Modernism in Texas: Two Exhibitions

Modernism In Texas:

Robert Lockard, Untitled (Cubist Trees), 1939

Two Exhibitions

William Reaves Fine Art February 10 - March 10, 2012

Modernism on the High Plains: Featuring the Rediscovered work of Robert and Troy Allen Lockard

At the center of the South Plains and also a crossroads for centuries, Lubbock, Texas, has been called the “Hub City.” Since about 12,000 years before present, semi-nomadic Paleo-Indians inhabited a site just north of the city. Nearby Yellowhouse Canyon and Las Lenguas Creek were favored places for Comancheros, traders from northern New Mexico Territory from the 18th through the late 19th centuries.

Southern Plains Indians also established trails from Kansas and Oklahoma through the present location of Lubbock into Mexico. After the arrival of the first railroads in 1909, the movement of “goods and services” as well as intercultural interplay continued through Lubbock as it had for thousands of years after the town was founded in 1890 and incorporated in 1909.

21. Robert Ivan Lockard, Untitled [Landscape Variation 3]

Lubbock High School formed its first art classes in 1915. When Texas Technological College opened in 1925, it offered drawing courses through the school of engineering. Two years later a school of applied arts was organized by Marie Delleney (1902-1967). Later an instructor at the Texas State College for Women (now Texas Woman’s University) from 1929 to 1964, Delleney studied at TSCW and Columbia. A member of the “Texas Printmakers,” Delleney exhibited in the Texas Centennial Exposition and the 1939 World’s Fair. She was the leader of a cadre of artists at Denton which began its ascendancy as an arts center during the late 1930s and early 1940s, particularly at North Texas State College and TSCW. In many ways, Denton became a hotbed for artistic dialogue, largely due to the powerful personas and work of female artists such as Delleney, Coreen Mary Spellman, Edith Brisac, Toni LaSelle, Carlotta Corpron, and Thetis Lemmon. These artists maintained strong ties to the Modernist art colony at Provincetown, Massachusetts, and these tenets made their way to Lubbock via the connections Delleney maintained there.

Texas Tech College’s engineering department expanded its offerings to include design, life drawing, watercolor, and art history, taught by Alexander Watson Mack (1894-1988), and others in 1927. Born in Scotland, Mack studied at the Edinburgh College of Art and in other European cities before coming to the United States in 1926.

In 1928, Florian A. Kleinschmidt (1897-1976), a graduate in architecture of the University of Minnesota and Harvard, was appointed head of the newly created Department of Architectural Engineering at Texas Technological College. Kleinschmidt also headed the Texas Technological College Art Museum in 1935 which offered children’s classes under Floy Hooper. In 1937, the museum became the Texas Technological College Art Institute. Tech did not found a Department of Art until 1967.

Lubbock also maintained strong ties with the art colonies at Santa Fe and Taos, New Mexico, as well as the fledgling art department at the University of New Mexico.

Into this rich environment, this crossroads of cultures and cultural pursuits came “Troy” Allen (19091990) and Robert Ivan Lockard (1905-1974). Born Helen Gwendolyn Allen at San Diego, California, Allen moved with her family to Montana then settled at Wichita Falls, Texas. After finishing high school at Wichita Falls, her family then moved to Miami, Florida but Allen returned to Texas to study at the Texas State College for Women (now Texas Woman’s University). She received a degree in costume and interior design from TSCW in 1932, and then worked in advertising for Burdine’s in Miami and Neiman-Marcus in Dallas.

She may have adopted the nickname “Troy” during this time. Allen began teaching applied art and interior design at Texas Tech College in 1937, and then returned to TSCW to earn a master’s degree in interior design. She married artist Robert Lockard in 1940.

Born at Norton, in northwestern Kansas, Robert Ivan Lockard studied architecture at Kansas State Agricultural College (now Kansas State University), graduating with bachelor’s and master’s degrees in 1930 and 1932, respectively. After first working as assistant to the director at the newly-opened Nelson Gallery and Atkins Museum of Art in Kansas City, Missouri, he worked as a draftsman and designer for the United States Department of the Interior at Jefferson City, Missouri. Texas Technological College hired Lockard as an instructor in architecture and allied arts for its Department of Architecture in 1935. He remained at Texas Tech for the remainder of his career. At Kansas State, Lockard studied with John Helm Jr. (1900-1972). Specializing in watercolors of the Kansas landscape, Helm’s activities in terms of the arts in Kansas almost certainly instilled in Lockard an appreciation for local surroundings and subjects in his paintings. Moreover, Helms echoed an aesthetic sweeping across the country in the arts in the 1920s and urged by writers such as Van Wyck Brooks, John Dewey, and George Santayana, in The Dial magazine.

