Modernism In Texas:

Two Exhibitions

William Reaves Fine ArtFebruary 10 - March 10, 2012

Rob

ert

Lock

ard,

Unt

itled

(Cub

ist Tr

ees)

, 193

9

Modernism on the High Plains:Featuring the Rediscovered work of

Robert and Troy Allen Lockard AtthecenteroftheSouthPlainsandalsoacrossroadsforcenturies,Lubbock,Texas,hasbeencalledthe“HubCity.”Sinceabout12,000yearsbeforepresent,semi-nomadicPaleo-Indiansinhabitedasitejustnorthofthecity.NearbyYellowhouseCanyonandLasLenguasCreekwerefavoredplacesforComancheros,tradersfromnorthernNewMexicoTerritoryfromthe18ththroughthelate19thcenturies.SouthernPlainsIndiansalsoestablishedtrailsfromKansasandOklahomathroughthepresentlocationofLubbockintoMexico.Afterthearrivalofthefirstrailroadsin1909,themovementof“goodsandservices”aswellasinterculturalinterplaycontinuedthroughLubbockasithadforthousandsofyearsafterthetownwasfoundedin1890andincorporatedin1909.

LubbockHighSchoolformeditsfirstartclassesin1915.WhenTexasTechnologicalCollegeopenedin1925,itoffereddrawingcoursesthroughtheschoolofengineering.TwoyearslateraschoolofappliedartswasorganizedbyMarieDelleney(1902-1967).LateraninstructorattheTexasStateCollegeforWomen(nowTexasWoman’sUniversity)from1929to1964,DelleneystudiedatTSCWandColumbia.Amemberofthe“TexasPrintmakers,”DelleneyexhibitedintheTexasCentennialExpositionandthe1939World’sFair.ShewastheleaderofacadreofartistsatDentonwhichbeganitsascendancyasanartscenterduringthelate1930sandearly1940s,particularlyatNorthTexasStateCollegeandTSCW.Inmanyways,Dentonbecameahotbedforartisticdialogue,largelyduetothepowerfulpersonasandworkoffemaleartistssuchasDelleney,CoreenMarySpellman,EdithBrisac,ToniLaSelle,CarlottaCorpron,andThetisLemmon.TheseartistsmaintainedstrongtiestotheModernistartcolonyatProvincetown,Massachusetts,andthesetenetsmadetheirwaytoLubbockviatheconnectionsDelleneymaintainedthere.

TexasTechCollege’sengineeringdepartmentexpandeditsofferingstoincludedesign,lifedrawing,watercolor,andarthistory,taughtbyAlexanderWatsonMack(1894-1988),andothersin1927.BorninScotland,MackstudiedattheEdinburghCollegeofArtandinotherEuropeancitiesbeforecomingtotheUnitedStatesin1926.

In1928,FlorianA.Kleinschmidt(1897-1976),agraduateinarchitectureoftheUniversityofMinnesotaandHarvard,wasappointedheadofthenewlycreatedDepartmentofArchitecturalEngineeringatTexasTechnologicalCollege.KleinschmidtalsoheadedtheTexasTechnologicalCollegeArtMuseumin1935whichofferedchildren’sclassesunderFloyHooper.In1937,themuseumbecametheTexasTechnologicalCollegeArtInstitute.TechdidnotfoundaDepartmentofArtuntil1967.

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

Modernism on the High Plains:Featuring the Rediscovered work of

Robert and Troy Allen Lockard LubbockalsomaintainedstrongtieswiththeartcoloniesatSantaFeandTaos,NewMexico,aswellasthefledglingartdepartmentattheUniversityofNewMexico.

Intothisrichenvironment,thiscrossroadsofculturesandculturalpursuitscame“Troy”Allen(1909-1990)andRobertIvanLockard(1905-1974).BornHelenGwendolynAllenatSanDiego,California,AllenmovedwithherfamilytoMontanathensettledatWichitaFalls,Texas.AfterfinishinghighschoolatWichitaFalls,herfamilythenmovedtoMiami,FloridabutAllenreturnedtoTexastostudyattheTexasStateCollegeforWomen(nowTexasWoman’sUniversity).ShereceivedadegreeincostumeandinteriordesignfromTSCWin1932,andthenworkedinadvertisingforBurdine’sinMiamiandNeiman-MarcusinDallas.Shemayhaveadoptedthenickname“Troy”duringthistime.AllenbeganteachingappliedartandinteriordesignatTexasTechCollegein1937,andthenreturnedtoTSCWtoearnamaster’sdegreeininteriordesign.ShemarriedartistRobertLockardin1940.

