William F. Kaeser – His Many Art Exhibitions in 1935

Near Irvington, William F. Kaeser, 1934  
source The Edge of Town  - Painting the Indiana Scene 1932-1948, Indianapolis Art League, 1989

Every Show, Everywhere, All at Once.

One cannot really imagine  a busier year for a young and unknown artist than that of 1935 for William F. Kaeser (pr. KAY-zer). The sheer continuity and multitude of his exhibitions that year is a testament to the hard work, talent, and enthusiasm of his eager youth. Kaeser was an immigrant, from post hyper-inflation,Weimar Germany, who, over the three years previous to 1935, had earned degrees from Herron Art School and Indiana University, and founded, through New Deal works projects funding, the Indianapolis Art Students League and became its founding instructor.

His first exhibition in 1935 was the 28th Annual Indiana Artists show at Herron Art Institute. One of two jurors that year was none other than Grant Wood of Iowa, the sensational new 'regionalist' painter whose American Gothic brought him nationwide fame in 1930.

According to Lucille Morehouse's In the World of Art column in The Indianapolis Star on March 17, 1935, William Kaeser's contribution to the show was a picture called Hawthorne Yards. She categorized the Kaeser work as among a group of  

“Pictures of buildings, either of industrial type that have interest in pattern and color, or of old houses of the 'shabby genteel,' Victorian type or those that are otherwise appropriate to the popular style of today.”  

Morehouse seems to be referring to the  'popular' style referred to variously as American Scene, Social Realism or Regionalist manner employed by Kaeser, and other local artists of late, or more importantly at the time, Grant Wood and Thomas Hart Benton, its leading and founding members.

The title of Kaeser's work, Hawthorne Yards, the first picture of his career to receive critical comment, must refer to the railroad interchange yards bounded by English Avenue to the north, Ritter Avenue to the east, Prospect Avenue to the south and Sherman Drive to the West on the east side of Indianapolis. The area remains to this day as the CSX Hawthorne Yard, and was, then and now, in close proximity to Kaeser's Irvington neighborhood home. 

A Many Splendored Rubber Plant.

A scant week or so later, William Kaeser had a one-man show at Lieber Gallery in Indianapolis that was covered by the competing art critics for The Indianapolis Star and The Indianapolis Times.  On March 15, in the Notes on Canvas in the Art World column, John W. Thompson of The Times, commented on the novelty and talent of a new artist on the scene, William Kaeser, 

“Every so often a young artist pops up from seemingly nowhere and shows promise of doing something just a little bit different from the way 'it's being done.' Just such an artist is William F. Kaeser , who will open a two-week show at H. Lieber galleries Monday...(He) did not make his pastel drawings of Irvington scenes. He went out along White River where people live in most anything they can throw together.

His pastel work is new. It has a new color aspect, a new feeling and a new depth. 

His Matisse-like backgrounds, his broad strokes of sunlight are unusually pleasing.”

Hooverville - Curtisville, William F. Kaeser, 1934
source - The Edge of Town, Indianapolis Art League, 1989

It's not all rainbows and unicorns for Thompson, though, when he offers mild criticism of Kaeser's composition choices, at times, and figures,

“He has a tendency to crowd a bit too much into one drawing...(and) Although Mr. Kaeser has one or two figures in his show, he had better stick to other types of drawing. He hasn't nearly the mastery of body composition and graceful lines in his figure drawings as are beautifully evident in the others.”

The writer's main praise is directed at Kaeser's still lifes, when he writes,

"...his Corn Plant, and his Rubber Plant are two of the loveliest still lifes seen lately.”

Rubber Plant, William F. Kaeser, 1935
source The Irvington Group - 1928 - 1937, Irvington Historical Society, 1984

For her part, Lucille Morehouse comments about Kaeser's sixteen large pastels, and two watercolors showing at Lieber in her March 24 Star column. Of the work, she says,

“Suburban views, river front scenes, shacks in the slums districts and some very carefully-thought-out flower and still life subjects, together with a lively portrait of a farm girl and a study of the nude have been painted with a careful consideration of design and as artistic a regard for color harmony and contrast.”

Morehouse lists some of the artworks displayed as: At the Edge of Town, House on the Hill, Along the Canal, Suburban Church, Loafing in the Shade, Red School House, Corn Plant, Rubber Plant and Narcissus.  