Brooks urged American artists to draw on America’s “communal experience” as a “usable past” and to create works reflective of their own communities in his 1918 Dial article.1 John Dewey extended Brooks’ views, writing in 1920 that American artists should base their art on “just local, just human, just at home, just where [we] live” themes which could be used as a forum for the expression of universal values.2 George Santayana echoed Brooks and Dewey writing in 1922 that art could be found in “everything--clothes, speech, manners, government,” not in museums, which he called mausoleums. Furthermore, he believed that America’s regional diversity and different backgrounds were its artistic strengths.3 Into Lubbock, Texas, Lockard carried these philosophies.

Lockard’s watercolors, such as Untitled [Landscape Variation 3] (Cat. No. 21), echo Helms’ point of view that the regional landscape had universal value.

41. Troy Allen Lockard, Chinaberry Tree

Allen carried a different yet related tune to the South Plains, one espoused by her instructors at TSCW and others in Denton. For

example, Carlotta Corpron (1901-1988) came to Texas in 1935 to teach at TSCW and was “one of the first artists in Texas to adopt the program of ‘The New Bauhaus.”4 Working in photography through her design studies, she moved into abstract photography due to the influence of Lazlo Moholy-Nagy, who conducted summer workshops at TSCW in 1942 and 1943.

Hungarian Gyorgy Kepes, who began teaching at North Texas State in 1944, encouraged Corpron’s experimentations.

Houston art historian Alison de Lima Greene believes Dorothy Antoinette (Toni) LaSelle was even more remarkable as “in the 1930s she was the only artist working in Texas committed to nonobjective abstraction.” LaSelle came to TSCW in 1928 from the University of Chicago. She later studied further with Moholy-Nagy in Chicago (and helped bring him to Denton) and with Hans Hofmann at Provincetown. 40. Troy Allen Lockard, Untitled [Tile Roof, Stucco, and Spreading Trees]

Provincetown proved to be attractive to several Denton artists including and especially Marie Delleney and Edith Brisac. My own research indicates that most female art professors in Texas, and across the United States for that matter, spent virtually all their free time away from their respective schools enrolled in art classes somewhere, usually by avant garde instructors. Art colonies in particular seemed especially attractive to these artists, including Taos and Santa Fe, New Mexico; Santa Barbara, California; Provincetown and Gloucester, Massachusetts; Old Lyme, Connecticut; and Woodstock, New York.

Provincetown influences found their way very clearly into Troy Allen’s watercolors, such as Chinaberry Tree (Cat. No. 41) and Untitled [Tile Roof, Stucco, and Spreading Trees] (Cat. No. 40). Moreover, the powerful figures of Corpron and LaSelle affected Allen profoundly.

As a native Kansan, Lockard would have been unable to avoid the paintings of Birger Sandzen, easily the best-known Kansas artist before John Steuart Curry was anointed one of the “holy triumvirate” of Midwestern “American Scene” painters (along with Grant Wood and Thomas Hart Benton). From 1894 to 1946, Sandzen (1871-1954) taught at Bethany College at Lindsborg, Kansas. His landscapes of western Kansas, Colorado, New Mexico, and Utah, rendered in heavy impasto, stylized forms, and Fauve-like colors took American art by storm during the 1920s and 1930s. We see some of Sandzen’s influence in many of the landform paintings of Robert Lockard.

The anthropomorphic forms in Lockard’s oils also find antecedents in the work of artist Raymond Jonson (1891-1982), long-time art professor at the University of New Mexico. Jonson’s “Earth Rhythms” series in the mid-1930s received a great deal of attention. Moreover, Lockard and Allen’s travels to New Mexico would have allowed them to see the work of Jonson and other New Mexico artists.

Also at the University of New Mexico, Howard Schleeter (1903-1976) in the 1950s espoused Modernist landscape paintings. One of Lockard and Allen’s closest friends and colleagues on the Texas

Tech faculty, Clarence Kincaid Jr. (1927-1983), studied with Schleeter and brought his teachings to Lubbock.

Lockard’s Untitled [Cubist Trees] (Cat. No. 18) is consistent with Schleeter’s teachings at UNM as well as in Schleeter’s own work.

Born in Oklahoma City, Kincaid grew up watching his father paint and spent summers in Taos with his family. He studied at West Texas State College with Isabel Robinson and Emilio Caballero in the late 1940s.

Kincaid taught at WTSC in 1957 and 1958 then at Texas Tech University from 1960 to 1982. While at Texas Tech, Kincaid founded a field school at Taos, New Mexico and specialized in watercolor paintings.

