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prrrduced his firstlit rgiorr,rIi.;l Iitlrogr.rph (rtc;uar r).
Llrrtillt rl lllrr<' Vullt:y Fo: lltLnt,
i1 rl('l)i( ls Iirrrr nrcn g:rLhcrecl
.rrrrurrrl .r lirt r,r,ilh Lrvo hounds,
onc ol ll:t lrrrnlcrs hlowing a
ltor n lo si1,r,,,1 ,1,., ot.l'rer dogs tcr
rt'1 urn. lri l in lilLrc Vallcy otLtsidc
l(,urs,rs ('il 1,, Ilrc prirtt lbcuscs
orr tlrt :;inrpli' plc.rsurcs o1'rural
lili' irr rriiln,r':rlt't n Arncriclr
lunri is .r rtril,ing cxanrple of'
\ilr, r.,,rrr li,;1i,,rr.rlisrn, Jn .rrir\-Lir' rrovcnrt nl IIr,rl rclbcused
.rrr ilii,,1r ,,il i,,ti',n,rl iJcntitv irr
1l)r' l ') 1O.,, lor'.rlizing thc historvol' lrillr, rlo ovt'r loohcd placcs
"rrrt1 p,,,1,1,:,. Al lilst glancc,
tlit irrt.rl,, i';,r Ilrist.tlgic vic'v o1'
rollint, l.rr nrl.rrrrl .rnrl pasloral
l)Lrsllil.,, lrrrl llrr' :;tarli oullincsol' I]r, tr( ( :r l)i('r('ing Llrc opcrr
sky ili.,trr lr Ilrr' lr,l ntony of'thc
sc( r){ .il lr.rrrtl \\ltt ir rlr:N,llrlt'llr,.
macle this print, I(:rnsas was
rccling liorn thc cllccts of eco-
nomic depression in the l9l0s,conclitions that lbrced srnall
Lri nt,'r's trr .Lh,rndon [.Lrnritrg as
Lhcir m.rin sourcc of livclihood.Aggr;r,alcd by Lhc inlarnous
droueht ar-rd llust Born,l o1' 19 15,
lhrmland in thc southwcst
corncr ol- thc s1a1.c was scvcrcly
damaged but the el'f'ects wcrc
Ie It thror-rghout l(ansas. The
dcep ridges of plowed land draw
attention to the plight ol farming
r'r,ithout any overt ref'ereni:es
to the dire conditions that
h:rd allccted thc f:rrming commu-
nitv. -But 1hc contcntmcnt oft.hc hunl.crs and Lhc hounds,
the gontJc curvcs of cullivatcdlancl, and thc warm glor,r,
ol thc firc sccm a1 odds rn,ith
tl'rc harslr shapcs of trcc
I r urrl.s, l,r.rrr, Ir, s, .rnJ t rvigs
in l}rt'foreeronnd. Jn ir scnsc,
l(r)\rrir\rrr,r)iilrir'\ir1l,r i.oL lltult,\t, )(r.l,itlrogr,rplrorpJpcr,I I I l,lr, li, l, I if( rr'.r (icor,li.r Nlrrs|rrnr ol Art. []nirr:rsilt,ol'(lcortir; tili o[
Nlr rrr,i xl r ill\\, xl!llr.. lll.rrrrl ('.rrl\\.\'lLrllisl\',elass01 'Ol.(tN,t(r\20Ol.ltX)
deMarteily depi.cts the pioneer-
ing spirit of the midwestern
community, resilient in the
face of economic deprivationand natural disasters.
Of special note is the figure
sleeping beneath the tree, identi-
fied as the famous Regionalist
Thomas Hart Benton, deMartelly's
friend and colleague at the
Kansas Ciry Art Institute.
The motif of sleep appears fre-
quently throughout the artisttRegionalist prints and in his
later and more abstract Printsfrom the 1950s. Furthermore,
the three seated men echo the
arrangement of a trio of figures,
lncluding that ol Christ from
deMartelly's earlier etching, T/re
Supper dt Emmc,us (ntcunr z), a
print that focuses on the well-
known Biblical subject painted
by master European artists like
Titian, Caravaggio, Rembrandt,
and VelSzquez. The techniques
used to make the two prints,
their subjects, and deMartellY's
articulation of contour and
shape could not have been
more different in both images.