BornatNorton,innorthwesternKansas,RobertIvanLockardstudiedarchitectureatKansasStateAgriculturalCollege(nowKansasStateUniversity),graduatingwithbachelor’sandmaster’sdegreesin1930and1932,respectively.Afterfirstworkingasassistanttothedirectoratthenewly-openedNelsonGalleryandAtkinsMuseumofArtinKansasCity,Missouri,heworkedasadraftsmananddesignerfortheUnitedStatesDepartmentoftheInterioratJeffersonCity,Missouri.TexasTechnologicalCollegehiredLockardasaninstructorinarchitectureandalliedartsforitsDepartmentofArchitecturein1935.HeremainedatTexasTechfortheremainderofhiscareer.AtKansasState,LockardstudiedwithJohnHelmJr.(1900-1972).SpecializinginwatercolorsoftheKansaslandscape,Helm’sactivitiesintermsoftheartsinKansasalmostcertainlyinstilledinLockardanappreciationforlocalsurroundingsandsubjectsinhispaintings.Moreover,Helmsechoedanaestheticsweepingacrossthecountryintheartsinthe1920sandurgedbywriterssuchasVanWyckBrooks,JohnDewey,andGeorgeSantayana,inTheDialmagazine.

BrooksurgedAmericanartiststodrawonAmerica’s“communalexperience”asa“usablepast”andtocreateworksreflectiveoftheirowncommunitiesinhis1918Dialarticle.1JohnDeweyextendedBrooks’views,writingin1920thatAmericanartistsshouldbasetheirarton“justlocal,justhuman,justathome,justwhere[we]live”themeswhichcouldbeusedasaforumfortheexpressionofuniversalvalues.2GeorgeSantayanaechoedBrooksandDeweywritingin1922thatartcouldbefoundin“everything--clothes,speech,manners,government,”notinmuseums,whichhecalledmausoleums.Furthermore,hebelievedthatAmerica’sregionaldiversityanddifferentbackgroundswereitsartisticstrengths.3IntoLubbock,Texas,Lockardcarriedthesephilosophies.Lockard’swatercolors,suchasUntitled [Landscape Variation 3] (Cat. No. 21),echoHelms’pointofviewthattheregionallandscapehaduniversalvalue.

AllencarriedadifferentyetrelatedtunetotheSouthPlains,oneespousedbyherinstructorsatTSCWandothersinDenton.For41. Troy Allen Lockard, Chinaberry Tree

example,CarlottaCorpron(1901-1988)cametoTexasin1935toteachatTSCWandwas“oneofthefirstartistsinTexastoadopttheprogramof‘TheNewBauhaus.”4Workinginphotographythroughherdesignstudies,shemovedintoabstractphotographyduetotheinfluenceofLazloMoholy-Nagy,whoconductedsummerworkshopsatTSCWin1942and1943.HungarianGyorgyKepes,whobeganteachingatNorthTexasStatein1944,encouragedCorpron’sexperimentations.

HoustonarthistorianAlisondeLimaGreenebelievesDorothyAntoinette(Toni)LaSellewasevenmoreremarkableas“inthe1930sshewastheonlyartistworkinginTexascommittedtononobjectiveabstraction.”LaSellecametoTSCWin1928fromtheUniversityofChicago.ShelaterstudiedfurtherwithMoholy-NagyinChicago(andhelpedbringhimtoDenton)andwithHansHofmannatProvincetown.

ProvincetownprovedtobeattractivetoseveralDentonartistsincludingandespeciallyMarieDelleneyandEdithBrisac.MyownresearchindicatesthatmostfemaleartprofessorsinTexas,andacrosstheUnitedStatesforthatmatter,spentvirtuallyalltheirfreetimeawayfromtheirrespectiveschoolsenrolledinartclassessomewhere,usuallybyavantgardeinstructors.Artcoloniesinparticularseemedespeciallyattractivetotheseartists,includingTaosandSantaFe,NewMexico;SantaBarbara,California;ProvincetownandGloucester,Massachusetts;OldLyme,Connecticut;andWoodstock,NewYork.ProvincetowninfluencesfoundtheirwayveryclearlyintoTroyAllen’swatercolors,suchasChinaberry Tree(Cat. No. 41)andUntitled [Tile Roof, Stucco, and Spreading Trees] (Cat. No. 40).Moreover,thepowerfulfiguresofCorpronandLaSelleaffectedAllenprofoundly.

AsanativeKansan,LockardwouldhavebeenunabletoavoidthepaintingsofBirgerSandzen,easilythebest-knownKansasartistbeforeJohnSteuartCurrywasanointedoneofthe“holytriumvirate”ofMidwestern“AmericanScene”painters(alongwithGrantWoodandThomasHartBenton).From1894to1946,Sandzen(1871-1954)taughtatBethanyCollegeatLindsborg,Kansas.HislandscapesofwesternKansas,Colorado,NewMexico,andUtah,renderedinheavyimpasto,stylizedforms,andFauve-likecolorstookAmericanartbystormduringthe1920sand1930s.WeseesomeofSandzen’sinfluenceinmanyofthelandformpaintingsofRobertLockard.

TheanthropomorphicformsinLockard’soilsalsofindantecedentsintheworkofartistRaymondJonson(1891-1982),long-timeartprofessorattheUniversityofNewMexico.Jonson’s“EarthRhythms”seriesinthemid-1930sreceivedagreatdealofattention.Moreover,LockardandAllen’stravelstoNewMexicowouldhaveallowedthemtoseetheworkofJonsonandotherNewMexicoartists.

