MORANG AND FRIENDS: The Violin

Alfred Morang's Violin will appear in the Morang and Friends exhibition- Matthews Gallery Blog

When Alfred Morang was a teenager he took to the nightclubs of Boston with his trusty violin. He had been a sickly child, bedridden and unable to attend school, but his mother and uncle recognized his fiery creativity and hired private music and painting tutors. Morang grew from a talented tot to a full-fledged young Renaissance Man, and his passionate musical performances earned him enough money to thrive. It was the beginning of a lifelong artistic journey.

A century later, Morang’s fiddle launched yet another adventure. Santa Fe art collector Paul Parker was researching Morang’s life when he came upon a letter by the artist’s longtime wife Dorothy. After Morang’s tragic death in a studio fire, Dorothy was having a hard time finding an heir to his worldly possessions. She’d finally contacted a distant relative, and was arranging the shipment of a few things collected from the ruins of Morang’s Canyon Road casita.

Santa Fe Artist Alfred Morang Playing the Violin- Matthews Gallery BlogAlfred Morang playing his violin

The letter was Parker’s first clue in a treasure hunt that spanned the nation and stretched to the farthest branches of the Morang family tree. At the end of the trail was a treasure trove that connected the dots of Morang’s life, from his early years as a celebrated musician and writer to his time as an iconic Santa Fe artist. Morang’s well-worn violin, blackened by the fire, is perhaps Parker’s most striking find. It will appear alongside Morang’s artwork in our December 12-26 exhibition MORANG AND FRIENDS.

We interviewed Parker about his search for the fascinating artifacts that will anchor our exhibition to this legendary Santa Fe master:

Paul Parker Inspects a Painting by Alfred Morang- Matthews Gallery Blog Paul Parker inspecting a painting by Alfred Morang

 

 How did you first get interested in Alfred Morang?

I came to Santa Fe in the 1990’s, and met Jim Parsons in Taos not long after. He had a little booth with a rack of prints and drawings and things, and he had a pile of books called The Art Fever. We hit it off and just talked and talked, and I bought a copy of his book. I took it home and read it, and realized who I was talking to.

There was a time when Jim Parsons was the most powerful person in the Western art business. Back in the day, he had a little art gallery in his Denver apartment. He convinced Philip Anschutz to start a Western art collection, which is now the largest and most prestigious collection of Western art in private hands in the world.

Jim was a giant Morang fan, and he showed me his work. I became instantly fascinated with Morang’s story. I had seen his paintings in El Farol but didn’t know anything about him until Jim told me.

Tell me about Morang’s childhood.

He was born in a little town called Ellsworth, Maine. There’s still a Morang Chevrolet in Ellsworth that his father owned with another partner. He and his mother had a very close relationship.

Even as a child, Morang was something of a polymath.

 Yes, he learned from Carrol S. Tyson and other American Impressionists. He was also the youngest-ever solo violinist to play at Jordan Hall in Boston. I mean, he was a very accomplished musician. His wife Dorothy was a member of the music conservancy in Boston. That’s where he met her.

Alfred Morang- The Artist's Studio Portland Maine- Pen and Ink- Matthews Gallery Blog

Alfred Morang, Artist’s Studio-Portland, 1932, Pen and Ink

 

He and Dorothy lived in Portland, Maine before his tuberculosis forced them to move to Santa Fe in 1938. Morang had a successful a writing and painting career back East. What are your thoughts on his early work?

I’ve seen some of his work from back then. Like a lot of artists, when Morang came to New Mexico and saw the color and the light and everything, it inspired him. I think that’s the biggest thing.

It’s almost akin to my life. I thought I enjoyed art, but until I moved to Santa Fe, until I drove by 100 galleries every night on my way home and everybody that I associated with and talked to was in the business in some way, shape or form, something about that was really inspiring.

Artifacts of Santa Fe Artist Alfred Morang to Appear in December Exhibition- Matthews Gallery BlogSanta Fe New Mexican columnist Lorraine Carr covered Morang’s memorial service in February, 1958

 

How did you start hunting for the box of Morang’s possessions?