What then is the story behind
the artist's transition from one
picture to another?
A native of Philadelphia,
deMartelly began his formal
artistic training in l92l at
the Pennsylvania AcademY
of the Fine Arts, An accom-
plished draftsmen from the start,
his passion for drawing created
a strong foundation for Print-making, a form of art he would
first pursue seriously at the
Accademia delle Belle Arti i.n
Florence, Italy, in 1927 and L928.
Although he learned a wide
range of printmaking techniques
there, deMartelly was esPeciallY
attracted to lithography, a tech-
nique he subsequently studied
more intensively at the RoYal
Coliege of Art in London. It was
during his English sojourn
that he focused on coPying o1d
master prints, an exercise
required ofevery young artist
in training at the Royal College
of Art. In 1930. deMartellY
returned to Amedca and moved
to Kansas City where he estab-
lished a studio and offered
printmaking courses. Thus
began his teaching career to
which he devoted himself for
the rest of his lifb. Four years
later, he had joined the faculty
of the Kansas City Art Institute
where he taught printmaking
alongside Benton.
In 1931, deMartellY exhibited
The Supper at Emmaus at
the Women's City Club along
with thirteen other etchings.
Art critics reviewing the exhibi-
tion compared the print withRembrandt's Christ at Emmaus
rNsrDE FRoNT covqe^ Laoking at the Sunshine, c. 1938. Lithograph on paper,
10 1/4 x 12 l/4 inches. Georgia Museum of Art. University ofGeorgia; gift olMr. and Mrs. Carl W. Mullis III and Carl W. Mu11is IV class of '01. GMoA 2001'1o3
(1654), remarking that he had
"a technical mastery ... rarely
seen in the work of contempo-
rary etchers." That same year,
deMartellyt print won the gold
medal in the graphics divisionof the Midwestern Artists'Annual Exhibition held at the
Kansas City Art Institute. By
1936, the practice of lithographyhad surpassed the preference foretching, the most popular print-making technique in the iate
nineteenth century exemplified
by prints made by James
McNeiIl Whistler and MaryCassatt. Pioneered by Joseph
Pennell who taught the firstlithography class in an American
art school in 1922 at the ArtStudents League in New York,
the subsequent popularity of
lithography signaled a r adical
shift away from the Whistlerian
tradition. Like many ol his con-
temporaries, deMartellyembraced the medium that he
had long favored.
The Euangelis, (FrcuRE 3),
an independent Regionalist
lithograph and Greek Boxer
(r'rcunn 4), one of the last prints
deMartelly made before he died,
represent the span of the artist's
versati Ie hand li ng ol lirhography.
The former is one of at least
rhree lithographs he made in
addition to the twelve prints
published by the American
Association of Artists (AAA).Executed in the Regionalist
FrcuRE 2 The Supper at Emmaus, c. 1930. Etching on paper, 6 lfZ x 7 inches.
Georgia Museum of Art, University of Georgia; gift of Mr. and Mrs. Carl W.
Mullis III and Carl W. Mu1lis IV class of '0I. cMoA 200I.95
-3-
style, it depicts Lizzie Ozgood,
deMartelly's neighbor in ruralNew Hampshire, where the
artist and his family spent
their summers. Devoted to
the Bible, Lizzie is shown as a
wizened old woman, the details
of her wrinkled skin contra.sting
sharply with the smooth surfaces
battered prizefighter in a visual
blur of lines and deep shadows.
The barely discernible features
oflnis Boxer in fact recall the
damaged visage of the Hellenistic
fighter, particularly the lefteye rendered like a wounded
"black eye." Similarly, the
curls across the boxer's forehead
repeat the arrangement ofof the furniture and walls.
While she grasps a
weighty volume of the
Bible, her attention,
however, has wavered
away from the book.