In Taos, Lockard and Allen found a Modernist school in full swing by 1935. John Marin had visited at the request of Georgia O’Keeffe in 1929 and 1930. Marin’s unique architectonic approaches to interpreting the Taos landscape affected painting in the Southwest for the next 50 years. A direct influence found its way into the paintings of Taos Society of Artists member Victor Higgins (1884-1949) with whom Marin may have painted in Taos. Robert Lockard’s watercolors with a painted internal frame-within-a-frame – such as Untitled [Landscape Variation 1] (Cat. No. 14) and Untitled [Landscape Variation 4] (Cat. No. 20) – owe their allegiance to Marin.

Modernism proponent Alfred Stieglitz exhibited Marin’s watercolors, first at his 291 Gallery and later at his Intimate Gallery and An American Place, all in New York. Other members of the Stieglitz circle with whom Robert Lockard shared an interest in architecture were Charles Demuth (1883-1935) and Charles Scheeler (1883-1965). Demuth’s 1927 painting, My Egypt, an interpretation of grain elevators at Lancaster, Pennsylvania, and Scheeler’s Classic Landscape (1931), celebrated the building boom in the United States in the first decades of the twentieth century. Both paintings became famous for hailing American invention, modern technology, and its expanding wealth, exactly when Lockard was studying to be an architect. Surrounded by grain elevators in Lubbock, Lockard would have been unable to avoid seeing references to My Egypt and Classic Landscape everywhere. As a trained architect and a painter, the work of other Precisionists would likely have held special regard for Lockard. Thus, his Untitled [Grain Conveyor] (Cat. No. 30) is just one example of a larger number of paintings of grain elevators, cotton gins, and other factory/industrial buildings in his oeuvre.

On Marin’s heels came French-born Andrew Dasburg (1887-1979). First invited to Taos in 1918 by Mabel Dodge Luhan, Dasburg settled there in 1930. His Cubist-inspired, Cezanne-filtered landscapes of the Taos Valley left a lasting impression on the “Moderns” in Taos.

Not the least among this group was John Ward Lockwood (1894-1963). Dasburg was celebrated in Lubbock and Lockard was clearly impacted by this in his own watercolors with a nod to Cubism: Abstraction #8 (Cat. No. 26) and Untitled [Trees in Park] (Cat. No.27).

20. Robert Ivan Lockard, Untitled [Landscape Variation 4]

Yet another native Kansan (born at Atchison), Lockwood studied at the University of Kansas, the Pennsylvania Academy of the Fine Arts, and in Paris. While at the Pennsylvania Academy his instructors introduced him to the landscapes of Paul Cezanne. His fellow

Kansan, Topeka-born Kenneth Adams (1897-1966), invited Lockwood to Taos in 1926 where he lived until 1938. Invited to create an art department for the University of Texas in1938, Lockwood taught there until World War II. He later taught at the University of California at Berkeley from 1948 to 1961, and then returned to Taos in 1962. Both Marin and Dasburg influenced Lockwood’s simplified, bold landscapes and townscapes rendered with short brushstrokes and characterized by highly contrasting colors and acutely angled elements.

Robert Lockard’s several watercolors of (probably) Palo Duro Canyon, remind us of Ward Lockwood’s paintings of horses below Taos Mountain. Lockard’s #43 [Canyon Scene with Wild Horses] (Cat. No. 22), Untitled [Canyon with Cattle #1] (Cat. No. 23), and Untitled [Canyon with Cattle #2] (Cat. No. 24), may pay homage to his fellow Kansan’s work, but perhaps in a larger sense, display Lockard’s grasp of new strategies to interpret the West Texas landscape.

30. Robert Ivan Lockard, Untitled [Grain Conveyor]

At Santa Fe, Allen and Lockard likely found kindred spirits members of Los Cinco Pintores (The Five Painters), a group founded in 1921 that espoused Modernist tenets. Five younger Santa Fe artists, Jozef Bakos, Fremont Ellis, Walter Mruk, Willard Nash, and Will Shuster formed Los Cinco Pintores, which exhibited in Santa Fe, Los Angeles, El Paso, and in the Midwest before disbanding in 1926. Still, Bakos, Ellis, and Shuster remained prominent in Santa Fe art happenings well into the 1940s when Lockard and Allen visited.

An under-researched and under-published part of the Santa Fe art colony is the important contribution of women artists, who had been integral to the colony since 1914. Women artists in Santa Fe were often far more willing to take risks than their male counterparts. Experimentation became de rigueur for these artists and, ironically, several of them were taken more seriously in their own time than they are in our own “enlightened” time today. In particular, and with direct relationships with the work of Allen and Lockard was the work of Dorothy Morang (1906-1995), Gina Knee (1898-1982), and Polia Pillin (1909-1982). For example, a pupil of Raymond Jonson and Emil Bisttram, Morang was one of New Mexico’s most progressive artists, and was one of the first Santa Fe artists to experiment with non-figurative painting as early as 1937.

