"COLORADO" PANORAMIC VIEW MOUNTAIN LANDSCAPE
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Michael Frary"COLORADO" PANORAMIC VIEW MOUNTAIN LANDSCAPECIRCA 1960
CIRCA 1960
About the Item
- Creator:Michael Frary (1918-2005, American)
- Creation Year:CIRCA 1960
- Dimensions:Height: 15 in (38.1 cm)Width: 40 in (101.6 cm)Depth: 3 in (7.62 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:Please view my 1stdibs store front for other Great Vintage Texas Paintings & Fine American Art. We carry Vintage, Mid Century & Contemporary.
- Gallery Location:San Antonio, TX
- Reference Number:1stDibs: LU76936658982
Michael Frary
Michael Frary was born in Santa Monica, California on May 28, 1918. His father died when Michael was six months old. Relatives from the east moved him, his mother and siblings from California to Florida. He graduated from Palm Beach High School in 1934 and returned to California where he accepted a swimming scholarship from the University of Southern California. During his time at USC, he became a champion swimmer and captain of the USC varsity water polo team. In 1940, he graduated with a bachelor of architecture degree and a master of fine arts in painting the following year. At the outbreak of World War II, Fraryjoined the United States Navy, eventually receiving his discharge as Lieutenant at the war's conclusion in 1945. Upon his return to California, he became assistant art director first for the Goldwyn Studios, Paramount and then finally Universal Studios. His hectic lifestyle, although glamorous, did not allow him enough time to pursue his love of painting. To fulfill this need Frary began teaching night classes in painting. Shortly thereafter UCLA offered a full-time teaching position and he made a permanent break from art director to painting instructor. During his teaching career in California, Frary also taught at Los Angeles City College and the Chouinard Art Institute.
In 1949, Frary moved to Texas to serve as the artist in residence and faculty chairman for the irrepressible Marion Koogler McNay in San Antonio. He taught at her burgeoning art school for several seasons. It was during this time in San Antonio that he met Peggy Mathewson who he married in 1950. He accepted a teaching position as an assistant professor with the University of Texas at Austin, which named him Professor of Art in 1970 and upon his retirement from teaching in 1986 he was named Professor Emeritus of Art. Frary’s artwork and love for the state in which he lived for more than half a century resulted in the publication of three books: Impressions of the Big Thicket, University of Texas Press, 1973, Impressions of the Texas Panhandle, Texas A&M University Press, 1977 and Watercolors of the Rio Grande, Texas A&M University Press, 1984. Through his writing and watercolors, these books vividly convey the breadth and scope of the land that provided his inspiration. In pursuit of this inspiration, Frary and his wife, Peggy also traveled across the United States, South America, South Africa, England, Mexico, Italy and France.
During his career, Frary received over 175 awards and purchase prizes and earned over 200 one-man exhibitions. During his career spanning almost 70 years, Frary influenced the course of art, not only in Texas, but in the United States as well. He was a seminal figure in the art movement known as modernism and with his contemporaries on the faculty of the Art Department at the University of Texas, he changed the face of art on a national scale. Now widely celebrated as a Texas Modernist, Frary’s influence has also shaped the lives and careers of the countless thousands of students whom he taught both in a classroom setting and through hundreds of watercolor seminars and workshops throughout the southwest. Frary’s works are housed in 100s of private and public collections worldwide including the National Museum of American Art, Smithsonian Institute, the Los Angeles County Museum, the Santa Barbara Museum of Art, the Virginia Scott Museum, Pasadena. His works are also housed in The Springfield Museum of Art, the Virginia Museum of Fine Arts, the Phillips Petroleum Building, the Dallas Museum of Fine Art, the Panhandle-Plains Museum, Museum of the Big Bend, the Amarillo Art Center, McNay Art Museum, the Texas Instruments Collection, the Austin Museum of Art and the University of Texas at Austin.
Frary also received many important commissions, which included, among others, the selection of his painting, Antelope Country by the National Gallery for presentation by President and Mrs. Lyndon B. Johnson to the New Zealand Prime Minister and his wife at the Manila Conference. He was also commissioned in 1972 by the U.S. Department of Interior to paint at reclamation sites in four states, resulting in four of his paintings being shown at an exhibition at the National Gallery. In 1974, the Austin Chapter of the American Institute of Architects awarded Frary the Medal of Honor and the Texas Society of Architects presented him with the Citation of Honor, both in recognition of his book Impressions of The Big Thicket. In 1978, he was commissioned to paint the Psyche Prize for the Fourth Biennial International Film Festival of Canada. Frary died on Tuesday, August 30, 2005.