AlsoattheUniversityofNewMexico,HowardSchleeter(1903-1976)inthe1950sespousedModernistlandscapepaintings.OneofLockardandAllen’sclosestfriendsandcolleaguesontheTexas

40. Troy Allen Lockard, Untitled [Tile Roof, Stucco, and Spreading Trees]

Techfaculty,ClarenceKincaidJr.(1927-1983),studiedwithSchleeterandbroughthisteachingstoLubbock.Lockard’sUntitled [Cubist Trees](Cat. No. 18)isconsistentwithSchleeter’steachingsatUNMaswellasinSchleeter’sownwork.

BorninOklahomaCity,KincaidgrewupwatchinghisfatherpaintandspentsummersinTaoswithhisfamily.HestudiedatWestTexasStateCollegewithIsabelRobinsonandEmilioCaballerointhelate1940s.KincaidtaughtatWTSCin1957and1958thenatTexasTechUniversityfrom1960to1982.WhileatTexasTech,KincaidfoundedafieldschoolatTaos,NewMexicoandspecializedinwatercolorpaintings.

InTaos,LockardandAllenfoundaModernistschoolinfullswingby1935.JohnMarinhadvisitedattherequestofGeorgiaO’Keeffein1929and1930.Marin’suniquearchitectonicapproachestointerpretingtheTaoslandscapeaffectedpaintingintheSouthwestforthenext50years.AdirectinfluencefounditswayintothepaintingsofTaosSocietyofArtistsmemberVictorHiggins(1884-1949)withwhomMarinmayhavepaintedinTaos.RobertLockard’swatercolorswithapaintedinternalframe-within-a-frame–suchasUntitled [Landscape Variation 1] (Cat. No. 14)andUntitled [Landscape Variation 4] (Cat. No. 20) –owetheirallegiancetoMarin.

ModernismproponentAlfredStieglitzexhibitedMarin’swatercolors,firstathis291GalleryandlaterathisIntimateGalleryandAnAmericanPlace,allinNewYork.OthermembersoftheStieglitzcirclewithwhomRobertLockardsharedaninterestinarchitecturewereCharlesDemuth(1883-1935)andCharlesScheeler(1883-1965).Demuth’s1927painting,My Egypt,aninterpretationofgrainelevatorsatLancaster,Pennsylvania,andScheeler’sClassic Landscape(1931),celebratedthebuildingboomintheUnitedStatesinthefirstdecadesofthetwentiethcentury.BothpaintingsbecamefamousforhailingAmericaninvention,moderntechnology,anditsexpandingwealth,exactlywhenLockardwasstudyingtobeanarchitect.SurroundedbygrainelevatorsinLubbock,LockardwouldhavebeenunabletoavoidseeingreferencestoMy Egypt andClassic Landscapeeverywhere.Asatrainedarchitectandapainter,theworkofotherPrecisionistswouldlikelyhaveheldspecialregardforLockard.Thus,hisUntitled [Grain Conveyor](Cat. No. 30)isjustoneexampleofalargernumberofpaintingsofgrainelevators,cottongins,andotherfactory/industrialbuildingsinhisoeuvre.

OnMarin’sheelscameFrench-bornAndrewDasburg(1887-1979).FirstinvitedtoTaosin1918byMabelDodgeLuhan,Dasburgsettledtherein1930.HisCubist-inspired,Cezanne-filteredlandscapesoftheTaosValleyleftalastingimpressiononthe“Moderns”inTaos.NottheleastamongthisgroupwasJohnWardLockwood(1894-1963).DasburgwascelebratedinLubbockandLockardwasclearlyimpactedbythisinhisownwatercolorswithanodtoCubism:Abstraction #8 (Cat. No. 26) andUntitled [Trees in Park] (Cat. No.27).

YetanothernativeKansan(bornatAtchison),LockwoodstudiedattheUniversityofKansas,thePennsylvaniaAcademyoftheFineArts,andinParis.WhileatthePennsylvaniaAcademyhisinstructorsintroducedhimtothelandscapesofPaulCezanne.Hisfellow

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

Kansan,Topeka-bornKennethAdams(1897-1966),invitedLockwoodtoTaosin1926whereheliveduntil1938.InvitedtocreateanartdepartmentfortheUniversityofTexasin1938,LockwoodtaughtthereuntilWorldWarII.HelatertaughtattheUniversityofCaliforniaatBerkeleyfrom1948to1961,andthenreturnedtoTaosin1962.BothMarinandDasburginfluencedLockwood’ssimplified,boldlandscapesandtownscapesrenderedwithshortbrushstrokesandcharacterizedbyhighlycontrastingcolorsandacutelyangledelements.