She also mentions Kaeser and his wife will drive to New Orleans for a summer sketching holiday (the resulting artworks of which will figure into Kaeser's busy exhibition schedule later in the year, as we shall see).

During the following months, selections from the 38th Indiana Artists Exhibit, including Kaeser's Hawthorne Yards, would be traveling to Richmond and then Muncie. In April, the first stop was presented by the Richmond Art Association at the city's Morton High School. Then on May 9, The Muncie Morning Star announced that the show would be presented at the art galleries of Ball State College. The Muncie newspaper column reported that some of the paintings in the show were criticized by the exhibit's co-juror, Grant Wood, as being “exponents of localism” as opposed to the 'regionalism' he championed by his own practice.

A May 10, Indianapolis News article announces the concurrent showing of William Kaeser's work in a one-man exhibit in the Hoosier gallery at John Herron Art Institute and as part of the 42nd Annual American Art Exhibition at the Cincinnati Art Museum. 

The Herron solo show is described in two Indianapolis Times articles. The first on May 17, describes the showstopper, at least to the reviewer John Thompson's eyes,

“Mr. Kaeser, whose greatest talent is the application of color, has one outstanding piece, Rubber Plant, a lovely still life depicting the rubber plant, potted, standing on a table on which there are several fruits and a drinking mug. The strong colors, the perspective, the naturalness of the placing of the objects used, these make the picture more than just another still life.”

The second Times coverage appears on May 24, in which a photograph of the pastel The Gravel Pit is shown. In the short accompanying blurb, the artwork of Kaeser in the Herron show is described,

 “Daring and striking use of color is the high point of pastels by William Kaeser now on view at Herron Art Museum. This one, The Gravel Pit, contains the broad strokes, the patches of bright color, and the strength of good drawing necessary for a successful pastel.” 

The Gravel Pit, William F. Kaeser, 1935
source - The Indianapolis Times

The Indianapolis Star reports that a large oil still life, unnamed and not described, is the picture by Kaeser included in the American Art Exhibit in Cincinnati. It mentions other artists chosen for the exhibit, including Thomas Hart Benton, Grant Wood, Edward Hopper and Wayman Adams.

Three articles in The Indianapolis News and The Indianapolis Star, from August 29 through September 3, cover the award winners and entries in the arts competition in various categories at the Indiana State Fair that year. William Kaeser was to win the still life oil painting category with his, by now somewhat locally famous, Rubber Plant. He is a winner as well, in the pastel category, but it is unknown whether it is for one of his pictures of the Louisiana coast (from his summer holiday, presumably) or his shacks – both of  which were included in the show, according to Lucille Morehouse, in her September 3 column.

William Kaeser was a participating artist in the novel public art event the first two weeks of October, in downtown Indianapolis, in celebration of National Arts Week. A large section of Pennsylvania Street, between Washington Street to the south and 16th Street to the north was set up as an outdoor strolling gallery with the street window exhibition of work by Indiana artists. 

Once Upon A Time in New Orleans.

Often a great storyteller, Indianapolis' great art critic, Lucille Morehouse, covered William Kaeser's solo show of New Orleans vacation work that appeared at Lyman's Fireplace Gallery for two weeks in mid-October, 1935. Her wonderful narrative begins,

“Watermelon boats on Lake Pontchartrain and river steamers on the Mississippi were transferred to paper in short order, with all their interest of colorful setting and picturesque groups of workmen, as soon as the young Indianapolis artist, William F. Kaeser, unpacked his painter's kit and got to work with his pastels, early last June, at the end of a journey to New Orleans for two week's painting vacation.”  

Morehouse continues to weave a playful yarn about the long drive of Mr. and Mrs. Kaeser from Indianapolis to the Crescent City as an introduction to the Lyman show in her thorough October 13 art column. 

The exhibition contained fourteen pastels from the recent New Orleans series, with the addition of one large local scene, Old Power Plant, Kentucky Avenue and West Street, that was completed over the summer after the artist's return from Louisiana.

As way of recent background, Morehouse writes of Kaeser,

 “In was in his pictures of tumble-down shacks in the outskirts of Indianapolis, as well as the vigorously painted still-life compositions...within the past year or two...that his individualism in work with color and design asserted itself and gave promise for future accomplishment.”  

