Artwork Description
Totem
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
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Rushing and Makholm, Modern Spirit: The Art of George Morrison, 107.
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George Morrison (1919-2000)
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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)
Wood Collage Fragment – Rubbing MXVII
1977
7/10
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Signed and dated in pencil along lower right quadrant
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Cameron Booth (1892-1980)
Clam Bay Farm
1930
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26 inches x 34 inches
Signed dated along lower left quadrant
Exhibitions:
Art Institute of Chicago, 1934
A Century of Progress Exhibition of Paintings and Sculpture