RobertLockard’sseveralwatercolorsof(probably)PaloDuroCanyon,remindusofWardLockwood’spaintings

ofhorsesbelowTaosMountain.Lockard’s#43 [Canyon Scene with Wild Horses] (Cat. No. 22),Untitled [Canyon with Cattle #1] (Cat. No. 23),andUntitled [Canyon with Cattle #2] (Cat. No. 24),maypayhomagetohisfellowKansan’swork,butperhapsinalargersense,displayLockard’sgraspofnewstrategiestointerprettheWestTexaslandscape.

AtSantaFe,AllenandLockardlikelyfoundkindredspiritsmembersofLos Cinco Pintores(TheFivePainters),agroupfoundedin1921thatespousedModernisttenets.FiveyoungerSantaFeartists,JozefBakos,FremontEllis,WalterMruk,WillardNash,andWillShusterformedLosCincoPintores,whichexhibitedinSantaFe,LosAngeles,ElPaso,andintheMidwestbeforedisbandingin1926.Still,Bakos,Ellis,andShusterremainedprominentinSantaFearthappeningswellintothe1940swhenLockardandAllenvisited.

Anunder-researchedandunder-publishedpartoftheSantaFeartcolonyistheimportantcontributionofwomenartists,whohadbeenintegraltothecolonysince1914.WomenartistsinSantaFewereoftenfarmorewillingtotakerisksthantheirmalecounterparts.Experimentationbecamederigueurfortheseartistsand,ironically,severalofthemweretakenmoreseriouslyintheirowntimethantheyareinourown“enlightened”timetoday.Inparticular,andwithdirectrelationshipswiththeworkofAllenandLockardwastheworkofDorothyMorang(1906-1995),GinaKnee(1898-1982),andPoliaPillin(1909-1982).Forexample,apupilofRaymondJonsonandEmilBisttram,MorangwasoneofNewMexico’smostprogressiveartists,andwasoneofthefirstSantaFeartiststoexperimentwithnon-figurativepaintingasearlyas1937.

Lockard’s#20 (Cat. No. 10) and#23 Abstractions (Cat. No. 5) areclearlyalignedwithtenetscelebratedandrecognizedinKnee’swork,whilehis#23 Abstraction [Abstraction with Pink Sky] (Cat. No. 13)showshowearlyhewasbumpingupagainstnon-representationalpaintinghemayhavefirstseeninthefleshinDorothyMorang’sworkinSantaFe.Moreover,althoughonlyinSantaFeafairlyshorttimeinthe1930s,

30. Robert Ivan Lockard, Untitled [Grain Conveyor]

23. Robert Ivan Lockard, Untitled [Canyon with Cattle #1]

Pillin’sworkleftauniquemark,particularlyinitssensitive,almostetherealapplicationofwatercolorinrenderingtheNewMexicolandscape.Lockard’s#7 Abstraction (Cat. No. 7)resonateswiththesesamequalities.

InadditiontotheinfluencestheybroughtwiththemtoLubbockaswellasthosetheyexperiencedinNewMexico,AllenandLockardstayedabreastofartmovementsaroundtheworldthroughinternationalartperiodicals.AndreBreton’sSurrealistMinotaure,publishedbetween1933and1939;theartandliteraryjournalCahiersd’Artpublishedfrom1926to1960;andVervewhichdocumentedModernartinFrancefrom1937to1960;wereallpartoftheirlibrary.Verveinparticularforced“outside-the-box”thinking.ReproducingpaintingsbyBraque,Picasso,Matisse,Kandinsky,Miro,Giacometti,Leger,andMasson,(sometimesonthecovers),juxtaposedwithreproductionsofmedievalmanuscriptilluminationsandvintageJapanesephotographs,andessaysbyAndreGide,AlbertCamus,andJamesJoyce.

TheTexasCentennialExpositionatDallasin1936wasthehigh-watermarkforTexasartduringthetwentiethcenturyandwasoneofthemostsignificantculturaleventsintheUnitedStates.5AllenandLockardbothexhibitedattheTexasCentennialExpositionatDallasin1936.Thiswasnomeanfeat.TheExpositionincludedartexhibitionsatthenewlyopened–andairconditioned–DallasMuseumofFineArts.Theseexhibitionsweresoimpressivethatthenationalartsmagazine,ArtDigest,dedicatednearlyitsentireJune1936issuetotheexhibitions.Oversixhundredworksofartcomprisedthegeneralexhibition.AnentiresectiondevotedtoTexasart–perhapsthegreatestexhibitionofcontemporaryTexasarteverassembled–completedtheartexhibitions.JamesChillman,directoroftheMuseumofFineArts,Houston;EllsworthWoodward,presidentoftheSouthernStatesArtLeague;andDallaspainterAlexandreHogue,selected164worksbythemostimportantartistsworkinginTexasatthattime.AllenandLockardwereamongthem.

Armedwiththeirownexperiencesandeducationandcross-pollinatedfromnumeroussources,inmanyrespectsTroyAllenandRobertLockardbroughtModernismtotheSouthPlainsthroughtheirpaintingsandtheirteachings.Verymuchinthetraditionofthe“HubCity”theycontinuedtonurturethattraditionsoastokeepitrelevanteveninwhatmostconsider(ed)aculturalwasteland.TheycarriedtheModernistwaterontheSouthPlainsfornearlyfiftyyears.Withouttheircultivation,artinLubbock,Texas,wouldhavewitheredlikecottonplantsduringadrought.