Morehouse then provides her observations about various of the individual works in the show. She begins with a pastel that is reproduced in black and white in the paper, Fisherman's Paradise. It shows a ramshackle fisherman's cottage built upon stilts, amid the zigzag of wooden boardwalks, all necessary due to the marshy conditions of coastal region a few miles north of New Orleans. Menacing conical clouds hover on high, and thrust toward the viewer, as they did the artist as he raced to finish his picture before the approaching storm.

Fisherman's Paradise, William F. Kaeser, 1935
source - The Indianapolis Star

Mississippi Levee: On Road to Baton Rouge (now revealed as) a recent first-place winner in the pastel misc. category at the Indiana State Fair. Set in bayou country, the picture showed a curving 20 foot levee and more distant houses of a nearby fishing village.

About Roof-Tops and St. Patrick's Tower, Morehouse writes, “(The work) was painted from the hotel window.” and looked out over a balcony and patio. Banana Conveyor, she writes, is an industrial composition “illustrating the industrial method of unloading the fruit that comes from the tropics.”

“Dock, harbor and boat” themes dominate the compositions, Morehouse writes.  Remaining works  in the show,  she lists in part as; Melon Boat with Side-Boards, Dredge and Train Ferry on Mississippi, The El-Lago, Steamship Sixola,  Yachts - Lake Pontchartrain Harbor, Ferry Boat at Landing and Boats Near the Drawbridge. 

The month following the Lyman's show, an exhibit of Indiana artists was organized in honor of the 20th birthday of the Indiana Artists Club. The show was to include about 200 works by about 100 hundred artists and would shown in the eight-floor galleries of L. S. Ayers & Company in Indianapolis.

An Indianapolis Times review by John W. Thompson under the rather dubiously-intentioned headline 'Indiana Artists Club Exhibit Isn't Bore It Used To Be,' begins by bemoaning the predominance of the  Brown County style in recent prior shows, which he describes as “...beech trees...autumn landscapes swathed in sunlight, or a tumble down...shack with tinted trees in the background and a soft haze over all.”  The writer may have just been piling on, as a year before Grant Wood had dismissed much of Indiana's art as "local color." Nevertheless, Thompson, writes that since about that time, and perhaps as a result, “it's all different now.”

Kaeser's contribution to the show was Watermelon Boats, the best of the pastels, according to Thompson, who described Kaeser as “an Irvington artist whose work has become increasingly popular the last few years.”

Labor + Love = William Kaeser.

William Kaeser's final exhibit of 1935 took place in his home community in Irvington, at the 8th Irvington Artists Exhibition on the second floor of of Carr Hall on Washington Street. The show was covered by Lucille Morehouse in her art column of December 9, 1935 in The Indianapolis Star. 

Kaeser displayed five pieces which summed up his busy year. First, probably by popular demand, was Rubber Plant, for a final encore (at least that year). He also showed an oil landscape Farmers, and the New Orleans pieces Fisherman's Paradise, and presumably renamed Mississippi Levee and Mississippi Dredge.

The Irvington Artists show, the final show of 1935, had a keynote talk by director of the museum at John Herron Art Institute, Wilbur Peat. He talked about 'Forgotton Relationships,' and called for a closer union between “the beautiful in art and everyday objects of utility.”  It was a credo shared by artists such as the tireless and hard-working William Kaeser – with his great love of labor that year – he was able to document the toil and sweat of his fellow man, with his gravel pits, his power plants, his river dredges, his banana conveyor lines. 

His work was a homage to labor, a depression-era vision of the American scene, the social reality – whatever you want to call it. A self portrait, in a way, the vision of an artist for whom work was both an ultimate ideal and a way of life. 

Mark Diekhoff, September 2025 (Labor Day)

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Dorothy Morlan in the Early 1930s - Indiana's First Modernist Painter, Part 4

Dorothy Morlan with her painting 'The Sentinels,' 1933

 

Dorothy Morlan in the Early 1930s

The early Depression era years were productive for Dorothy Morlan and the Indianapolis art scene. New annual exhibition opportunities were launched even as established annuals continued. Her thoughts about art were verbalized in several public talks she gave during these years, and noted a shift in her ideas about expression to those of an ideal. The inspiration of an aural and 'musical'  landscape and nature grasped her attention during this period as she continued to spend holiday seasons in the fields and by-ways near her Irvington home. An important solo show occurred in 1933 that would showcase her latest and most experimental modernist painting to date, The Marching Tree. Indianapolis' best known art critic, Lucille Morehouse, of The Indianapolis Star, continued to champion Morlan's work, and new writers weighed in as well with new viewpoints and observations.

