Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

Everett Spruce

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Everett Spruce

Everett Spruce

Everett Spruce

Everett F. Spruce, well-known Texas artist, teacher, professor emeritus was born on a farm in Conway, Arkansas, to William E. and Fannie McCarty Spruce. 

He came to Dallas, Texas at the age of 17, on a scholarship to study at the Dallas Art Institute, under Olin Travis and Thomas M. Stell, Jr. In 1931 he became Gallery Assistant at the Dallas Museum of Fine Arts and, in 1934, married Alice V. Kramer, a fellow art student. He served as Assistant Director and teacher at the Dallas Museum of Fine Arts 1936-40. 

He was one of the "Dallas Nine" group of Southwest artists. By the time he joined the Art Faculty of the University of Texas at Austin in 1940 he had already achieved national recognition and his work had been chosen for inclusion in major national juried exhibitions. 

He served as Chairman of the Department of Art at the University of Texas at Austin 1949-51, became Professor of Art in 1954 and served as Director of Graduate Studio Art 1961-74. He retired in 1974 as Professor Emeritus and was recognized as one of the outstanding painters in Texas. 

His work was exhibited both nationally and internationally, including Texas Centennial Exhibition, Dallas, Museum of Fine Arts; Annual Exhibition of Contemporary American Paintings, Whitney Museum of American Art, New York; Annual Exhibition of American Painting and Sculpture, Art Institute, Chicago; Exhibition of American Painting and Sculpture, Carnegie Institute, Pittsburgh; "A Particular Portion of Earth", Pan American Union, Washington, D.C. 

Upon his retirement from the University of Texas, Austin, he was honored with a Retrospective Exhibit, Selected Paintings and Drawings, 1950 - 1979. In 1993, he was honored with an exhibition, "Companions in Time: the paintings of William Lester and Everett Spruce" by Laguna Gloria Art Museum. 

Mr. Spruce won numerous prizes including Purchase Prize, "Painting of the Year" Pepsi-Cola Competition, National Academy of Design, New York; Scheidt Memorial Prize, 142nd Annual Exhibition, Pennsylvania Academy of Fine Arts; First Prize Exhibition of Modern American Paintings, Galerie Giroux, Brussels; and was chosen as the first artist to be represented in the Blaffer Series of Southwestern Art, published by the University of Texas Press. 

He was awarded a Ford Foundation Grant Retrospective Exhibition circulated by the American Federation of Arts, South, Midwest, West. 

His work is highlighted in many publications including Lone Star Regionalism, "The Dallas Nine and Their Circle," by Rick Stewart, published by Texas Monthly Press; "Pecos to Rio Grande", "Interpretations of Far West Texas by Eighteen Artists", published by Texas A&M University Press; The Texas Gulf Coast, "Interpretations by Nine Artists," published by Texas A&M University Press; and "Art for History's Sake, The Texas Collection of the Witte Museum." by Cecilia Steinfeldt, published by the Texas State Historical Association. 

In addition, he was honored for his lasting contributions to the art world and for his exemplary work as an educator by a Resolution bestowed by the Texas House of Representatives and signed by the then Governor George W. Bush. 

In addition to pieces held by numerous private collectors, his works are included in many public collections including Metropolitan Museum of Art, New York; Dallas Museum of Fine Arts; M.H. DeYoung Museum, San Francisco; Fort Worth Art Museum; Museum of Fine Arts, Houston; Marion Kugler McNay Art Institute, San Antonio; Museu de Arte Moderno, Rio de Janeiro; Museum of Modem Art, New York; Phillips Gallery, Washington, DC; Southern Methodist University, Dallas; Tulane University, New Orleans; University of Alabama; University of Nebraska; University of Texas at Austin; Whitney Museum of American Art, New York; and Witte Memorial Museum, San Antonio. 

Mr. Spruce continued to paint and exhibit into his 88th year of age. He included a sense of music and poetry in his painting. In many instances he could identify the exact spot he translated into paint, describing the time of day, the weather, the light, and where he stood when he viewed it. His paintings are rich in color, texture and mood, communication strength and substance. 

He was an amazingly productive artist, painting mostly landscapes, though he occasionally painted fascinating people, birds and animals. Mr. Spruce especially loved trees, of which he said, "each has it's own personality." In addition, he appreciated nature, particularly mountains, cactus, birds, animals, the ocean, rocks, craggy countryside, the sky, and storms. He treasured anything Celtic/Irish, was fascinated by languages and different cultures, enjoyed good music, William Yeats, Thomas Hardy, William Faulkner, and all good literature. 

