Oaxaca, 1963, oil/canvas, 24 x 30 in.

53. Richard Stout, Landscape with White Sky, 1956, oil/canvas, 24 x 24 in.

54. Stella Sullivan, Salt and Vinegar, 1967, oil/canvas, 30 x 36 in.

55. McKie Trotter, Watermelon, c. 1949, oil/canvas, 45 x 30 in.

56. McKie Trotter, Two Tumbleweeds with No Moon, c. 1958, oil/board, 32 x 48 in.

57. McKie Trotter, Sunrise, 1950, oil/canvas, 20 x 26 in.

58. Hiram Williams, West Texas Highway, 1959, oil/canvas, 24 x 30 in.

59. Dan Wingren, Beach Combers, 1961, oil/canvas, 29 1/2 x 23 in.

60. Dan Wingren, Path Through the Dunes, 1961, oil/board, 30 x 25 in.

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