Words and Pictures, Pictures and Words.

The second annual Irvington Artists exhibit at Carr's Hall on Washington Street was held over a period of just less than two weeks in the waning days of February, 1930. According to The Indianapolis Star on February 24, the exhibit had over two thousand visitors and resulted in the sale of several works by Frederick Polley, Simon Baus, Hilah Wheeler and Clifton Wheeler.

The large exhibit room of 100 feet by 40 feet allowed for 'on the line' hanging of nearly the entire show of works, as opposed to the salon-style cramped groupings seen more commonly in other  exhibits.

Morlan's contributions consisted of ten decorative landscapes, mostly large oil paintings and a couple of pastel sketches. She gave a talk as part of the show's run, titled 'Evolution of a Picture.'  The Indianapolis Times contained a confusing announcement of the talk that showed her photo and said the artist's talk would be about the movies. The talk was about painted pictures and not moving pictures as confirmed in The Star on February 21 which provided a summary of Morlan's remarks which shed light into her way of working and thinking about paintings, not movies.

Regarding the inception of an idea for a picture, Morlan noted that the enthusiastic suggestion from a friend for a subject or motif will not suffice the artist. She finds that the artist must be sparked by an urge, an awareness or a recognition of a personal, emotional or sensorial nature. 

"Often the stimulus to create is stirred by something other than an appeal to the eye.  It may be the voice of a bird, the tone of a bell or the ragman's tuneful call in spring. Something of this kind, often found in the most commonplace and unexpected of places, will touch the spring of the artist's imagination and stir the emotion that starts him in a quest of material to express it.”

She expresses her unapologetic approach to landscape,

“...artists represent different types and sources of inspiration. We have the strict realists who take pleasure in depicting plain, cold facts. It is doubtful if the strict realist performs the greatest service in art for it is the personal element in creation that gives it its power. It is the union of realism and idealism that brings forth the most interesting results.”

In September of 1930, The Star reported on how the Irvington Artists spent their summer. William Forsyth traveled out west from the Grand Canyon into Southern California, sketching in paint along the way. His daughter Constance painted at Winona Lake, in Indiana. Clifton Wheeler, in the Colorado Rockies. Simon Baus and his family traveled by automobile on a grand tour of the West, taking the northerly route to the Pacific Northwest and returning the southern route through Taos, New Mexico, where he painted portraits and figure studies with local indigenous people as his subject.  

Dorothy Morlan reportedly stayed put near her Irvington home that summer, painting the fields and Pleasant Run.

That fall, The Lafayette Journal and Courier announced that Dorothy Morlan and Star art critic Lucille Morehouse would attend a luncheon given by the Wabash River Sketch club in Attica, Indiana, on October 25. Morlan and Morehouse would give talks and local artists would be presenting work, open to the public to all those interested in art.

A second Irvington Artists exhibit was held in calendar year 1930, in December, in which Dorothy Morlan both displayed pictures and gave a talk about her art beliefs. Her six submitted canvases included the large and striking painting The Marching Tree. According to a December 11 Indianapolis Star article. The picture is described as a striking view of a “valiant tree against a background of sea and stormy sky.” It was inspired by a Tchaikovsky symphony, according to Morlan, amplifying her earlier musings about the inception of art ideas emanating from sonic sources.

The deeply symbolic and abstracted landscape painting, clearly modernist, in now in the collection of the Indianapolis Museum of Art at Newfields.

Morlan's talk during the exhibit run was called 'Painting as a Language.'  Her obsession over the topic of the relation of words and art, art as communication, is evidenced by her increasing number of prepared talks she presented that year. And recall, that her origins as a creator began with her poetry prose in The Indianapolis Journal twenty-eight years prior in 1902. In that writing about the last day of February, she observed her own exaltation with the sights, the colors, the sounds and the dynamic changing sky in the realm of her perception.

In her talk in December 1930, she returned to her current theme, that year, of the contrast of realistic art with an art infused with idealism.  In prior years years she spoke of expression as opposed to slavish realism, not idealism.  What are we to make of her ideas on idealism? It seems a concept based on groupthink as opposed to the singular psyche. Perhaps by that time, her aspirations trended to a more universal classicism. A capture of a worthiness, a beautiful suchness, based not on the picture's appearance but its meritorious effect. When she was younger she espoused a more experimental and individual 'expression,' whereas now, in later life, having achieved the aim of an art in that modern expressionist style, for some decades by then, she strives yet further, for the communal and lofty goal of some 'ideal.'