Lockard’s #20 (Cat. No. 10) and #23 Abstractions (Cat. No. 5) are clearly aligned with tenets celebrated and 23. Robert Ivan Lockard, Untitled [Canyon with Cattle #1] recognized in Knee’s work, while his #23 Abstraction [Abstraction with Pink Sky] (Cat. No. 13) shows how early he was bumping up against non-representational painting he may have first seen in the flesh in Dorothy Morang’s work in Santa Fe. Moreover, although only in Santa Fe a fairly short time in the 1930s,

Pillin’s work left a unique mark, particularly in its sensitive, almost ethereal application of watercolor in rendering the New Mexico landscape. Lockard’s #7 Abstraction (Cat. No. 7) resonates with these same qualities.

In addition to the influences they brought with them to Lubbock as well as those they experienced in New Mexico, Allen and Lockard stayed abreast of art movements around the world through international art periodicals. Andre Breton’s Surrealist Minotaure, published between 1933 and 1939; the art and literary journal Cahiers d’Art published from 1926 to 1960; and Verve which documented Modern art in France from 1937 to 1960; were all part of their library. Verve in particular forced “outside-the-box” thinking. Reproducing paintings by Braque, Picasso, Matisse, Kandinsky, Miro, Giacometti, Leger, and Masson, (sometimes on the covers), juxtaposed with reproductions of medieval manuscript illuminations and vintage Japanese photographs, and essays by Andre Gide, Albert Camus, and James Joyce.

The Texas Centennial Exposition at Dallas in 7. Robert Ivan Lockard, #7 Abstraction 1936 was the high-water mark for Texas art during the twentieth century and was one of the most significant cultural events in the United States.5 Allen and Lockard both exhibited at the Texas Centennial Exposition at Dallas in 1936. This was no mean feat. The Exposition included art exhibitions at the newly opened – and air conditioned – Dallas Museum of Fine Arts. These exhibitions were so impressive that the national arts magazine, Art Digest, dedicated nearly its entire June 1936 issue to the exhibitions. Over six hundred works of art comprised the general exhibition. An entire section devoted to Texas art – perhaps the greatest exhibition of contemporary Texas art ever assembled – completed the art exhibitions. James Chillman, director of the Museum of Fine Arts, Houston; Ellsworth Woodward, president of the Southern States Art League; and Dallas painter Alexandre Hogue, selected 164 works by the most important artists working in Texas at that time. Allen and Lockard were among them.

Armed with their own experiences and education and cross-pollinated from numerous sources, in many respects Troy Allen and Robert Lockard brought Modernism to the South Plains through their paintings and their teachings. Very much in the tradition of the “Hub City” they continued to nurture that tradition so as to keep it relevant even in what most consider(ed) a cultural wasteland. They carried the Modernist water on the South Plains for nearly fifty years. Without their cultivation, art in Lubbock, Texas, would have withered like cotton plants during a drought.

Moreover, during the 1930s and 1940s, with the exception of some of the female artists in Denton, virtually no other artists in Texas were experimenting with Modernist interpretations of the Southwest as were Allen and Lockard. Their contribution to early Texas art is, consequently, unique. Sadly, while their work was – and is – powerful and pioneering, their respective teaching loads and familial responsibilities precluded a more extensive exhibition record for both. Fortunately, William Reaves Fine Art’s reputation

for excavating Modernists from Texas art’s buried past attempts to right this wrong through the current exhibition. Finally, Troy Allen and Robert Lockard will enjoy a long overdue place in the sun and – hopefully – their paintings will find revered places on the walls of private homes and museum galleries.

Michael R. Grauer, Associate Director of Curatorial Affairs / Curator of Art Panhandle – Plains Historical Museum in Canyon, Texas

(Endnotes) 1 Van Wyck Brooks, “On Creating a Usable Past,” Dial 64 (11 April 1918): 337-41.

2 John Dewey, “Americanism and Localism,” Dial 68 (June 1920): 684-688.

3 George Santayana, “Marginal Notes,” Dial 72 (June 1922): 553-569.

4 Alison de Lima Greene, Texas: 150 Works from the Museum of Fine Arts, Houston (Houston: Museum of Fine Arts, Houston, 2000):124. The New Bauhaus, established in Chicago in 1937, was the immediate successor to the German Bauhaus, dissolved under pressure from the National Socialists (Nazi Party) in 1933.