Moreover,duringthe1930sand1940s,withtheexceptionofsomeofthefemaleartistsinDenton,virtuallynootherartistsinTexaswereexperimentingwithModernistinterpretationsoftheSouthwestaswereAllenandLockard.TheircontributiontoearlyTexasartis,consequently,unique.Sadly,whiletheirworkwas–andis–powerfulandpioneering,theirrespectiveteachingloadsandfamilialresponsibilitiesprecludedamoreextensiveexhibitionrecordforboth.Fortunately,WilliamReavesFineArt’sreputation

7. Robert Ivan Lockard, #7 Abstraction

forexcavatingModernistsfromTexasart’sburiedpastattemptstorightthiswrongthroughthecurrentexhibition.Finally,TroyAllenandRobertLockardwillenjoyalongoverdueplaceinthesunand–hopefully–theirpaintingswillfindreveredplacesonthewallsofprivatehomesandmuseumgalleries.

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

(Endnotes)

1 VanWyckBrooks,“OnCreatingaUsablePast,”Dial64(11April1918):337-41.

2JohnDewey,“AmericanismandLocalism,”Dial68(June1920):684-688.

3 GeorgeSantayana,“MarginalNotes,”Dial72(June1922):553-569.

4AlisondeLimaGreene,Texas: 150 Works from the Museum of Fine Arts, Houston(Houston:MuseumofFineArts,Houston,2000):124.TheNewBauhaus,establishedinChicagoin1937,wastheimmediatesuccessortotheGermanBauhaus,dissolvedunderpres-surefromtheNationalSocialists(NaziParty)in1933.

5BothFortWorthandAustinheldartexhibitionsincludingTexasartists.However,theformerwasmainlyfocusedonWesternart.TexasartistsincludedH.D.Bugbee,EdwardG.Eisenlohr,ClintonKing,J.M.“Tex”Moore,ElisabetNey(posthumously),andHughlette“Tex”Wheeler.TheUniversityCentennialExpositionoccurredintwopartswith28artistsinthefirstand33inthesecond.SeePaulaL.GrauerandMichaelR.Grauer,Dictionary of Texas Artists, 1800-1945(CollegeStation:TexasA&MUniversityPress,1999):225.

Artist Bio: Robert Lockard

Artist Bio: Troy Allen LockardSelected Biographical and Career Highlights • 1909,BorninSanDiego,California• BachelorofScienceandMasterofArts,TexasStateCollegeforWomen,Denton• 1937-75,Instructor,TexasTechnologicalCollege,Lubbock• 1948,Produces(withRobertLockard)instructionalfilm,Brush Tips in Watercolor – A Landscape Developed• 1990,DiesinLubbock

Selected Exhibitions• 1938,withRobertLockard,TexasTechnologicalCollegeArtInstitute,Lubbock

Selected Biographical and Career Highlights • 1905,BorninNorton,Kansas• Baccalaureateandmaster’sdegreesinarchitecture,KansasStateCollege, Manhattan,Kansas• 1931-32,InstructoratKansasStateCollege• 1933-34,AssistanttoDirectorofthenelsonGalleryandAtkinsMuseumofArt, KansasCity,Missouri• 1935-73,Instructor,TexasTechnologicalCollege,Lubbock• AssistsindesignoftheMuseumofTexasTech• 1948,Produces(withTroyAllenLockard)instructionalfilm,Brush Tips in Watercolor – A Landscape Developed• 1974,DiesinLubbock

Selected Exhibitions• 1932,award,AnnualMid-WesternArtistsExhibition,KansasCity(Missouri)ArtInstitute• 1933-36,AnnualExhibitionoftheSocietyofIndependentArtists,NewYork• 1935,one-man,TexasTechnologicalCollege,Lubbock• 1936,TexasCentennialExposition,Dallas• 1938,withTroyAllenLockard,TexasTechnologicalCollegeArtInstitute,Lubbock

Exhibition checklistArtist Title Date Medium Size (Inches)

