GENERAL DESCRIPTION
George L. K. Morris’s Mixed Doubles provides a rich complement to the artist’s earlier work, Mural Composition (1939, 1972.37), showing his own inflection of cubism. It is both a vivid work of modernism, as well as an evocation of a favorite sporting activity.
As seen here, Morris's mature style wedded the European language of synthetic cubism with an American iconography derived from history, landscape, and popular culture. This particular work dates from the important year of 1948, when Morris and the critic Clement Greenberg exchanged conflicting views about the importance of cubism in the periodical Partisan Review. Greenberg believed the style had played itself out, preferring instead to advocate the artists who would come to the fore in the movement eventually known as Abstract Expressionism. Morris vigorously disagreed.
Mixed Doubles may in fact be a riposte of sorts to Greenberg’s view. In this work, Morris wittingly references Pablo Picasso’s iconic Still Life with Chair Caning (1912, Musée Picasso) while adding his own touches. The fractured planes, displaced text of the score, and multiple perspectives, not to mention the differing materials of net and lawn, pay homage to the legacy of synthetic cubism—yet the very American game of tennis wittily lampoons Morris’s label as a “Park Avenue Cubist”—an originally disparaging reference to his wealthy, non-European upbringing.
Adapted from
William Keyse Rudolph, DMA unpublished material, 2008.
NOTES
Note has been routed and revised by Sue and is being tagged complete, 2/23/2017. GDoc has been moved to Queta's folder for future review.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
oil paint
canvas
Historical periods
1948
Individuals
Clement Greenberg
Subject terms
oval
text
inscription
green
blue
black
brown
red
modeling (shade)
flat
geometric abstraction
linear
synthetic cubism
RELATED OBJECTS
PROVENANCE
Until at least 1965: The Downtown Gallery, New York, NY, purchased from the artist
Until 2008: Raymond and Patsy Nasher Collection, Dallas, TX
2008: David T. Owsley, New York, NY purchased from the above through Sotheby's New York, Sale N08488, May 9, 2008, lot 78 (ill p.108)
From 2008: Dallas Museum of Art, gift from the above
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- Picasso, Still Life with Chair Caning~Read about this work and its place in the development of synthetic cubism in the early 20th century through Khan Academy.
Apply to objects where number equals 2008.37
Category
rules_operator
AND
General Description
George L. K. Morris’s Mixed Doubles provides a rich complement to the artist’s earlier work, Mural Composition (1939, 1972.37), showing his own inflection of cubism. It is both a vivid work of modernism, as well as an evocation of a favorite sporting activity.
As seen here, Morris's mature style wedded the European language of synthetic cubism with an American iconography derived from history, landscape, and popular culture. This particular work dates from the important year of 1948, when Morris and the critic Clement Greenberg exchanged conflicting views about the importance of cubism in the periodical Partisan Review. Greenberg believed the style had played itself out, preferring instead to advocate the artists who would come to the fore in the movement eventually known as Abstract Expressionism. Morris vigorously disagreed.
Mixed Doubles may in fact be a riposte of sorts to Greenberg’s view. In this work, Morris wittingly references Pablo Picasso’s iconic Still Life with Chair Caning (1912, Musée Picasso) while adding his own touches. The fractured planes, displaced text of the score, and multiple perspectives, not to mention the differing materials of net and lawn, pay homage to the legacy of synthetic cubism—yet the very American game of tennis wittily lampoons Morris’s label as a “Park Avenue Cubist”—an originally disparaging reference to his wealthy, non-European upbringing.
Adapted from
William Keyse Rudolph, DMA unpublished material, 2008.
Fun Facts
Archival Resources
Web Resources
- Picasso, Still Life with Chair Caning~Read about this work and its place in the development of synthetic cubism in the early 20th century through Khan Academy.
Notes
Note has been routed and revised by Sue and is being tagged complete, 2/23/2017. GDoc has been moved to Queta's folder for future review.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
oil paint
canvas
Historical periods
1948
Individuals
Clement Greenberg
Subject terms
oval
text
inscription
green
blue
black
brown
red
modeling (shade)
flat
geometric abstraction
linear
synthetic cubism
RELATED OBJECTS
PROVENANCE
Until at least 1965: The Downtown Gallery, New York, NY, purchased from the artist
Until 2008: Raymond and Patsy Nasher Collection, Dallas, TX
2008: David T. Owsley, New York, NY purchased from the above through Sotheby's New York, Sale N08488, May 9, 2008, lot 78 (ill p.108)
From 2008: Dallas Museum of Art, gift from the above
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2008.37
source file
object_notes_1_b-0154.xml.nores