- "GREEN BOATS" OTIS DOZIER 1960 MCM ABSTRACT MID CENTURY MODERNBy Otis DozierLocated in San Antonio, TXOtis Dozier (1904 - 1987) Dallas Artist Image Size: 20 x 30 Frame Size: 25 x 35 Medium: Oil Dated 1960 Biography Otis Dozier (1904 - 1987) Otis Marion Dozier is noted as a member of a group of Texas regionalist artists known as the "Dallas Nine". His style was characterized by brilliant colors and strong forms, often focusing on the plight of farmers affected by the Great Depression. Dozier was born in Forney, Texas in 1904. Raised on a farm in Mesquite, Texas with three siblings, his surroundings provided the materials that allowed him to cultivate a love for nature and wildlife. He once said, "youve got to start from where you are and hope to get to the universal." His surroundings became a primary focus for subject matter in his art. Other areas providing inspiration for his works would include the Big Bend and Gulf Coast areas of Texas, the Four Corners area of New Mexico, Arizona, and Utah, and the bayous and swamps of Louisiana. His earliest art training was in Dallas from Vivian Aunspaugh, Cora Edge, and Frank Reaugh when his family moved there in the early 1920s. Dozier became a member of the Dallas Artists League in the 1930s after becoming involved with a group of regionalist artists. He taught at the Dallas School of Creative Arts from 1936 to 1938, while at the same time studying the various works of European artists such as Picasso, Leger, and Matisse. His initial style included bright colors and dominant forms but later moved to the earthy tones of beige, green, brown, and gray. In 1940, Dozier married and together he and his wife contributed much to the Dallas cultural scene. Dozier attended the Colorado Springs Fine Arts Center in 1938 on a scholarship, studying with Boardman Robinson. For the next seven years he served as Boardmans assistant. While in Colorado, the Rocky Mountains became a favorite painting ground where he completed more than 3000 sketches of ghost towns and mountains. Influenced by Robinson, he developed a more fluid style and became an expert in the lithographic medium. Upon returning to Dallas, Dozier taught life drawing at Southern Methodist University from 1945 to 1948. From 1948 until 1970 he taught drawing and painting at the Dallas Museum of Fine Arts. He participated in sole exhibitions in the early to mid 1940s, as well as other major exhibitions at the Whitney Museum of American Art and the Metropolitan Museum of Art in New York City. Dozier completed murals at the Agricultural and Mechanical College of Texas (Texas A&M University) and at various post offices in Texas. He won many awards at various exhibitions, including the International Watercolor Exhibition in San Francisco in 1932; the Museum of Modern Art in New York in 1933; the First National Exhibition in New York in 1936; Allied Arts exhibitions in 1932, 1935, and 1947; and two Texas General exhibitions in 1946 and 1947. His works may be found in the permanent collections of the Museum of Fine Arts in Houston; the Archer M. Huntington Art Gallery at the University of Texas at Austin; the Modern Art Museum of Fort Worth; the Marion Koogler McNay Art Museum in San Antonio; the Dallas Museum of Art; and the Panhandle-Plains Museum in Canyon, among others. Dozier died of heart failure in 1987. Additional exhibition venues: Otis Dozier: A Centennial Celebration 1904-1987 The McKinney Avenue Contemporary, November 6 - December 10, 2004 OTIS DOZIER (1904-1987) Otis Dozier was born in Forney, Texas in 1904 and was raised on a farm in nearby Mesquite. Dozier enjoyed drawing and painting from an early age, and a visit to the Texas State Fair convinced him to pursue art as a vocation. Dozier recalled visiting the Fair’s rotunda and, there, seeing an early work by Mexican muralist Diego Rivera. Dozier did not understand the image but was fascinated by it, later recalling that looked like blood and buttermilk to him; he just looked and looked; the newspaper said it was so great and he was willing to learn but couldn’t understand why it was so great. Dozier’s family moved to Dallas at the beginning of the 1920s, and it was there that he would receive artistic training under Vivian Aunspaugh, Cora Edge, and Frank Reaugh. Dozier would study with Aunspaugh for two years. She introduced Dozier to art history and spoke highly of the Impressionists, although she was cooler towards the Cubists and Fauvists who represented France’s new vogue. Dozier became a member of the Dallas Artists League in the 1930s. He taught at the Dallas School of Creative Arts from 1936 to 1938 and was a significant member of the burgeoning Dallas art scene. Otis Dozier was a member of the cadre of Dallas artists known as the “Dallas Nine.” Though the disparate group of painters, printmakers and sculptors who composed the Nine could be broadly categorized as regionalists, they often displayed a decided fascination with the European avant-garde. This is especially true of Otis Dozier’s works, in which regionalist subject matter was often mingled with Surrealist and Cubist techniques. Starting in 1936, Dozier—as well as the other members of the Dallas Nine—began exhibiting their work at local, regional and national exhibitions. In 1936, Dozier, along with 713 artists from 47 states, attended the First National Exhibition of American Art at Rockefeller Center in New York. Dozier himself participated in numerous solo exhibitions during the mid-1940s and contributed to exhibitions in New York’s Whitney Museum of American Art and Metropolitan Museum of Art. In 1945, Dozier returned to Dallas. He had been invited by fellow artist Jerry Bywaters...Category
