Artwork Description
Wood Collage Table
George Morrison (1919-2000)
Wood Collage Table
Prepared and stained wood
H 17 inches x W 53 inches x D 23 inches
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George Morrison (1919-2000)
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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.
Cameron Booth (1892-1980)
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Signed and dated along lower quadrant
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Oil on board
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Signed and dated along lower left quadrant
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George Morrison (1919-2000)
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1946
Gouache, graphite, and ink on paper
10.25 inches x 8.25 inches
Signature and date lower right quadrant
George Morrison (1919-2000)
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1977
7/10
Rubbing on paper
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Signed and dated in pencil along lower right quadrant
Titled in pencil along lower left quadrant
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)
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