"Jackson Pollock: Blind Spots" Blockbuster Show at the DMA

Dallas Museum of Art to Present Largest Exhibition Of Jackson Pollock’s Black Paintings Ever Assembled

Exhibition of Jackson Pollock’s Black Paintings to Open Exclusively at Dallas Museum of Art in November

Jackson Pollock: Blind Spots Is Only the Third Major U.S. Museum Exhibition to Focus Solely on the Artist

On November 20, 2015, the Dallas Museum of Art will present what experts have deemed a “once in a lifetime” exhibition, organized by the DMA’s Hoffman Family Senior Curator of Contemporary Art Gavin Delahunty: the largest survey of Jackson Pollock’s black paintings ever assembled.

This exceptional presentation will include many works that have not been exhibited for more than 50 years, several of which were considered lost. 

Jackson Pollock: Blind Spots offers critical new scholarship on this understudied yet pivotal period in the artist’s career and provides radical new insights into Pollock’s practice.

On view at the DMA through March 20, 2016, the exhibition will receive its sole US presentation in Dallas, with more than 70 works, including paintings, sculptures, drawings, and prints.

Jackson Pollock: Blind Spots is the first large-scale exhibition to be curated by Gavin Delahunty at the DMA since he joined the Museum in May 2014. The exhibition is co-organized with Tate Liverpool, where Delahunty previously served as Head of Exhibitions and Displays. Tate Liverpool opened a smaller version of the exhibition in June.

The exhibition will first introduce audiences to Pollock’s work via a selection of his classic drip paintings made between 1947 and 1950, including Number 2, 1950, a work from the Harvard Art Museums’ collection that has not traveled in over 20 years. 

These works will serve to contextualize the radical departure represented by the black paintings, a series of black enamel paintings that Pollock created between 1951 and 1953. An unprecedented 31 black paintings will be included in the DMA presentation, nearly double the next largest survey of these works (which was presented at the Museum of Modern Art in 1967).

 “While several of Jackson Pollock’s contemporaries combined black and white, his black paintings were exceptional in their absolute merging of color and surface, which went over and above what Pollock himself had previously achieved; this is a crucial difference for many contemporary artists revisiting Pollock’s work today,” said Delahunty. “Through a comprehensive display of more than 70 works, the exhibition offers the opportunity to address ‘blind spots’ in the current understanding of the artist’s practice, offering a new perspective on his lasting contributions to post-war and contemporary art.

“As one of the first American museums to acquire Pollock’s work, it only is fitting that the DMA should present this definitive exhibition of the black paintings, engaging a new generation of audiences with this important and under-examined aspect of the artist’s practice,” Delahunty concluded.

Also featured in the exhibition are 30 works on paper made by Pollock during the same period as the black paintings. Made with enamel and ink and watercolor, the works on paper are considered by scholars to be the artist’s most important as a draftsman. 

The exhibition will also feature five of Pollock’s extant six sculptures, which provide a true three-dimensional experience of his well-known painting approach. Together with the 37 paintings on view, these works immersive audiences in Pollock’s complete oeuvre and shed new light on the experimentation and ingenuity that has become synonymous with his practice. 

While Jackson Pollock’s leading role in the Abstract Expressionist movement has been widely discussed, less attention has been devoted to his black paintings period. In describing this pivotal phase in Pollock’s artistic trajectory, the critic and historian Michael Fried remarked that “[Pollock is] on the verge of an entirely new and different kind of painting . . . of virtually limitless potential.” The black paintings assembled for the exhibition will include significant loans from U.S., Asian, and European collections, as well as important works drawn from the collections of the DMA and Tate.

“Pollock's extraordinary, still controversial black paintings of 1951 finally get the attention they deserve; they prove to be just as radical as his earlier, more celebrated all-over drip paintings, and speak even more to our own time as well,” said John Elderfield, Chief Curator Emeritus of Painting and Sculpture, Museum of Modern Art.

Exhibition Organization and Tour:

Jackson Pollock: Blind Spots is co-organized by the Dallas Museum of Art and Tate Liverpool. The exhibition is curated by Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art, Dallas Museum of Art (formerly Head of Exhibitions and Displays at Tate Liverpool), with Stephanie Straine, Assistant Curator, Tate Liverpool. 

The exhibition is co-presented by Bank of America and Texas Instruments. Additional support is provided by The Pollock-Krasner Foundation, Inc.  The presentation in Dallas is made possible by TWO X TWO for AIDS and Art, an annual fundraising event that jointly benefits amfAR, The Foundation for AIDS Research and the Dallas Museum of Art, and the Contemporary Art Initiative.  Marketing support is provided by the Dallas Tourism Public Improvement District and the Dallas Convention & Visitors Bureau and Texas Monthly.

The exhibition tour includes:

Tate Liverpool: June 30–October 18, 2015

Dallas Museum of Art: November 20, 2015–March 20, 2016