1960s Modern Landscape Paintings
MaterialsOil
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Other areas providing inspiration for his works would include the Big Bend and Gulf Coast areas of Texas, the Four Corners area of New Mexico, Arizona, and Utah, and the bayous and swamps of Louisiana. His earliest art training was in Dallas from Vivian Aunspaugh, Cora Edge, and Frank Reaugh when his family moved there in the early 1920s. Dozier became a member of the Dallas Artists League in the 1930s after becoming involved with a group of regionalist artists. He taught at the Dallas School of Creative Arts from 1936 to 1938, while at the same time studying the various works of European artists such as Picasso, Leger, and Matisse. His initial style included bright colors and dominant forms but later moved to the earthy tones of beige, green, brown, and gray. In 1940, Dozier married and together he and his wife contributed much to the Dallas cultural scene. Dozier attended the Colorado Springs Fine Arts Center in 1938 on a scholarship, studying with Boardman Robinson. For the next seven years he served as Boardmans assistant. While in Colorado, the Rocky Mountains became a favorite painting ground where he completed more than 3000 sketches of ghost towns and mountains. Influenced by Robinson, he developed a more fluid style and became an expert in the lithographic medium. Upon returning to Dallas, Dozier taught life drawing at Southern Methodist University from 1945 to 1948. From 1948 until 1970 he taught drawing and painting at the Dallas Museum of Fine Arts. He participated in sole exhibitions in the early to mid 1940s, as well as other major exhibitions at the Whitney Museum of American Art and the Metropolitan Museum of Art in New York City. Dozier completed murals at the Agricultural and Mechanical College of Texas (Texas A&M University) and at various post offices in Texas. He won many awards at various exhibitions, including the International Watercolor Exhibition in San Francisco in 1932; the Museum of Modern Art in New York in 1933; the First National Exhibition in New York in 1936; Allied Arts exhibitions in 1932, 1935, and 1947; and two Texas General exhibitions in 1946 and 1947. His works may be found in the permanent collections of the Museum of Fine Arts in Houston; the Archer M. Huntington Art Gallery at the University of Texas at Austin; the Modern Art Museum of Fort Worth; the Marion Koogler McNay Art Museum in San Antonio; the Dallas Museum of Art; and the Panhandle-Plains Museum in Canyon, among others. Dozier died of heart failure in 1987. Additional exhibition venues: Otis Dozier: A Centennial Celebration 1904-1987 The McKinney Avenue Contemporary, November 6 - December 10, 2004 OTIS DOZIER (1904-1987) Otis Dozier was born in Forney, Texas in 1904 and was raised on a farm in nearby Mesquite. Dozier enjoyed drawing and painting from an early age, and a visit to the Texas State Fair convinced him to pursue art as a vocation. Dozier recalled visiting the Fair’s rotunda and, there, seeing an early work by Mexican muralist Diego Rivera. Dozier did not understand the image but was fascinated by it, later recalling that looked like blood and buttermilk to him; he just looked and looked; the newspaper said it was so great and he was willing to learn but couldn’t understand why it was so great. Dozier’s family moved to Dallas at the beginning of the 1920s, and it was there that he would receive artistic training under Vivian Aunspaugh, Cora Edge, and Frank Reaugh. Dozier would study with Aunspaugh for two years. She introduced Dozier to art history and spoke highly of the Impressionists, although she was cooler towards the Cubists and Fauvists who represented France’s new vogue. Dozier became a member of the Dallas Artists League in the 1930s. He taught at the Dallas School of Creative Arts from 1936 to 1938 and was a significant member of the burgeoning Dallas art scene. Otis Dozier was a member of the cadre of Dallas artists known as the “Dallas Nine.” Though the disparate group of painters, printmakers and sculptors who composed the Nine could be broadly categorized as regionalists, they often displayed a decided fascination with the European avant-garde. This is especially true of Otis Dozier’s works, in which regionalist subject matter was often mingled with Surrealist and Cubist techniques. Starting in 1936, Dozier—as well as the other members of the Dallas Nine—began exhibiting their work at local, regional and national exhibitions. In 1936, Dozier, along with 713 artists from 47 states, attended the First National Exhibition of American Art at Rockefeller Center in New York. Dozier himself participated in numerous solo exhibitions during the mid-1940s and contributed to exhibitions in New York’s Whitney Museum of American Art and Metropolitan Museum of Art. In 1945, Dozier returned to Dallas. He had been invited by fellow artist Jerry Bywaters...Category
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