Specifically, Morlan is quoted from her talk by Indianapolis Star critic Lucille Morehouse in her  December 14, 1930, column as follows,

“...the realist can not hope to create such a lasting impression or make such a wide appeal as those who combine realism and idealism because there is something intangible within us that we long to express, something that casts a sort of radiance over the bare cold facts of existence.” 

Another important facet of her talk, summarized in the article, was her discussion of the role of a change of scenery for the artist in search of new inspiration and novel motifs.

Morlan conceded that a change of environment is stimulating to the artist, but further said that “it is not the only dynamic that can stir a painter to action.”  Morlan suggested a fresh mental outlook as equally important, thus enabling the artist “ to see with the eyes of imagination.” Morlan cited the examples of Albert P. Ryder and Arthur B. Davies as artists who “painted their dreams, yet gathered their material from the great store of nature.” 

There is little critical coverage of Dorothy Morlan the following year, other than a November 30, 1931 Indianapolis Star article that covered the closing of the annual Irvington Artists exhibit. Morlan had six works on display, including four meteorological studies from the sound of their titles; Thunder Caps, Cloud Study, Approaching Storm and After the Rain.

The silver anniversary of the Indiana Artists annual exhibit held at Herron was covered in Lucille Morehouse's April 3, 1932 'In the World of Art' Indianapolis Star column. Morlan was represented by the oil painting Blue Depths. 

The same critic covers the 5th iteration of the Irvington Artists exhibit in her December 4, 1932 column. She briefly remarks that Dorothy Morlan was represented by “outstanding work in big decorative landscapes, solemn and impressive for their imaginative design and of brilliant depth and color in blues and greens.”

A Year of Solo Shows.

The year 1933 would mark a year of two important solo shows for Dorothy Morlan. It can be noted that the most widely-used term at the time was still 'one-man' show and would appear often in newspaper coverage.

Reported in The Indianapolis News on March 27, 1933, Morlan's first one-person exhibit of the year occurred at the Woman's Department Club (of Indianapolis), presumably at their clubhouse mansion at the corner of 17th and Merdian streets. Her sixteen oil paintings displayed included several  “striking winter scenes for which she is widely known.”

She exhibited a painting as part of the traveling annual Indiana Artists Herron show at Richmond, Indiana's Morton High School building that was reviewed by an unnamed critic in the April 16 Richmond Item newspaper. The reviewer states that the overall exhibit was saved from mediocrity due to the presence of works by William Forsyth, Clifton Wheeler and Dorothy Morlan.  Morlan is described as one of Indiana's finest old line artists, and was represented by a painting described as “a tonal study, a large picture, a river scene, an occult canvas in blues and purples which is pitched in a key suggestive of cello.” Further, about the artist, the anonymous admirer says in an outmoded turn of phrase, “Miss Morlan does lovely things and should be seen oftener.” 

Morlan's second and perhaps more pivotal solo exhibition occurred in October 1933 as part of a series of 'one-man' shows of Indiana artists at Herron that year. 

Lucille Morehouse, always a critical friend of Dorothy Morlan, wrote an extensive column covering the artist's origins and history, the root of inception for her creative impulses, her observations about locale as related to the creative process, and her ultimate artistic aims. All this in addition to the critic's own thoughtful observations about the pictures on display.

The nearly half-page column appeared in the October 22, 1933 Indianapolis Star.

Morlan's art beginnings, as sourced from this article and other newspaper write-ups have appeared already in earlier parts of this Dorothy Morlan series, but there is much new information to be gleaned from the other sections of Morehouse's exhaustive column.

Morlan cites the nature of the artistic impulse when she explains,

“There are many sources capable of stirring the imagination of an artist who uses the material offered by nature to express his own moods and ideas – such as sounds, church bells, the whistle of a train in the far distance, wind in the trees, the rustle of snow against leaves. The fact the thing that stirs the artist to action may be so slight as to be almost indescribable, and yet call forth his greatest power – so that the life of the subjective artist might seem to be almost devoid of outward events and yet, to the artist himself, be full of interest and action.” 

