Early Works
“As a young artist, Morse painted with oils and stretched his own canvases. He painted in the vigorous visual language of the day, abstract expressionism. This helped him secure an MFA degree and jobs at colleges and universities -- landing him at the University of Arizona in 1970. His portfolio was large oil canvases, drawings and etchings. As he developed artistically and secured tenure, he left oil painting to pursue his passion for watercolor and had the time, space, and security to explore and evolve artistically.”
- Magen Morse
Thesis Painting, Seattle WA, 1963, Oil, 19 x 24 in.
Seated Nude, 1963, Oil and Ink, 14 x 11 in.
Thesis Painting, 1964, Oil, 14 x 10 in.
Rondo with Enero, 1965, Ink, 6 x 5 in.
Untitled Double Nude, 1965, Oil on Linen, 59 x 44 in.
Untitled, 1966, Mixed Media on Paper, 21 x 16 in.
Barbershop Pole, 1966, Oil, 7 x 7 in.
Midwest Impression 1, 1966, Woodcut, 20 x 33 in.
Midwest Impression 2, 1966, Woodcut, 20 x 33 in.
Reflections with a Color Blind Boy, 1966, Woodcut, 34 x 19 in.
Fall, Blue Point, 1966, Etching, 24 x 29 in.
Artists Backyard, 1014 Park, 1968, Etching, AP, 26x30 in.
Summer, Blue Point, 1968, Woodcut, 24 x 29 in.
Landscape with Gold Leaf, 1970, Oil, 14 x 20 in.
Nude in a Blue Chair, 1974, Acrylic, 17 x 13 in.
During his undergraduate and graduate studies, Morse worked in printmaking, drawing, and painting. His large scale oil painting won “best in show” at an exhibition in Seattle following his 1964 MFA show at the University of Washington’s Henry Art Gallery.
Morse’s early style was influenced by his high school teacher, Don P Olsen who was a violinist with the Utah Symphony before becoming the art and music teacher at Jordan High School. Olsen had studied with Hans Hoffman and encouraged students to paint in the Abstract Expressionist style. Morse’s large-scale oil paintings with strong colors and active brushstrokes were reminiscent of Olsen’s style.
His student work included small ink drawings and nudes like Nus D’Rondo, from 1963, that was shown in 1964 at Atrium Art Galleries in Seattle. His early nudes are treasured in the family collection because they are rare and depict a delicate sensitivity. The soft curves gently follow the body and give the large, flattened figures quiet dignity and sensuality. The white, gray and pastel colors alongside quick, visible brushstrokes lend fluidity.
Between 1964 and his move to Tucson, Arizona in 1970, Morse took up short term teaching contracts at the University of Idaho, Grinnell College, and Portland State University. He found the culture at the University of Idaho too conservative for his liking and at Grinnell was assigned to teach art history in addition to studio classes. While there he met Bob McMillan, who later became Head of the University of Arizona Art Department and invited him to apply for a position there.
The paintings and woodcuts during the late 60s and early 70s are experiments in composition, the use of space as well as color to create perspective and abstraction.
Morse continued to build a portfolio of work that reflected the ‘academic’ preferences of the time and would help earn a position at the University of Arizona teaching painting, printmaking, and drawing.
Daughter Magen Morse recalls Morse saying that within the academy, the hierarchy of genres still favoured oil painting. Once he obtained tenure, he abandoned oils for watercolor. He told family members that he thought oil paints and solvents were toxic, expensive and the large paintings difficult to maneuver and store. He preferred watercolor because of its immediacy and portability.