I was writing a story about Morang, and I went to the library to find out what the newspaper said when he died in 1958. I was reading all of the articles and eulogies and things, and I thought, ‘This is an amazing man.”

After I went to the library that day, I realized I needed more research, so I went to the New Mexico Museum of Art and searched their archives for anything I could find in Alfred Morang’s folder. That’s when I found Dorothy Morang’s folder, and saw her letter. It said that she had sent this box of Morang’s possessions away to Carrie Morang Robinson in Atlanta, Georgia. All I had was the name Carrie Morang Robinson and this address in Atlanta. I did my research and found out that she was deceased. I couldn’t find any relatives, and her former house had a different owner.

 That must have seemed like a dead-end.

Yeah, I made several phone calls and then just kind of gave up for a while. Then something hit me a couple months later and I said, “Damn it, I’m going to try again.”

I did some more research and tried to find Alfred’s relatives. Carrie Morang Robinson was the daughter of one of Alfred Morang’s uncles because she was a cousin and had the family name. I found one uncle’s name through the Morang Chevy dealership in Ellsworth, but then I ran into another dead-end.

A couple months later I got a Maine antiques publication, and there was something about ancestors in it. I got some other names of who Carrie Morang Robinson’s father might have been. I found some members of the Robinson family, and started researching them.

You were making some headway!

 I just start calling people again, and this woman whose name was Robinson came up. I called her, and she said, “Oh, our cousin Alfred. Our mother used to tell us about him.” I started telling her a little bit of the story, and she said, “You have to talk to Gwen.” I just lit up, because Gwen was Carrie Morang Robinson’s granddaughter and lived with her grandmother in the final years of her life. Now Gwen owns Carrie’s house.

I called Gwen up, and she had all of these family stories about Alfred, that he used to go through the woods with his violin and his cats following him. “Weird cousin Alfred” or something like that. She said, “Well, if my grandmother owned the box, it’s probably still up in the attic.” Then I got excited.

You were one step away. It must have been tantalizing. 

Well, Gwen was renting the house, so she told me she’d search for the stuff the next time she was in Atlanta. A month or two goes by, and I call her up again. She says, “We’ll be selling the house, so I’ll look for it then.” A long period of time goes by, and all of a sudden I hear the phone ring one day. “Well, I found your box,” she says. “I’ve got a couple more things—a violin and a painting.”

 Paul Parker Surveys Artifacts of Legendary Santa Fe Artist Alfred Morang- Matthews Gallery BlogParker surveys sketches and other artifacts of Alfred Morang

 

How did it feel when Morang’s artifacts finally arrived at your door? 

It was absolutely phenomenal. It was like the biggest Christmas ever. To see that violin and just to touch it. Talk about personal.

The box was full of many different short stories and manuscripts, which he submitted to radio stations to be read as radio plays. Many of these stories were never published, and might have been lost forever.

Did this elaborate hunt make you wonder why someone didn’t try to keep the artifacts in Santa Fe? 

Dorothy and Alfred got divorced in 1950, but even then Dorothy kind of watched out for him. When he died, she knew about this cousin Carrie Morang Robinson, who was the only rightful heir to his possessions. Dorothy stepped up to help contact her, and at the time it wasn’t a big deal to send them away.

One of the stories that Morang’s adopted daughter Claire LaTour has told me is that they didn’t know what to do with his ashes. They left them in a closet in the art museum after the last memorial service. Claire came back, and somebody flew her over Canyon Road and she dumped his ashes out the window of the airplane, which was a difficult task. She told me, “I was wearing a fur coat, and I always laughed that forever afterward I was brushing Alfred out of my coat.”

Alfred Morang- Autumn in the Park- Oil on Canvas- Matthews Gallery BlogAlfred Morang, Autumn in the Park, 1954, Oil on Canvas

 

Morang’s colorful personality often overshadows his artwork. Is that frustrating for you, as a big fan of his work ?

