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Morris Graves Photo

Morris Graves

American Painter

Born: August 28, 1910 - Fox Valley, Oregon
Died: May 5, 2001 - Loleta, California
Movements and Styles:
Dada
,
Japonism
Morris Graves Timeline
"My first interest is in being; along the way, I am a painter."
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Morris Graves
"Works of art can strive to clarify the spirit."
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Morris Graves
"I admire all artists who let the painting paint itself...I like any work of art where conceit does not intrude...Anonymity is a state of mind I very much respect."
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Morris Graves
"Painting is a way of knowledge."
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Morris Graves
"I paint to rest from the phenomena of the external world - to pronounce it - and to make notations of its essences with which to verify the inner eye."
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Morris Graves
"People occasionally say to the painter, 'What you've said in the painting is my experience, too. I agree; it confirms me.' That's the communication, but it's not the first aim."
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Morris Graves

Summary of Morris Graves

Graves was the first modern painter of the Pacific Northwest to gain national and international recognition. Gaining early notoriety for a series of spectacular Dadaist pranks, he is best known as an introspective and intensely spiritual artist who brought the influence of East Asian aesthetics and philosophy to bear typically through images of birds, flowers, chalices, and other symbols of Eastern spirituality. A one-time friend and enemy to Mark Tobey, he was (like Tobey) a member of the so-called Northwest School, and was celebrated by many of his followers as a modern day mystic who came to view art as an act of pure communion between man and the natural world.

Accomplishments

  • In an era when Abstract Expressionism was seen as the way to express the pure unconscious, Graves "inner eye" gave rise rather to a figurative style known as "symbolic consciousness". Paying homage to Eastern values, he turned to symbols of the natural world as a means of seeking absolute truth (or redemption) through art. Given the supremacy of the New York School, his painting stood out as the most original American art of its time.
  • Deeply troubled by the "noise" of the modern industrial world, Graves pursued a life of "purposeful isolation". By devoting his paintings and drawings to the sights and sounds of the natural world, his aim was to tap into the part of the collective American psyche that draws the individual back to the beauty of their unspoiled environment.
  • Known for his paintings and drawings, and to a lesser extent his Dadaist performances, it is often overlooked that Graves devoted an enormous amount of creative energy to building aesthetic living environments that would provide the ideal conditions for him to realise his artistic vision. His self-built homes - "The Rock", "Careladen", "Woodtown Manor", and "The Lake" - were, according to his biographer, Deloris Tarzan Ament, his "unsung works of art" and stood out as unique artistic havens of "exemplary beauty and serenity".
  • By turning in his late career to the theme of wildflowers, Graves had come full circle from a childhood preoccupation. Graves produced minimalist paintings often featuring singular flowers in jars. Painted on un-primed surfaces using dark earth tones, with small bursts of light colors, Graves introduced the Zen ideal of beauty as an absolute concept to the register of modern American art.

Biography of Morris Graves

Morris Graves Life and Legacy

A deeply spiritual man Graves declared "I paint to evolve a changing language of symbols"; that is, to develop a language by "which to remark upon the qualities of our own mysterious capacities which direct us toward ultimate reality".

Important Art by Morris Graves

Moor Swan (1933)

Speaking of Graves's work, curator Nancy Wilson Ross suggested that "religiously motivated painting depends for its communicability on its use of symbols [and in] order to be generally intelligible it must submit to the demands of a prescribed iconography, a language of symbolic representation in which observer shares with artist the ideas impelling its creation". At the same time, the symbol of the bird has spoken throughout history of the artists' own state of mind. As the art critic Gerald Heard added, "in all significant painting from Catal Hüyük to Hieronymus Bosch the Bird has stood for that drive or force which bears the migrant soul of man into another state".