Such visual nuances,
including the tiny cru-
cifix on the scroll
hanging on the walljuxtaposed with Lizzie's
tightly woven bun,
and the cat slinking outof the door, reveal the
artistt suspicion oforganized religion.
Compared to this highlycontoured rendering,
deMartelly's Greek
Boxer is a strikingabstract composition
typical of the prints he
produced during the last three
decades of his life. He turns
yet again to a subject from the
past-the famous Terme Boxer,
the Hellenistic bronze sculpture
(3rd-2nd century BC) character-
ized by swollen ears, a broken
nose, and facial scars.
DeMartelly reinvents the
tight curls on the head of the
Terme Boxer.
ln 1943, the dynamic Albert
Christ-Janer invited deMartelly
to teach at Michigan State
University (then Michigan State
College). The artist remained
there until his death in 1979.
He also served as a consultant in
FIGURE 4 Greek Boxer,1979. Lithograph on paper, 10 x 7 inches. Georgia Museum
of Art, University of Georgia; gift of Mr. and Mrs. Carl W. Mullis III and Carl W.
Mullis IV class of '0I. cMoA 2001.163
-5-
:::ntmaking to the Cranbrook
-{cademv of Art in Bloomfield
Hi11s, llichigan, until I960.
It rvas during his teaching career
at -\ISU that deMartelly earned
the moniker "The Wise and
Porverful Wizard," a testimony
to his devotion to teaching as
rvel1 as to printmaking.
The Georgia Museum of Art ishonored to present a retrospec-
tive of deMartelly's prints made
throughout his artistic career,
including his famous Regionalist
lithographs. Complemented by a
selection of drawings and paint-ings, the exhibition has been
organized by curator Romita Ray
from the generous donation ofdeMartelly's drawings and printsgifted to the museum by Mr. and
Mrs. Carl W. Mullis III of Atlantain honor of their son Carl MullisIV a recent graduate of the
University of Georgia. The cura-
tor is also grateful to Carl and
Marion Mullis for loaning kev
paintings and drawings to the
exhibition. In addition, she
thanks Libby Hatmaker for her
meticulous conservation of the
paintings, and Mark Callahan forhis excellent research on
deMartelly's prints.
Selected Bibliography
Adams, Clinton, ed. Second Intpressions: Modern Prints and PrintmakersReconsidered. Albuquerque: University ofNew lr{exico Prers, 1996.
Johnson, Deborah J. Whistkr to Weidenaar: American Prints 1870-1950.Providence: Museum of Art, Rhode Island School of Design, 1987.
North. Bill, The Prints of John S. deMartelly. East Lanslng: Iftesge Art Museum,Michigan State University, 1997.
O' Gorman, James F., ed. Aspects of American Printmaking 1800-1950-Syracuse, New'icrk: Syracuse Uaiversity Press, 1988.
Walker, Barry. The Americln Artist as Printmaker. New York: The BrooklynMuseum, i983.
Zink, Vic. John Stockton deMartel$ 1903-1979. Gaflord, Michigan: Mid-North Printing, 1990.
-6-
^E t 1 e r , ? ...-q-ffiecKlrsE GE 6ire .Erxffilbrffiom rf" "':
eB',fu1
PRIT"{TS
Al)th att tsiqarr, 1950. Edition 10. Lithographon wove paper. Georgia \{useum of Art,Universitv of Georgia: gitt of I{r. and Mrs.Carl W. Mullis III and Carl \\'. \Iul]is 1\., class
of'o1. cuoa 2001.11i. Zink I
Al{ ern.tt i ve ,Yir,,,i.. :i: :-. 1 9i1. Liihograph oD
wove paper. Georgia \tuser:m of Art.University of Georgia: gifi of \tr. and \Irs.Carl W. Mullis III anC Cari \\-. llLrllis I\', ciass
o1"01. cMoa 2001.i28. Zirk l
Btketl Tontilt,, 1965. ECiLor: 20 Lithographon wove paper. Georqia \luseum of Art,Universitv of Georgiar gift ol Mr. and NIrs.
