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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Gerbera Daisy & Wildflowers by Joyce Tenneson, Image 2.

    Joyce Tenneson

    Gerbera Daisy & Wildflowers, 2020

    Archival pigment print

    22 x 17 in (55.88 x 43.18 cm)

  2. Riverbank (Ribera), from the portfolio Borders and Belonging by Susan Harbage Page, Image 1.

    Susan Harbage Page

    Riverbank (Ribera), from the portfolio Borders and Belonging, 2013

    Color inkjet print on cotton rag paper

    17 x 22 in (43.18 x 55.88 cm)

  3. Doublonnage (Portrait A) by Yasumasa Morimura, Image 1.

    Yasumasa Morimura

    Doublonnage (Portrait A), 1988

    Chromogenic photograph

    47.25 x 47.25 in (120.02 x 120.02 cm)

  4. The Spectre Bark (Life-in-Death Winneth the Ancient Mariner) from The Rime of the Ancient Mariner by Patrick Procktor, Image 1.

    Patrick Procktor

    The Spectre Bark (Life-in-Death Winneth the Ancient Mariner) from The Rime of the Ancient Mariner, 1976

    etching on paper

    25.5 x 19.5 in (64.77 x 49.53 cm)

  5. Small January 1973: 2 by Patrick Heron, Image 1.

    Patrick Heron

    Small January 1973: 2, 1973

    Screenprint on paper

    19.625 x 23.125 in (49.85 x 58.74 cm)

  6. Composition 70 by Jean Baier, Image 1.

    Jean Baier

    Composition 70, 1970

    Screenprint on paper

    32.75 x 47.5 x 1.75 in (83.19 x 120.65 x 4.45 cm)

  7. Untitled by Juan Genovés, Image 1.

    Juan Genovés

    Untitled, 1970

    Etching on paper

    19.8125 x 25.875 in (50.32 x 65.72 cm)

  8. Robyn Denny

    Light of the World, H, 1970

    Screenprint on paper

    29.25 x 32.125 in (74.3 x 81.6 cm)

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About the artist

Maud Morgan

American

1903-1999

American collage artist, painter, and printmaker. Morgan grew up in New York City and attended Barnard College and then the Sorbonne in Paris. She travelled around the world and eventually met her husband Patrick Morgan, a contemporary artist, in Paris, who encouraged her to paint. She moved to Boston and taught at Abbot Academy. Morgan’s work did not conform to “notions of female art,” and as she moved away from New York, she lost visibility. She was known as Boston’s Modernist Doyenne.