Modernism on the High Plains:Featuring the Rediscovered work of

Robert and Troy Allen Lockard

1.RobertLockard #1 Abstraction (Pink Mountainscape) n/d watercolor 201/4x271/42.RobertLockard #3 Abstraction (Geometric Landscape) 1954 watercolor 15x221/43.RobertLockard Untitled (Star Wars) n/d watercolor 143/4x154.RobertLockard #6 Abstraction (Window Study) n/d watercolor 20x155.RobertLockard #23 Abstraction n/d watercolor 10x146.RobertLockard Untitled (Abstract) 1916 tempera/board221/2x187.RobertLockard #7 Abstraction 1940watercolor 151/2x221/48.RobertLockard #11 Abstraction (Bird and Leaf) n/d watercolor 15x221/29.RobertLockard #14 Abstraction 1940 watercolor 83/4x1210.RobertLockard #20 Abstraction 1940 watercolor 83/4x1211.RobertLockard #23B Abstraction (Abstraction with 1940 watercolor 83/4x12 Blue Shapes)12.RobertLockard #13 Abstraction (Landscape with 1940 watercolor 83/4x12 Pink Rocks)13.RobertLockard #23 Abstraction (Abstraction with 1940 watercolor 12x83/4 Pink Sky)14.RobertLockard Untitled (Landscape Variation 1) 1939watercolor 111/4x151/215.RobertLockard Untitled (Landscape with Blue Cactus) n/d oil/board 16x2016.RobertLockard Untitled (Landscape with Dead Trees) n/d watercolor 151/4x223/417.RobertLockard Untitled (Landscape with Yellow Peak) 1940 watercolor 23x291/418.RobertLockard Untitled (Cubist Trees) 1939 watercolor 151/4x111/419.RobertLockard Untitled (Landscape Variation 2) n/d watercolor 111/4x151/220.RobertLockard Untitled (Landscape Variation 4) 1939 watercolor 151/2x223/421.RobertLockard Untitled (Landscape Variation 3) n/d watercolor 12x1822.RobertLockard #43 (Canyon Scene with Wild Horses) n/d watercolor 9x113/423.RobertLockard Untitled (Canyon with Cattle #1) n/d watercolor 15x2024.RobertLockard Untitled (Canyon with Cattle #2) n/d watercolor 143/4x20

Artist Title Date Medium Size (Inches)

25.RobertLockard Untitled (Bridge) n/d watercolor 14x2026.RobertLockard Abstraction #8 n/d watercolor 151/4x2327.RobertLockard Untitled (Trees in Park) n/d watercolor 15x2028.RobertLockard WM Shed, Colorado 1939 watercolor 143/4x221/429.RobertLockard Untitled (White House with Blue Road) 1940 watercolor 9x1230.RobertLockard Untitled (Grain Conveyor) n/d watercolor 223/4x281/231.RobertLockard D Street n/d watercolor 14x2032.RobertLockard Abstraction #24 n/d watercolor 10x1433.RobertLockard Untitled (Standing Nude) 1936 conte/paper14x1034.TroyAllenLockardUntitled (Sculptural Head) n/d conte/paper11x81/235.TroyAllenLockardUntitled (Still Life with Plaster Head) 1936 watercolor 223/4x151/236.TroyAllenLockardUntitled (Still Life with Mandolin) 1936 watercolor 223/4x151/237.TroyAllenLockardStill Life II (Pitcher and Blanket) 1938 watercolor 12x91/238.TroyAllenLockardMcKinney Street, Dallas 1939watercolor 151/4x111/239.TroyAllenLockardSemi-Abstraction 1937 watercolor151/4x221/440.TroyAllenLockardUntitled (Tile Roof, Stucco, and 1937 watercolor151/4x223/4 Spreading Trees)41.TroyAllenLockardChinaberry Tree 1937 watercolor23x151/242.TroyAllenLockardUntitled (Oak Leaves) n/d colorpencil/91/2x121/2 paper43.TroyAllenLockardUntitled (Leaf Forms) n/dwatercolor 22x3044.TroyAllenLockardUntiled (Bird and Leaf Forms) n/d watercolor20x261/4

Modernism on the High Plains:Featuring the Rediscovered work of

Robert and Troy Allen Lockard

1.RobertLockard#1 Abstraction (Pink Mountainscape),n/dwatercolor201/4x271/4in.

2.RobertLockard#3 Abstraction (Geometric Landscape),1954watercolor15x221/4in.

3.RobertLockardUntitled (Star Wars),n/dwatercolor143/4x15in.

4.RobertLockard#6 Abstraction (Window Study),n/dwatercolor20x15in.

5.RobertLockard#23 Abstraction,n/dwatercolor10x14in.

6.RobertLockardUntitled (Abstract),1916tempera/board221/4x18in.

5.RobertLockard#23 Abstraction,n/dwatercolor10x14in.

6.RobertLockardUntitled (Abstract),1916tempera/board221/4x18in.

7.RobertLockard#7 Abstraction,1940watercolor151/2x221/4in.

8.RobertLockard#11 Abstraction (Bird and Leaf),n/dwatercolor15x221/2in.

9.RobertLockard#14 Abstraction,1940watercolor83/4x12in.

10.RobertLockard#20 Abstraction,1940watercolor83/4x12in.

11.RobertLockard#23B Abstraction (Abstraction with Blue Shapes),1940watercolor83/4x12in.

12.RobertLockard#13 Abstraction (Landscape with Pink Rocks),1940watercolor83/4x12in.

13.RobertLockard#23 Abstraction (Abstraction with Pink Sky),1940watercolor12x83/4in.

14.RobertLockardUntitled (Landscape Variation 1),1939watercolor111/4x151/2in.

15.RobertLockardUntitled (Landscape with Blue Cactus),n/doil/board16x20in.