It’s the same frustration that I have now with van Gogh. I know from all my research that van Gogh was not a crazy man. He had epileptic fits that affected his life and personality, but he was a very brilliant man and definitely not insane.

It’s almost the same thing with Alfred. People like the story of a bohemian alcoholic, something that fits better with the story of Toulouse-Lautrec. He wasn’t an alcoholic. He couldn’t have done the things that he did if he were an alcoholic.

The greatest quote that I’ve ever heard about an artist is from Morang’s memorial service. It’s not attributed to anybody specifically, but an unknown artist said, “It’s no wonder that we in Santa Fe mourn the loss of Alfred, he taught half of us how to paint and the other half how to see.” After Morang’s death, all of a sudden people started to realize that he was a great artist. People regretted that they didn’t pay enough attention to him.

Coming up next week, Paul Parker digs up more mysteries of Alfred Morang’s life and travels to Paris to complete a mission in Morang’s memory. Make sure to connect with us on Facebook, Twitter and Instagram for daily updates on MORANG AND FRIENDS.

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The 10 Artists Who Changed Art History Forever, Pt. 2

To top off our list of art history’s most influential players (click here for part 1), we had to make some tough decisions. Would Monet still be known today if not for a fateful trip to the seashore with Boudin? Who had a greater influence on abstract expressionism: Pollock or De Kooning? Browse our choices and let us know if you agree or disagree in comments below or on Facebook, Twitter and Pinterest.

Eugene Boudin, click the image to read the Matthews Gallery blog
Trouville, Eugene Boudin

 6. Eugene Boudin (1824-1898)

French painter Eugene Boudin grew up riding across the English Channel on his father’s steamboat between his home village of Honfleur and the city of Le Havre. Boudin’s mother put an end to the voyages when the young boy nearly drowned, and the family moved to Le Havre to open a picture frame shop. Perhaps it was these early years at sea—and that terrifying dip in the tumbling waves—that drove Boudin to create the small but dynamic compositions that would directly inspire Impressionism.

As a young man Boudin opened his own framing shop and showed work by artists such as Constant Troyon and Jean-Francois Millet. At 22 he started painting full-time, capturing coastal scenes with an impeccable eye for light and a keen interest in the social interactions of beach-goers. He was greatly influenced by the 16th century Dutch masters, and was one of the first French painters to work in the outdoors.

Boudin moved to Paris on a scholarship when he was 23 and soon met the teenage Claude Monet. Monet was working as a caricaturist on the streets of Paris, but Boudin convinced him to travel to Normandy and paint en plein air. In 1874 Boudin showed work in the first Impressionist exhibition alongside Monet’s pivotal Impression, Sunrise, which was painted in Le Havre and inspired the name of the new movement. Without Boudin’s encouragement, Monet may never have moved past charcoal.

Pissarro, click the image to read the Matthews Gallery blog
Two Women Chatting by the Sea”, Camille Pissarro

 7. Camille Pissarro (1830-1903) 

Picasso and Matisse called Paul Cezanne “the father of us all”, but there’s always a mentor behind a master. Cezanne was heavily influenced by Danish-French Impressionist and Neo-Impressionist painter Camille Pissarro. “He was a father for me,” Cezanne said. “A man to consult and a little like the good Lord.”

Pissarro grew up on the island of St. Thomas in the Danish West Indies and attended a boarding school near Paris. In school he studied the French masters and excelled at drawing and painting. He moved to Paris in 1855 to apprentice with Anton Melbye and Jean-Baptiste-Camille Corot. While Corot worked on his paintings in the studio, Pissarro insisted on painting en plein air and often finished works in one sitting.

The artist was criticized for his technique, which often exposed the rougher, less picturesque side of the French landscape, but his quick, intuitive methods attracted a small group of artists who would soon be known as the Impressionists. Pissarro became their patriarch, and was the only artist to participate in all eight Impressionist exhibitions. However, it was his switch to Neo-Impressionism at 54 and his great influence on Post Impressionism that landed him on this list. Pissarro’s impulse to look deeper into the landscape and trace every rough edge would inspire Seurat, van Gogh, Gauguin and Cezanne in their revolutionary explorations of perspective that would fracture (and eventually completely dissolve) the classical picture plane.