5 Both Fort Worth and Austin held art exhibitions including Texas artists. However, the former was mainly focused on Western art. Texas artists included H. D. Bugbee, Edward G. Eisenlohr, Clinton King, J. M. “Tex” Moore, Elisabet Ney (posthumously), and Hughlette “Tex” Wheeler. The University Centennial Exposition occurred in two parts with 28 artists in the first and 33 in the second. See Paula L. Grauer and Michael R. Grauer, Dictionary of Texas Artists, 1800-1945 (College Station: Texas A & M University Press, 1999): 225.

Artist Bio: Robert Lockard Selected Biographical and Career Highlights • 1905, Born in Norton, Kansas • Baccalaureate and master’s degrees in architecture, Kansas State College,

Manhattan, Kansas • 1931-32, Instructor at Kansas State College • 1933-34, Assistant to Director of the nelson Gallery and Atkins Museum of Art,

Kansas City, Missouri • 1935-73, Instructor, Texas Technological College, Lubbock • Assists in design of the Museum of Texas Tech • 1948, Produces (with Troy Allen Lockard) instructional film, Brush Tips in Watercolor –

A Landscape Developed • 1974, Dies in Lubbock Selected Exhibitions • 1932, award, Annual Mid-Western Artists Exhibition, Kansas City (Missouri) Art Institute • 1933-36, Annual Exhibition of the Society of Independent Artists, New York • 1935, one-man, Texas Technological College, Lubbock • 1936, Texas Centennial Exposition, Dallas • 1938, with Troy Allen Lockard, Texas Technological College Art Institute, Lubbock

Artist Bio: Troy Allen Lockard Selected Biographical and Career Highlights • 1909, Born in San Diego, California • Bachelor of Science and Master of Arts, Texas State College for Women, Denton • 1937-75, Instructor, Texas Technological College, Lubbock • 1948, Produces (with Robert Lockard) instructional film, Brush Tips in Watercolor –

A Landscape Developed • 1990, Dies in Lubbock Selected Exhibitions • 1938, with Robert Lockard, Texas Technological College Art Institute, Lubbock

Modernism on the High Plains: Featuring the Rediscovered work of Robert and Troy Allen Lockard

Exhibition checklist Artist 1. Robert Lockard 2. Robert Lockard 3. Robert Lockard 4. Robert Lockard 5. Robert Lockard 6. Robert Lockard 7. Robert Lockard 8. Robert Lockard 9. Robert Lockard 10. Robert Lockard 11. Robert Lockard

12. Robert Lockard

13. Robert Lockard

14. Robert Lockard 15. Robert Lockard 16. Robert Lockard 17. Robert Lockard 18. Robert Lockard 19. Robert Lockard 20. Robert Lockard 21. Robert Lockard 22. Robert Lockard 23. Robert Lockard 24. Robert Lockard

Title

#1 Abstraction (Pink Mountainscape) #3 Abstraction (Geometric Landscape) Untitled (Star Wars)

#6 Abstraction (Window Study)

#23 Abstraction

Untitled (Abstract)

#7 Abstraction

#11 Abstraction (Bird and Leaf)

#14 Abstraction

#20 Abstraction

#23B Abstraction (Abstraction with Blue Shapes) #13 Abstraction (Landscape with

Pink Rocks) #23 Abstraction (Abstraction with Pink Sky) Untitled (Landscape Variation 1)

Untitled (Landscape with Blue Cactus) Untitled (Landscape with Dead Trees) Untitled (Landscape with Yellow Peak) Untitled (Cubist Trees)

Untitled (Landscape Variation 2)

Untitled (Landscape Variation 4)

Untitled (Landscape Variation 3)

#43 (Canyon Scene with Wild Horses) Untitled (Canyon with Cattle #1)

Untitled (Canyon with Cattle #2)

Date

Medium

Size (Inches)

n/d watercolor 20 1/4 x27 1/4 1954 watercolor 15x22 1/4 n/d watercolor 14 3/4 x15 n/d watercolor 20x15 n/d watercolor 10x14 1916 tempera/board 22 1/2x18 1940 watercolor 15 1/2 x22 1/4 n/d watercolor 15x22 1/2 1940 watercolor 8 3/4 x12 1940 watercolor 8 3/4 x12 1940 watercolor 8 3/4 x12 1940 watercolor 8 3/4 x12 1940 watercolor 12x8 3/4 1939 watercolor 11 1/4x15 1/2 n/d oil/board 16x20 n/d watercolor 15 1/4 x22 3/4 1940 watercolor 23x29 1/4 1939 watercolor 15 1/4 x11 1/4 n/d watercolor 11 1/4 x15 1/2 1939 watercolor 15 1/2 x22 3/4 n/d watercolor 12x18 n/d watercolor 9x11 3/4 n/d watercolor 15x20 n/d watercolor 14 3/4 x20