Carl W Mullis lII ar:d Cari \\:. Muilis IV class
of'01. cNrcA 2001.141. Zink 7
'tht'Bircl Stltdtt;r, 1975. Edition 20.
Li&ograph on h,ove paper. Georgia Museumul Arl, Unirer\il\ ol Ceorgiaj giir ot Mr. andMrs. CarI W Mullis III and Carl W. Mullis IV,
class ol '01. GMOA 2001.Io0. Zink 9
Blut \,'tLllc.:; Fo.\ ll[t1t, 1936. Lithograph onwove paper. Georgia Museum of Art,Universiiy of Ceoigia; gift of Mr. and Mrs.Carl W Mullis III aad Carl W Mullis I! class
of 'ol. c\roA 2001.100. /ink lO AAA
t t'.,., ltt. 1942. Lirhogrdph on wove pdper.
Ceorgia Muscum ol An. U1:ver\jlv ol
Ceorgia; gift of X{r. and Mrs. Carl W. MullisIII and Carl 1V- Mu11is I\.. class of '01.Gi\{oA 2001 111. Zinli 12 AAA
lrr',:..,- : l9i-i. Lr:no-graph on l'or.epaper. Georgia -\iii.!euilt o;.-qr:, L ilirersitYof Georgia; gift oi irl:. ;::,i -\I:s. Cari
W Mullis IlI .rni Carl 1\.. l\iu,,rs I\r .iassof '0t. cNlol\2001.1-:1. Z]r li
Ctooil.ech 11, 1954. Frrsi.o...r 1,1:ratlon. Colorlithograph on wo\ie paf<.. Ge.rgta \lliseuno[ Art. Unir.-r<.Lr o-,,o..- -.- o: \lr. a J
Mrs. Carl W Mullis III trni Carl \\'. \Iullis I\r,
class of'01. GMOA2001.12i. Zink 16
[cottorttc Dl.s..l.!sior]. 1916. tithograph on
wove paper. Georgia Museum of Art,University ol Georgla; gift of trdr. and X{rs.
Carl W Mullis III and Carl \\,'. Mullls IVclass of'01. cMoA2OO1.101. Zink l8 AAA
Iti l'|. Fr'!iri.!.ri!t, 1941. lithograph on wovepaper. Georgia Museum of Art, University ofGeorgia; gilt of Mr. and Mrs. Carl W. MullisIII and Carl \{l Mu1lis IV class of'O1.c\', A 2001.109. Zink l9
11 i:r',i:,;. 1966. 1st state. tithograph on woveDacer Ceorgia MuseJm of Afl, Universitv oICeorgid; giu o[ ]\1r. :nd lMrs. Carl W. Uuill.t.ll and Carl \V. -\4ullis tV class o['01.,,\', A 2001. l40. Zink 20
12 lr1liirs, 1966-1970.4th state, second varia-tion. Lithograph on wove paper. Georgia
Museum of Art, Unive.sity of Georgia; giftol Mr. and Mrs. Carl W. Multis lll and Carl
W. Mullis IV. class ot 'Ol. GMoA 2001.148.
Zinl< 20
l) Far lhe Lqt.,e ol Borbttra ALttt, 1942.Ljrhograph on wove pdper. Georgia Museumof Art, University of Georgia; gift of Mr. andMrs. Carl W Mullis lll and Carl W. Mullis IVclass ol '01. !\aoA 200.1.I lO. Zink 8 AAA
t4 l,:t.; I t.( :'.ti.tt. Iqbo. Lithograph on wovepaper. Georgia Museum of Art, University ofGeorgia; gift of Mr. and Mrs. Carl W MullisIII and Carl W. Mullis IV class of '01.cMoA 2001.135. Zink 24
1i Gr|l :il.rirp 1951. Lithograph on wove paperGeorgia Museum of Art, University oICeorgi;:gjJL o- Mr. and Mrs. Carl W MullisIll :no tarl W. Muljis IV, class ol 0l.,rr ,r 200l.lio. Zink 25
]b l;r r i s ir;:-r ,!.i_r, 1937. lithograph on woveDroer. C(orgid Museum of Art, Unjversily ofr-ieorgia: g'ft ol Mr. and Mrs. Cdrl W MullisIIi and Carl W'. Mullis IV class of '01.
r',,r 2001 -02. l:nk 27 AAA
li r;r,'rr /Jl,...r-, 1979. Lithograph on wove paper.