With its sinuous neck and arched back rendered in Chinese-style brushwork, Graves's lone Moor Swan is almost camouflaged by the earthy colours of its desolate surroundings. In nature, the moor swan is isolated from its white counterparts, its colour associating it with darkness and death. Yet the black swan also carries connotations of a most divine creature, even though it does not conform to the expectations of nature. Read this way, one can perhaps see why Graves chose it as his subject: a creature, like him - a deific outcast. Indeed, Graves alluded this assessment when he stated that "Seeing divine creations [...] seem sufficient reasons to use painting as my voice". Interpreting Moor Swan as a symbolic self-portrait, the Seattle art critic Deloris Tarzan Ament added that "One glance and you know that the swan feels misunderstood; that he holds secrets".

Moor Swan brought Graves's his first taste of recognition. Having submitted the painting to the 1933 annual exhibition of Northwest artists held at the Seattle Art Museum, it won him the $100 first prize.

Church at Index (1934)

Church at Index (1934)

In Graves's bold graphic painting, we see the artist's appreciation of the work of Cezanne, Van Gogh and Japanese prints in the strong outlines and fragmentation of form. There is also a resemblance here to Mondrian's early deconstruction of churches and trees. One of Graves's early supporters, Elizabeth Bayley Willis, stated that "Graves had developed his style from the minute examination of moss, and the study of scaly surfaces of old barns, and used loose painting with a palette knife on coarse absorbent canvas hoping to attain the quality of antiquity of old frescos". It is, however, the transparent dusky light of the Northwest that is the recurring feature in Graves's early paintings. Ament cited Malcolm Roberts, a Surrealist painter of the period, who referred to "this daily magical interval [as] the 'Hour of Pearl'", or what painters on the French Riviera knew as the "'l'heure bleue'".

Ament described the effect thus: "This long leave-taking of light is a time of transformation. Such light is visible in Graves's early paintings, which seem to be set neither at night nor in daylight, but in some charged intermediate illumination. They carry a sense of consciousness transforming and refining itself to more idealized levels. Faint perfect forms echo crisp imperfect ones; gray shapes spill into color. They are permeated with longing".

Dove of the Inner Eye (1941)

Dove of the Inner Eye (1941)

At the top center of this painting, a dove - the enduring emblem of peace - is drawn to a ray of light despite being tightly ensconced in a rocky crevice making it an object of prey for an approaching snake. Webs of angular white lines, clearly influenced by the calligraphic style of Mark Tobey, shimmer above the color field, trapping the bird much like a fly in a spider's web. Graves's move in the 1930s from oil to watercolour, tempera and ink allowed him to display his intricate draftsmanship and offered a range of media for greater refinement and delicacy. Given the time it was produced, the image would seem to reflect the artist's heightened anxiety about being drafted into the military (during the Second World War). Yet the painting also carries a timeless mythic and allegorical resonance.

At his Fidalgo Island residence (which he called "The Rock") Graves lived alone with his beloved Swiss dachshund, Edith (named in honor of the poet Edith Sitwell). There he meditated, painted, and listened intensely to night sounds, drawing the wildlife that made those sounds from his imagination. He also tried to paint sound under the Vedic religious concept that sound and form merge into one and the same thing. When the weather conditions allowed, Graves walked out under darkness before returning to The Rock where he painted until sunrise. It was under these conditions that he produced his famous Inner Eye series which symbolised Graves's own spiritual quest for self-realization. "The birds became characters in a hallucinatory drama created by the body language of their eyes, feathers, posture, and the white light that falls on them and gathers around their feet," wrote Kay Larson, art critic for New York magazine.

Influences and Connections

Influences on Artist
Morris Graves
Influenced by Artist
Friends & Personal Connections
  • John Cage
    John Cage
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    Guy Anderson
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    Dr. Richard Fuller
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    Lubin Petric
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    Nancy Ross
Movements & Ideas
Artists
  • Joseph Beuys
    Joseph Beuys
  • No image available
    Fritz Bultman
  • No image available
    Jay Steensma
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    Nicholas Honshin Kirsten
  • No image available
    Elizabeth Sandvig
Friends & Personal Connections
Open Influences
Close Influences

Useful Resources on Morris Graves

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Content compiled and written by Robert Weinberg

Edited and published by The Art Story Contributors

"Morris Graves Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Robert Weinberg
Edited and published by The Art Story Contributors
Available from:
First published on 07 Feb 2021. Updated and modified regularly
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