Artist

Title

25. Robert Lockard Untitled (Bridge)

26. Robert Lockard Abstraction #8

27. Robert Lockard Untitled (Trees in Park)

28. Robert Lockard WM Shed, Colorado

29. Robert Lockard Untitled (White House with Blue Road) 30. Robert Lockard Untitled (Grain Conveyor)

31. Robert Lockard D Street

32. Robert Lockard Abstraction #24

33. Robert Lockard Untitled (Standing Nude)

34. Troy Allen Lockard Untitled (Sculptural Head)

35. Troy Allen Lockard Untitled (Still Life with Plaster Head) 36. Troy Allen Lockard Untitled (Still Life with Mandolin) 37. Troy Allen Lockard Still Life II (Pitcher and Blanket)

38. Troy Allen Lockard McKinney Street, Dallas

39. Troy Allen Lockard Semi-Abstraction

40. Troy Allen Lockard Untitled (Tile Roof, Stucco, and

Spreading Trees) 41. Troy Allen Lockard Chinaberry Tree

42. Troy Allen Lockard Untitled (Oak Leaves)

43. Troy Allen Lockard Untitled (Leaf Forms)

44. Troy Allen Lockard Untiled (Bird and Leaf Forms)

Date

Medium

Size (Inches)

n/d watercolor 14x20 n/d watercolor 15 1/4 x23 n/d watercolor 15x20 1939 watercolor 14 3/4 x22 1/4 1940 watercolor 9x12 n/d watercolor 22 3/4 x28 1/2 n/d watercolor 14x20 n/d watercolor 10x14 1936 conte/paper 14x10 n/d conte/paper 11x8 1/2 1936 watercolor 22 3/4 x15 1/2 1936 watercolor 22 3/4 x15 1/2 1938 watercolor 12x9 1/2 1939 watercolor 15 1/4 x11 1/2 1937 watercolor 15 1/4 x22 1/4 1937 watercolor 15 1/4 x22 3/4 1937 watercolor 23x15 1/2 n/d color pencil/ 9 1/2 x12 1/2