CeoLgia -\4rseum of Art, Univetsity ofGeorgia; Bilr ol Mr. and Mrs. Car[ W Mullislll ano Carl W. Mullis IV, class of '01., I'n\ 20Ol.l6J. Zink 29
lR h ; i. ( lq4b. Lirhograph on wove pdper.
Georgia Museum of Art, University ofGeorgia; gilt of Mr. and Mrs. Carl W. MullisIII and Carl W. Mullis iV class of '01.
LiM(rA 2002.78. link ]O
: ri ria:h on t\oYe
: :-i.:-::.: {ri, Lnt\,ersitv of.'.lr :.r \1:s. Carl\\i N{ul1is
. l.l: ,:: :1. .1ass ol'01.
- ' .- \:a1e. eoition 20.
- r . -TeT. Ceorgia Muscum
.. ..'. ' CcorBia gill ol Mr.
. -,... \lullis lli and Carl lN.
r<: i,f'01. GMoA 2001.129. Zink 31
Pensiue, 1950. Lithograph on paper' Georgia
Museum of Art, Univenity of Georgia;
gift of Mr. and Mrs- Carl \4/. Mullis I11 and
Carl W. Mullis I\'. class ol '01.
GM0A 2001. 1 14. Zink 49
PlafietLlr! ]]ombadment, 1951. Lithograph on
wove paper. Georgia Museum oI Art,University of Georgia; gift of Mr. and Mrs.
Carl W. Mullis IlI and Carl W. Mullis IV class
of'0]. (;\{o-{ 2001.120. Zink 51
iO Ponte i'...chj0, 1928. 1st Stale. Etching and
aquatint on wove Paper. Georgia l{useum olArt, Universitv of Georgia; gift of \'1r. and
Mrs. Carl W. Mullis IIl and Carl \\'. \Iullis I\'class of '01. t]uoa 2001.9o. Zink 21
jl Portrait oJ' Whistler, 1932. Etching on wove
paper. Georgia ll{useum of Art, University of
Georgia; gift of Mr. and Mrs. Carl W. Mullis
Lll and Carl w. Mullis IV class ol '01.
cvr)A 20t) Lqh. linl< 52
32 RembnntJt Drauing at a \\/ifidou, 1929.
Etching on wove paper. Georgia Museum ol
Art, University of Georgla; gift of Mr. and
Mrs. Carl W. Mullis IIt and Carl w. Mullis IVclass ui .0t.
GVUA 2OOl.gt. Zinl( \s
il Rjdc J Lo(( Horie. Ig40. LithogrdPh on uove
paper. Georgia Museum of Art, University of
Georgia; gih of Mr. and Mrs. Carl W. Mullis
III and Carl W Mul}is IV class of '01.
GMoA 2.,ul.lo- linl.56 AAA
34 The Ristti,1935. lithograph on lvove paper.
Georgia Museum of Art, University of
Georgia; gilt of Mr. and Mrs. Carl W. Mullis1I1 and Carl W Mullis 1V class o['01.cMoA20OI.99. Zink 7i
35 Siffa Pistoiese {Pistoiaft lc?eeJ, 1928 Etching
on wove paper. Georgia Museum ol Art,
Lniler(ill o[Ceorgir: 8i11,'l'Mr' and Mrs.
Crrl W. Mullis Illand Crrl W Mullis tV tla's
of '01. GMOA 200i.91. Zink 3l
)6 The SuPPet qL Effifia1\s,1930. lst State.
Etching on wove paper. Georgia Museum oi
Arl, University of Georgia; gift ol Mr' and
Mrs. Carl W. Mullis 1I1 and Carl \v, Mullis IV.
chss ot ,01. cNloA 20r)l q;. zinl, h()
17 The Strinfierl lg50. lithograph on wovc
papcr. Georgia Museum of Art, UniYersitv ol
ircrgir: grtr ,'l .tr4r. anJ Mrs. Carl W. Mullis
rII and Car.l W. Mullis IV class ol '01.