16.RobertLockardUntitled (Landscape with Dead Trees),n/dwatercolor151/4x223/4in.

18.RobertLockardUntitled (Cubist Trees),1939watercolor151/4x111/4in.

17.RobertLockardUntitled (Landscape with Yellow Peak),1940watercolor23x291/4in.

21.RobertLockardUntitled (Landscape Variation 3),n/dwatercolor12x18in.

20.RobertLockardUntitled (Landscape Variation 4),1939watercolor151/2x223/4in.

19.RobertLockardUntitled(LandscapeVariation2),n/dwatercolor111/4x151/2in.

22.RobertLockard#43 (Canyon Scene with Wild Horses),n/dwatercolor9x113/4in.

23.RobertLockardUntitled (Canyon with Cattle #1),n/dwatercolor15x20in.

24.RobertLockardUntitled (Canyon with Cattle #2),n/dwatercolor143/4x20in.

25.RobertLockardUntitled (Bridge),n/dwatercolor14x20in.

26.RobertLockardAbstraction #8,n/dwatercolor151/4x23in.

27.RobertLockardUntitled (Trees in Park),n/dwatercolor15x20in.

28.RobertLockardWM Shed, Colorado,1939watercolor143/4x221/4in.

29.RobertLockardUntitled (White House with Blue Road),1940watercolor9x12in.

30.RobertLockardUntitled (Grain Conveyor),n/dwatercolor223/4x281/2in.

31.RobertLockardD Street,n/dwatercolor14x20in.

32.RobertLockardAbstraction #24,n/dwatercolor10x14in.

32.RobertLockardAbstraction #24,n/dwatercolor10x14in.

33.RobertLockardUntitled (Standing Nude),1936conte/paper14x10in.

34.TroyAllenLockardUntitled (Sculptural Head),n/dconte/paper11x81/2in.

35.TroyAllenLockardUntitled (Still Life with Plaster Head),1936watercolor223/4x151/2in.

36.TroyAllenLockardUntitled (Still Life with Mandolin),1936watercolor223/4x151/2in.

37.TroyAllenLockardStill Life II (Pitcher and Blanket),1938watercolor12x91/2in.

36.TroyAllenLockardUntitled (Still Life with Mandolin),1936watercolor223/4x151/2in.

38.TroyAllenLockardMcKinney Street, Dallas,1938watercolor151/4x111/2in.

39.TroyAllenLockardSemi-Abstraction,1937watercolor151/4x221/4in.

40.TroyAllenLockardUntitled (Tile Roof, Stucco, and Spreading Trees),1937watercolor151/4x223/4in.

41.TroyAllenLockardChinaberry Tree,1937watercolor23x151/2in.

41.TroyAllenLockardChinaberry Tree,1937watercolor23x151/2in.

43.TroyAllenLockardUntitled (Leaf Forms),n/dwatercolor22x30in.

44.TroyAllenLockardUntitled (Bird and Leaf Forms),n/dwatercolor20x261/4in.

42.TroyAllenLockardUntitled (Oak Leaves),n/dcolorpencil/paper91/2x121/2in.

...and

A survey of Texas Modernists

Exhibition checklist

Artist Title Date Medium Size (Inches)

1.DavidAdickes Bullfighter in Blue c.1965 oil/canvas 20x162.DavidAdickes Untitled (Green Still Life) 1950 gouache/paper 9x113.HerbMears Untitled (Gray Still Life n/d oil/board 20x24 with Carrots)4.HerbMears City Scape with n/d oil/board 48x37 Boats - Galveston5.HerbMears Still Life - Bottles n/d oil/board 14x176.HenriGadbois Untitled 1952 oil/canvas 36x187.BillCondon Taxco, Mexico 1964 mixedmedia 131/2x118.BillCondon Zocolo, Taxco n/d mixedmedia 131/2x119.ChesterSnowden Untitled (Giraffe) n/d oil/canvas 22x1810.ChesterSnowden Untitled (Harlequin) 1951 oil/board 16x1211.DonEdelman MFA Student’s Basement 1951 oil/canvas 48x34 Apartment, Champaign-Urbana12.KermitOliver Homage to Faust 1968 oil/canvas 40x4013.RobertMorris Hangers On IV 1974 acrylic/board 71/2x10 (Upside Down People)14.RobertMorris Hangers On III 1974 acrylic/board 12x9 (Jet Plane with Helicopter)15.RobertMorris Hangers On II c.1974 acrylic/board 8x1016.FrankFreed Untitled (Building with n/d oil/canvas 18x14 Three Archways)17.LucasJohnson Untitled 1970-80 oil/canvas 92x4718.DavidBrownlow Proud Fisherman 1953 oil/board 74x26