Pablo Picasso, click the image to read the Matthews Gallery blog
Dora Maar au Chat, Pablo Picasso

 8. Pablo Picasso (1881-1973) 

Pablo Picasso is arguably the most famous—and prolific—artist of the 20th century. He created roughly 13,500 paintings and hundreds of thousands more prints, engravings, illustrations and sculptures over the course of his 75-year career. Though he’s famous for co-developing Cubism, it was his explorations into all corners of the plastic arts that made him so influential. No matter the medium or style, Picasso had a hand in radically changing it all.

The artist was born in Malaga, Spain. His father was a professor of art who began formally training his son from a very young age. By 16, Picasso had gained entrance to the prestigious Royal Academy of San Fernando. In the early 1900s he moved to Paris, where he met art collector Gertrude Stein and many of the most famous artists of the time. He started working with Georges Braque in 1909, and the close friends developed a style that pushed Cezanne’s explorations of multiple perspectives to new extremes.

Cubism encouraged artists to analyze objects and break them into thousands of pieces, and similarly shattered the art world into myriad Modernist movements from Futurism to Constructivism.

Pollock, click the image to read the Matthews Gallery blog
No. 5, 1948, Jackson Pollock

9. Jackson Pollock (1912- 1956) 

Jackson Pollock was called “Jack the Dripper” and “The Worst Living Artist in America” by the media, and a large slice of the public saw him as a reclusive drunkard who dealt the killing blow to order and sense in art. Sometimes when you’re drumming up an art revolution, things have to get messy.

Pollock grew up the youngest of five brothers in Arizona and California. He and his brother Charles moved to New York City in 1930, where he studied at the Art Students League and worked for the WPA Federal Art Project. In 1936 he took an experimental workshop on liquid paint that would later influence his famous drip paintings. Under the watchful eyes of collector Peggy Guggenheim, art critic Clement Greenberg and his wife Lee Krasner, who he married in 1947, Pollock would become the figurehead of the Abstract Expressionist movement and radically change the world’s definition of art.

Greenberg saw Abstract Expressionism as the final step in painting’s inevitable reduction to its most essential elements. There was an unmatched purity to Pollock’s atmospheric, gravity free color fields that only the eye could traverse. “Jackson was the greatest painter this country has produced,” Greenberg mused. Whether you agree with the critic or not, Pollock undoubtedly subverted figurative painting in an unprecedented way, and changed art history in the process.

Andy Warhol, click here to read the Matthews Gallery blog
Marilyn Monroe, Andy Warhol

10. Andy Warhol (1928-1987) 

Andy Warhol was born in Pittsburgh, Pennsylvania to Austro-Hungarian immigrants. In third grade he developed Sydenham’s Cholera, a disorder of the nervous system that left him bedridden for months at a time. Isolated from his peers, the shy child became a voracious student of pop culture. Just a few years later he would build his own towering pedestal using the very figures and symbols that he pinned on his bedroom walls.

Warhol graduated from high school in 1945 and attended the Carnegie Institute of Technology for commercial art. In 1949 he moved to New York City, where he worked in the publishing and advertising industries and got his Bachelor of Fine Arts degree in pictorial design. In the 1950’s RCA records hired Warhol as a designer, where he pioneered innovations in various image-making techniques, most notably in screen printing. At the same time he was using similar processes—and subject matter—in his fine art, which he showed in galleries around New York. It was an approach to art that offended many critics at the time, who accused Warhol of succumbing to the homogenizing forces of consumerism.

This was Warhol’s true impact on art history: to show contemporary artists that they couldn’t avoid or ignore the foundational social changes affected by the mass media. Whether he was exploring identity, vanity, sexuality, fame or nothing at all, Warhol was molding the mercurial landscapes of Modern and Postmodern art.

Don’t forget to read part 1 of this series, and connect with us on FacebookTwitter and Pinterest to let us know who you would choose!