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Artwork Description
Small White Painting
George Morrison (1919-2000)
Small White Painting
Oil on Canvas
c. 1976
19 inches x 20 inches
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George Morrison (1919-2000)
Wood Collage Fragment – Rubbing MXVII
1977
7/10
Rubbing on paper
22 ½ inches x 31 inches
Signed and dated in pencil along lower right quadrant
Titled in pencil along lower left quadrant
George Morrison
#12 Cityscape with Chrysler Building
1980
India ink on paper
11 inches x 8 3/8
Signature and date on lower right quadrant
Exhibited in Standing in the Northern Lights,
at MMAA, Tweed Museum, and Plains Museum, 1990
George Morrison (1919-2000)
Untitled
1972
Ink on paper
23 inches x 23 inches
Exhibited in: George Morrison Drawings
Walker Art Center, 1973
Heard Museum, 1973
Amon Carter Museum of Western Art, 1974
George Morrison (1919-2000)
Light of the New Day. Dialogue of the Shore, Red Rock Variation: Lake Superior Landscape
Acrylic on Canvas on Board
1995
5 ½ inches x 14 ½ inches
Signed, titled, and dated on back
The richness of this rocky, elevated paint could have surely been created on an enormous canvas. Morrison’s decision to maintain a humbly sized surface resulted in a unique work that encourages study of the canvas's billowing panorama, as the artist was similarly attracted to the source landscape. The work represents, or was inspired by, a shore at Lake Superior. Perhaps the painting depicts a cross-section of the water, or the red above as distant mountains, placing the viewer “in” the outdoors, as Morrison was. Further indicated by the title, the evocation of the natural earth was regarded by Morrison as a source of renewal, by which he reveled in the phenomenon of a fresh day.
The richness of this rocky, elevated paint could have surely been created on an enormous canvas. Morrison’s decision to maintain a humbly sized surface resulted in a unique work that encourages study of the canvas's billowing panorama, as the artist was similarly attracted to the source landscape. The work represents, or was inspired by, a shore at Lake Superior. Perhaps the painting depicts a cross-section of the water, or the red above as distant mountains, placing the viewer “in” the outdoors, as Morrison was. Further indicated by the title, the evocation of the natural earth was regarded by Morrison as a source of renewal, by which he reveled in the phenomenon of a fresh day.
George Morrison (1919-2000)
Untitled (Wood Collage Fragment)
1976-78
Lithograph
Edition PP 1/4
30 inches x 44.5 inches
Minnesota Museum of American Art to Private Collector
Edition and blindstamp lower left quadrant, signature and
date lower right quadrant
Exhibited in Modern Spirit: The Art of George Morrison, 2013-15.
Rushing and Makholm, Modern Spirit: The Art of George Morrison, 107.
George Morrison (1919-2000)
Totem
Prepared wood
H 22 inches x W 8 inches x D 8 inches,
including attached base
Galt, Margot, Turning the Feather Around, p. 191
George Morrison (1919-2000)
Untitled (Two Figures)
1946
Gouache, graphite, and ink on paper
10.25 inches x 8.25 inches
Signature and date lower right quadrant
George Morrison (1919-2000)
Wood Collage Impression - Rubbing XXI
1976
1/6
36 inches x 70 inches
Signed and dated along lower right quadrant, titled and editioned along lower left quadrant
George Morrison (1919-2000)
Untitled (Sepia Version)
1987
29/35
Woodcut on paper
25.5 inches x 72.5 inches
Signed in pencil along lower right quadrant
George Morrison (1919-2000)
Approaching Light. Crescent Moon with Star and Three Planets 6 AM January 29, 1984. Red Rock Variation: Lake Superior Landscape
1993
Acrylic on canvas on board
5¾ inches x 10 inches
Signature, title, and date on verso
Directly from artist to Dolly Fiterman collection to private collection
George Morrison (1919-2000)
Breath of Windigo. Red Rock Variation: Lake Superior Landscape
1993
Acrylic on canvas on board
6 inches x 16 inches
Signature, title, and date on verso
Directly from artist to Dolly Fiterman collection to private collection