19.JackBoynton Untitled Drawing 2 1959 graphite 83/4x620.BillReily Harlequin n/d oil/board 30x2621.RobertRogan Tropical Interior 1965 oil/canvas 34x2722.ConstanceForsyth Cloudy Landscape 1961 lithocrayon 17x2223.VeronicaHelfensteller Earthquake c.1948 watercolor 11x91/224.RichardStout Coming Home 1967 mixedmedia 24x30 collage/canvas25.RichardStout Flower of Unending 1961 oil/canvas 24x24 Darkness26.McKieTrotter Mesa 1957-58 oil/canvas 20x2827.McKieTrotter Two Tumbleweeds c.1958 oil/board 32x48 with No Moon28.WilliamLester Canyon South of Alpine 1957 oil/board 24x3029.PaulMaxwell Twilight 1957 tempera/board24x6030.SeymourFogel Untitled c.1950s casein/board 20x1531.BenCulwell Untitled (Adrenaline c.1942 mixedmedia 9x12 Hour Series)32.OtisHuband 404 Granite Ave. 1989 oil/canvas 561/4x481/433.LamarBriggs Ibiza-Windsong, XXXI 1981 acrylic/canvas60x8434.LeilaMcConnell Yellow Sun Over Water c.1975 oil/canvas 48x3635.CharlesSchorre Sand Signal 1980 mixedmedia 48x7236.HiramWilliams West Texas Highway 1959 oil/canvas 24x3037.DonaldWeismann Boyhood Place n/d oil/wood 12x1638.DorothyHood Dark Departure 1965 pen/ink 20x26

Artist Title Date Medium Size (Inches)

1.DavidAdickesBullfighter in Blue,c.1965oil/canvas20x16in.

2.DavidAdickesUntitled (Green Still Life),1950gouache/paper9x11in.

3.HerbMearsUntitled (Gray Still Life with Carrots),n/doil/board20x24in.

4.HerbMearsCity Scape with Boats - Galveston,n/doil/board48x37in.

6.HenriGadboisUntitled,1952oil/canvas36x18in.

5.HerbMearsStill Life - Bottles,n/doil/board14x17in.

7.BillCondonTaxco, Mexico,1964mixedmedia131/2x11in.

8.BillCondonZocolo, Taxco,n/dmixedmedia131/2x11in.

9.ChesterSnowdenUntitled(Giraffe),n/doil/canvas22x18in.

10.ChesterSnowdenUntitled (Harlequin) ,1951oil/board16x12in.

9.ChesterSnowdenUntitled(Giraffe),n/doil/canvas22x18in.

10.ChesterSnowdenUntitled (Harlequin) ,1951oil/board16x12in.

11.DonEdelmanMFA Student’s Basement Apartment, Champaign-Urbana,1951oil/canvas48x34in.

12.KermitOliverHomage to Faust,1968oil/canvas40x40in.

13.RobertMorrisHangers On IV (Upside Down People),1974acrylic/board71/2x10in.

14.RobertMorrisHangers on III (Jet Plane with Helicopter),1974acrylic/board12x9in.

15.RobertMorrisHangers on II,c.1974acrylic/board8x10in.

16.FrankFreedUntitled (Building with Three Archways),n/doil/canvas18x14in.

17.LucasJohnsonUntitled,1970-80oil/canvas92x47in.

18.DavidBrownlowProud Fisherman,1953oil/board74x26in.

19.JackBoyntonUntitled Drawing 2,1959graphite83/4x6in.

19.JackBoyntonUntitled Drawing 2,1959graphite83/4x6in.

20.BillReilyHarlequin,n/doil/board30x26in.

21.RobertRoganTropical Interior,1965oil/canvas34x27in.

22.ConstanceForsythCloudy Landscape,1961lithocrayon17x22in.

23.VeronicaHelfenstellerEarthquake,c.1948watercolor11x91/2in.

22.ConstanceForsythCloudy Landscape,1961lithocrayon17x22in.

25.RichardStoutFlower of Unending Darkness,1961oil/canvas24x24in.

24.RichardStoutComing Home,1967mixedmediacollage/canvas24x30in.

27.McKieTrotterTwo Tumbleweeds with No Moon,c.1958oil/board32x48in.

26.McKieTrotterMesa,1957-58oil/canvas20x28in.

26.McKieTrotterMesa,1957-58oil/canvas20x28in.

28.WilliamLesterCanyon South of Alpine,1957oil/board24x30in.

29.PaulMaxwellTwilight,1957tempera/board24x60in.

31.BenCulwellUntitled (Adrenaline Hour Series),c.1942mixedmedia9x12in.

30.SeymourFogelUntitled,c.1950scasein/board20x15in.

33.LamarBriggsIbiza-Windsong, XXXI,1981acrylic/canvas60x84in.

32.OtisHuband404 Granite Ave.,1989oil/canvas561/4x481/4in.

35.CharlesSchorreSand Signal,1980mixedmedia48x72in.

34.LeilaMcConnellYellow Sun Over Water,c.1975oil/canvas48x36in.

37.DonaldWeismannBoyhood Place,n/doil/wood12x16in.

36.HiramWilliamsWest Texas Highway,1959oil/canvas24x30in.

38.DorothyHoodDark Departure,1965pen/ink20x26in.