paper n/d watercolor 22x30 n/d watercolor 20x26 1/4

1. Robert Lockard #1 Abstraction (Pink Mountainscape), n/d watercolor 20 1/4 x27 1/4 in.

2. Robert Lockard #3 Abstraction (Geometric Landscape), 1954 watercolor 15x22 1/4 in.

3. Robert Lockard Untitled (Star Wars), n/d watercolor 14 3/4 x15 in.

4. Robert Lockard #6 Abstraction (Window Study), n/d watercolor 20x15 in.

5. Robert Lockard #23 Abstraction, n/d watercolor 10x14 in.

6. Robert Lockard Untitled (Abstract), 1916 tempera/board 22 1/4 x18 in.

7. Robert Lockard #7 Abstraction, 1940 watercolor 15 1/2 x 22 1/4 in.

8. Robert Lockard #11 Abstraction (Bird and Leaf), n/d watercolor 15 x22 1/2 in.

9. Robert Lockard #14 Abstraction, 1940 watercolor 8 3/4 x12 in.

10. Robert Lockard #20 Abstraction, 1940 watercolor 8 3/4 x12 in.

11. Robert Lockard #23B Abstraction (Abstraction with Blue Shapes), 1940 watercolor 8 3/4 x12 in.

12. Robert Lockard #13 Abstraction (Landscape with Pink Rocks), 1940 watercolor 8 3/4 x12 in.

13. Robert Lockard #23 Abstraction (Abstraction with Pink Sky), 1940 watercolor 12x8 3/4 in.

14. Robert Lockard Untitled (Landscape Variation 1), 1939 watercolor 11 1/4 x15 1/2 in.

15. Robert Lockard Untitled (Landscape with Blue Cactus), n/d oil/board 16x20 in.

16. Robert Lockard Untitled (Landscape with Dead Trees), n/d watercolor 15 1/4 x22 3/4 in.

17. Robert Lockard Untitled (Landscape with Yellow Peak), 1940 watercolor 23x29 1/4 in.

18. Robert Lockard Untitled (Cubist Trees), 1939 watercolor 15 1/4 x11 1/4 in.

19. Robert Lockard Untitled (Landscape Variation 2), n/d watercolor 11 1/4 x15 1/2 in.

20. Robert Lockard Untitled (Landscape Variation 4), 1939 watercolor 15 1/2 x22 3/4 in.

21. Robert Lockard Untitled (Landscape Variation 3), n/d watercolor 12x18 in.

22. Robert Lockard #43 (Canyon Scene with Wild Horses), n/d watercolor 9x11 3/4 in.

23. Robert Lockard Untitled (Canyon with Cattle #1), n/d watercolor 15x20 in.

24. Robert Lockard Untitled (Canyon with Cattle #2), n/d watercolor 14 3/4 x20 in.

25. Robert Lockard Untitled (Bridge), n/d watercolor 14x20 in.

26. Robert Lockard Abstraction #8, n/d watercolor 15 1/4 x23 in.

27. Robert Lockard Untitled (Trees in Park), n/d watercolor 15x20 in.

28. Robert Lockard WM Shed, Colorado, 1939 watercolor 14 3/4 x22 1/4 in.

29. Robert Lockard Untitled (White House with Blue Road), 1940 watercolor 9 x12 in.

30. Robert Lockard Untitled (Grain Conveyor), n/d watercolor 22 3/4 x28 1/2 in.

31. Robert Lockard D Street, n/d watercolor 14x20 in.

32. Robert Lockard Abstraction #24, n/d watercolor 10x14 in.

33. Robert Lockard Untitled (Standing Nude), 1936 conte/paper 14x10 in.

34. Troy Allen Lockard Untitled (Sculptural Head), n/d conte/paper 11x8 1/2 in.

35. Troy Allen Lockard Untitled (Still Life with Plaster Head), 1936 watercolor 22 3/4 x15 1/2 in.

36. Troy Allen Lockard Untitled (Still Life with Mandolin), 1936 watercolor 22 3/4 x15 1/2 in.

37. Troy Allen Lockard Still Life II (Pitcher and Blanket), 1938 watercolor 12x9 1/2 in.

38. Troy Allen Lockard McKinney Street, Dallas, 1938 watercolor 15 1/4 x11 1/2 in.

39. Troy Allen Lockard Semi-Abstraction, 1937 watercolor 15 1/4 x22 1/4 in.

40. Troy Allen Lockard Untitled (Tile Roof, Stucco, and Spreading Trees), 1937 watercolor 15 1/4 x22 3/4 in.

41. Troy Allen Lockard Chinaberry Tree, 1937 watercolor 23 x15 1/2 in.

42. Troy Allen Lockard Untitled (Oak Leaves), n/d color pencil/paper 9 1/2 x12 1/2 in.

43. Troy Allen Lockard Untitled (Leaf Forms), n/d watercolor 22x30 in.

44. Troy Allen Lockard Untitled (Bird and Leaf Forms), n/d watercolor 20x26 1/4 in.

...and

A survey of Texas Modernists

Exhibition checklist Artist 1. David Adickes

2. David Adickes

3. Herb Mears

4. Herb Mears

5. Herb Mears

6. Henri Gadbois

7. Bill Condon

8. Bill Condon

9. Chester Snowden 10. Chester Snowden 11. Don Edelman

12. Kermit Oliver

13. Robert Morris

14. Robert Morris

15. Robert Morris

16. Frank Freed

17. Lucas Johnson 18. David Brownlow

Title

Date

Bullfighter in Blue

c.1965 Untitled (Green Still Life) 1950 Untitled (Gray Still Life n/d with Carrots) City Scape with

n/d Boats - Galveston Still Life - Bottles

n/d Untitled

1952 Taxco, Mexico

1964 Zocolo, Taxco

n/d Untitled (Giraffe)

n/d Untitled (Harlequin) 1951 MFA Student’s Basement 1951 Apartment, Champaign-Urbana Homage to Faust

1968 Hangers On IV

1974 (Upside Down People) Hangers On III

1974 (Jet Plane with Helicopter) Hangers On II

c.1974 Untitled (Building with n/d Three Archways) Untitled

1970-80 Proud Fisherman

1953

Medium

Size (Inches)

oil/canvas

gouache/paper oil/board

20x16 9x11 20x24

oil/board

48x37

oil/board oil/canvas mixed media mixed media oil/canvas oil/board oil/canvas

14x17 36x18 13 1/2 x11 13 1/2 x11 22x18 16x12 48x34

oil/canvas

acrylic/board

40x40 7 1/2 x10

acrylic/board

12x9

acrylic/board oil/canvas

8x10 18x14

oil/canvas oil/board

92x47 74x26

Artist 19. Jack Boynton

20. Bill Reily

21. Robert Rogan

22. Constance Forsyth 23. Veronica Helfensteller 24. Richard Stout

25. Richard Stout

26. McKie Trotter

27. McKie Trotter

28. William Lester

29. Paul Maxwell

30. Seymour Fogel 31. Ben Culwell

32. Otis Huband

33. Lamar Briggs

34. Leila McConnell 35. Charles Schorre 36. Hiram Williams 37. Donald Weismann 38. Dorothy Hood

Title Untitled Drawing 2 Harlequin

Tropical Interior

Cloudy Landscape

Earthquake

Coming Home

Flower of Unending Darkness Mesa

Two Tumbleweeds with No Moon Canyon South of Alpine Twilight

Untitled

Untitled (Adrenaline Hour Series) 404 Granite Ave.