(,vu^ 2O0l,l lb. lirrli hl
, .. -928. 2rd state. Etching on- -- ..( rqld \luseum ofArt,:. :: Georgia; gift of Mr. and Mrs.
l.i:.::s lII and Cari W. Mullis IY- rr-roA 2001.92. Zlnk 67
- -:ll 5rh state, edition 50. Etchirg: :: : . :lf er. Georgia Museum of Art,
- ::. .:::r:1- cl Georgia; gift of Mr. and Mrs.
- :: '.: l,iuilis III and Carl W Mullis IV:.-: : - : r]l . c\'loA 2001 .97. Zink 37
- , - .:::.'rs, ).929. 4tb, state. Etching on
. r ': :n!er. Georgia Museum of Art,,:-:'.::si:r' ol Georgia; gift oI Mr. and Mrs-
-:: ','.. \lullis III and CarlW Mullis iY:-::: :i 01. GNI0A 2001.94. Zink 38
.= .-: :,: .:: t]re Suftshine, f938. I-ithographr : ....r\ e paper. Georgia Muse um of Art,,::r:rsitv of Georgia; gllt of Mr. and Mrs.
-::-'r\'. ],,lullis III and Carl W. Mullis IV:--:s: ..i'01. cI{oA 20O1.1O1. Zink 40 AAA
-r :: ,i" l's;rs, 1968. I-ithograph on wove
:::e:. Georgia Museum ofArt, University
:: Georgia; gift of Mr. and Mrs. Carl W. Mullis.:' :rd Carl W Mullis IV class of '01.
..'.'..r 1001.151. Zink 41
:. '.' i: -i",Jc, 1953. Trial prooi edition 20.
r::iograph on \{ove paper. Georgia Museum
i: .{rI, University ol Georgia; gift of Mr. and
\1:s Car] \,V. Muilis III and Car] W. Mullis IV."ass of'01- GMIIA 2001-I21. Zink 44
l- r .,; ]-t*r; 'fown€ tsauglll a Neu Sctthe. \938.
L::hograph on s'ove Paper. Georgia Museum
.ri Ari, University of Georgia; gift of Mr. and
'rlrs. Carl \\i Mullis lII and Carl W. Mullis IVciass of'01. GxloA 2001-105. Zinh 45 AAA
lS l..r ,"Iron, 1938- Lithograph on wove paper.
Georgia Museum of AIt, University of
Georgiai Bift of Mr. and Mrs (-'arl W MullisIII and Carl W. Mullis I\'. class of '01.
GVOA 200I.104. ZinL .:i .', rA
-8-
Three Graces, 1965. Lithograph on wove
paper. Georgia Museum of Art, Universityof Georgia; gift of Mr. and Mrs. Carl W.
Mullis III and Carl W. Mullis IV class of '01.
cMoA2001.142. Ziak 62
Tropical Flowers,1951. Lithograph on wove
paper. Georgia Museum of Art, Universitv ofceorgia; gift of Mr. and Mrs. Carl W. MullisIII and Carl W. Mullis IV class of '0I.cMoA 2001.118. Zink 63
Two Old Toms,1939. Lithograph on wovepaper. Georgia Museum of Art, Universityof Georgia; gift of Mr. and Mrs. Carl W.
Mullis III and Carl W. Mullis IV class of '0I.GM1A2OOL.11. Zink 64 AAA
Undine, L967. Lithograph on wove paper.
Georgia Museum of Art, University ofceorgia; gift of Mr. and Mrs. Carl W MullisIII and Carl W. Mullis IV class of '0I.cMoA 2001.150. Zink 65
Llnholy One,1950. Lithograph on wove paper.
Georgia Museum of Art, University ofceorgia; gift of Mr. and Mrs. Carl W. MullisIII and Carl W. Mullis IV class of '01.
cMoA 200I.1I3. Zink 66
Westuard (Large Portrait ol a Gifl), 1933.
Drypoint on wove paper. Georgia Museum
of Art, University of Georgia; gift of Mr.and Mrs. Carl W Mullis III and Carl W.
Mullis IV class of '01. c.NloA 2oo1.98. Zink 68
WhiLe the Sun Shines,1943. lithograph on
wove paper. Georgia Museum of Art,University of Georgia; gift of Mr. md Mrs.
Carl W. Mullis III and Cal \t'. Mullis IV,
class of '01. cMoA 200i. 1 I2. Znk 69 AAA
White Pastures.1939. Lithograph on siove
paper. Georgia Museum of Art, Universityof Georgia; gift of Mr. md Mrs. Cdl w.Mullis III and Cal W. Mulis ry class of '0LGMOA 2001.108. Zink 70 AAA
With Apologies ta Hokusdi,1965. Lithographon wove paper. Georgia Musem of Art,University of Georgia; gift of Mr. and Mrs.
Carl W. Mullis III and Carl W. Mullis IVclass of'0I. cMoA 200I.I45. zink 6
DRAWTNGS
Studl Jbr Hayride, 1946. Graphite on wove
paper. Georgia Museum of Art, Universityof Georgia; museum purchase with funds pro-vided by William U. Eiland and AndrewLadis. cMoA 2003.140
Hillside Farm, I941. Graphite, charcoal,
pen and ink, and watercolor on wove paper.
Georgia Museum of Art, University ofGeorgia; gift of Mr. and Mrs. Cal W. MullisIII and Cal W. Mullis IV class of '01.
cMoA2002.79
Sru.i _tbf Ricle a Cock Horse, 1940. Graphite
and charcoal on thin wove paper. Georgia
Musem of Art, University of Georgia; gift ofMr. md Mrs. Cal W. Mullis III and Carl W,
Mullis I\i class of '01. GMOA 200I.166
Stul', tbr Tro Old Toms, 1939. Graphite and
chacoal on thin wove paper. Georgia Museum
of Art, University of Georgia; gift of Mr. and
Mrs. Cal W. Mullis Itr md Carl W. Mullis IVclass of'01. cMoA 2001.170
Studl for While the Sun Shines, 1938-I943.
Graphite and charcoal on thin wove paper.
Georgia Museum of Art, University ofGeorgia; gift of Mr. and Mrs. Carl W. MullisIII and Carl W. Mullis IV class of '01.
cMoA 2001.17I
Study Jbr Two OLd Toms, 1939. Graphite and
charcoal on thin wove paper. Georgia Museum
of Art, University of Georgia; glft of Mr. and
Mrs. carl w. Mullis III and Carl w. Mullis IVclass of'0i. cMoA 2001.I70
Study for While the Sun Shines, i938-1943.
Graphite and charcoal on thin wove paper.
Georgia Museum of Art, University ofceorgia; gift of Mr. and Mrs. Carl W. MullisItr and Carl W. Mullis IV class of '01. cMoA
2001.171
Stu,lr jor white PastLU'es, 1939. Graphite
on wove paper. Georgia Museum of Art,University of Georgia; on temporary loan
from Cal and Maian Mullis.
PAINTINGS
Sara, 194l-1942. Egg tempera on canvas
mounted on board. Georgia Museum of Art,University of Georgia; on temporary loan fromCal and Marian Mullis.
\\'hile the Sun Shines,1945. Egg tempera on
cdnvds mounted on plywood. Ceorgia
Museum of Art, University of Georgia; on
temporary loan from Carl and Marian Mullis.
48
49
4\5I
45
)f
-9-
Ennara
Checklist numbers 49 and 51 should read as
follows:
49. Old Chris, L939. Graphite on wove paper.Georgia Museum of Arr, Universiry of Georgia; ontemporary loan from Carl and Mari.an Mullis.
51. Sar4 l94l-L942. Graphite on wove paper.Georgia Museum of Arq Universiry of Georgia; ontemporary loan from Carl and Marian Mullis.
The publications depaftment regrets chis error.