Ibiza-Windsong, XXXI Yellow Sun Over Water Sand Signal

West Texas Highway Boyhood Place

Dark Departure

Date

Medium

Size (Inches)

1959 n/d 1965 1961 c.1948 1967

1961

graphite 8 3/4 x6 oil/board 30x26 oil/canvas 34x27 litho crayon 17x22 watercolor 11x9 1/2 mixed media 24x30 collage/canvas oil/canvas 24x24

1957-58 c.1958

oil/canvas oil/board

1957 1957 c.1950s c.1942

oil/board 24x30 tempera/board 24x60 casein/board 20x15 mixed media 9x12

1989 1981 c.1975 1980 1959 n/d 1965

oil/canvas 56 1/4 x48 1/4 acrylic/canvas 60x84 oil/canvas 48x36 mixed media 48x72 oil/canvas 24x30 oil/wood 12x16 pen/ink 20x26

20x28 32x48

1. David Adickes Bullfighter in Blue, c.1965 oil/canvas 20x16 in.

2. David Adickes Untitled (Green Still Life), 1950 gouache/paper 9x11 in.

3. Herb Mears Untitled (Gray Still Life with Carrots), n/d oil/board 20x24 in.

4. Herb Mears City Scape with Boats - Galveston, n/d oil/board 48x37in.

5. Herb Mears Still Life - Bottles, n/d oil/board 14x17 in.

6. Henri Gadbois Untitled, 1952 oil/canvas 36x18 in.

7. Bill Condon Taxco, Mexico, 1964 mixed media 13 1/2 x11 in.

8. Bill Condon Zocolo, Taxco, n/d mixed media 13 1/2 x11 in.

9. Chester Snowden Untitled (Giraffe), n/d oil/canvas 22x18 in.

10. Chester Snowden Untitled (Harlequin) , 1951 oil/board 16x12 in.

11. Don Edelman MFA Student’s Basement Apartment, Champaign-Urbana, 1951 oil/canvas 48x34 in.

12. Kermit Oliver Homage to Faust, 1968 oil/canvas 40x40 in.

13. Robert Morris Hangers On IV (Upside Down People), 1974 acrylic/board 7 1/2 x10 in.

14. Robert Morris Hangers on III (Jet Plane with Helicopter), 1974 acrylic/board 12x9 in.

15. Robert Morris Hangers on II, c.1974 acrylic/board 8x10 in.

17. Lucas Johnson Untitled, 1970-80 oil/canvas 92x47 in.

16. Frank Freed Untitled (Building with Three Archways), n/d oil/canvas 18x14 in.

19. Jack Boynton Untitled Drawing 2, 1959 graphite 8 3/4 x6 in.

18. David Brownlow Proud Fisherman, 1953 oil/board 74x26 in.

20. Bill Reily Harlequin, n/d oil/board 30x26 in.

21. Robert Rogan Tropical Interior, 1965 oil/canvas 34x27 in.

22. Constance Forsyth Cloudy Landscape, 1961 litho crayon 17x22 in.

23. Veronica Helfensteller Earthquake, c.1948 watercolor 11x9 1/2 in.

24. Richard Stout Coming Home, 1967 mixed media collage/canvas 24x30 in.

25. Richard Stout Flower of Unending Darkness, 1961 oil/canvas 24x24 in.

26. McKie Trotter Mesa, 1957-58 oil/canvas 20x28 in.

27. McKie Trotter Two Tumbleweeds with No Moon, c.1958 oil/board 32x48 in.

28. William Lester Canyon South of Alpine, 1957 oil/board 24x30 in.

29. Paul Maxwell Twilight, 1957 tempera/board 24x60 in.

30. Seymour Fogel Untitled, c.1950s casein/board 20x15 in.

31. Ben Culwell Untitled (Adrenaline Hour Series), c.1942 mixed media 9x12 in.

32. Otis Huband 404 Granite Ave., 1989 oil/canvas 56 1/4 x48 1/4 in.

33. Lamar Briggs Ibiza-Windsong, XXXI, 1981 acrylic/canvas 60x84 in.

34. Leila McConnell Yellow Sun Over Water, c.1975 oil/canvas 48x36 in.

35. Charles Schorre Sand Signal, 1980 mixed media 48x72 in.

36. Hiram Williams West Texas Highway, 1959 oil/canvas 24x30 in.

37. Donald Weismann Boyhood Place, n/d oil/wood 12x16 in.

38. Dorothy Hood Dark Departure, 1965 pen/ink 20x26 in.