Morlan alludes to the interplay of the external and internal worlds of artists when she says,  

“The old Dutch artists traveled scarcely at all – yet who has left a richer record of a life experience than Rembrandt? It would not have mattered in the least where he lived. The sources within him, his way of feeling and seeing things, would have resulted in masterpieces anywhere, any time.”

Her artistic aims are explained, in part, when Morlan says,

“Always I have wanted to express space, air, repose...depth, silence, solitude, a feeling of largeness, remoteness. Nature talks to me this way.”

The critic Lucile Morehouse observes about the pictures in general when she writes,

“Certainly in these large creative landscapes, so pregnant with the artist's thought and feeling, one can not but be convinced that Miss Morlan has realized her wish to interpret the solitudes of nature. Not many artists can paint on a canvas of such large dimensions as she uses habitually and cover the wide surface successfully.”

Morehouse attributes the feat to Morlan's mastery and prior practice of painting the large landscape on a small canvas. Indeed, an entire exhibit of such works was shown by Morlan in the frugal aftermath of the world war and covered in detail by her Star art column referenced earlier in this series.

About some individual pictures, Morehouse writes of Through the Trees at Hanover,

“The winding river takes on a pale blue luminous light from the reflected sky. The softly curving line of the river and distant hills is offset by the sturdiness of foreground trees whose trunks and bare branches are of reddish brown hue...the basic truths of form and color are not lacking, but there is no slavish holding to realism...nature lends itself only as a motif for more or less formal design in line an color.”

And about Marching Tree,

“Don't try to make thunder and lightning (as some have done) out of Marching Tree. For those phantom-like lines that cleave the air have nothing to do with storm...”

Morehouse provides perhaps an overly personal interpretation of the meaning of the picture, before she returns her observation to the picture itself, when she writes,

“Don't try to make a realistic landscape out of Marching Tree. It is a typically creative sort of composition. A thing of spirit, tied to earth my material paint and a canvas so that it can be seen by mortal eyes.” 

Morehouse experiences the painting's composition of colorful design, greens in the ground and gray in the sky, as musical color fields that inspire reaction and feeling more than any scene actually existing. The writer, with great descriptive detail, summarizes additional canvases in the show, including Hanover Hilltop, November Snow, Solitude and The Pool.

About Into the Sunset, a piece now, from my best guess, is in the permanent collection of the Irvington Historical Society, Morehouse writes,

“...(the painting is an example of)  the vigorous way (she) paints when she holds more closely to realism. Hedge rows, angling along sidewalk and back between many closely painted trees, whose branches are low and wide-spreading are partly covered with heavy snow...There is skillful painting of the later afternoon light that sifts through bare tree branches.” 

Some of the canvases from this solo show were also included by Dorothy Morlan in the 6th annual Irvington Artists show according to a November 21, 1933 Indianapolis News article.

And a piece not discussed prior, The Sentinels, was shown by Morlan as part of the 2nd annual 'downtown' exhibit on the eighth floor of L.S. Ayers & Company sponsored by the Junior League of Indianapolis. Of the painting, Lucille Morehouse writes in her December 10, 1933 Indianapolis Star column, “(The Sentinels is) a dark-toned landscape with beauty of mood."

Mark Diekhoff,  August 2025

Dorothy Morlan in the 1920s – Indiana's First Modernist Painter, Part 3

Expressions in Blue – Dorothy Morlan in the 1920s 

Lucille Morehouse, in her Indianapolis Star art column on March 8, 1920, covering the current Indiana Artists exhibit at the Herron Institute, noted that the prize winning works that year were mostly smaller in size than in past years. The two main winners were both small watercolors; William Forsyth's Woods in Autumn and Francis F. Brown's A Cloudy Day.   Three artists were noted as Honorable Mentions including Dorothy Morlan for her small in size canvas, about 9 by 12 inches, Winter Evening. Morehouse notes the picture's small size, but large vision, depicting “...a wide stretch of blue-shadowed snowy field.” 

A lingering post war thrift and rationing hangover may explain, in part, the downsized art.

A Meeting of Kindred Neighbors.

A year and a half later, the current artistic inclinations of Morlan are described in a long July 10, 1921 Star column by Lucille Morehouse titled 'Studio of Local Artists Reveals Treasures – Work of Dorothy Morlan Shows Wealth of Unusual Talent.'

The art critic's fondness and respect for the artist is demonstrated by the lavish attention and poetic prose she used to open the article, which due to its beauty of description and stunning time-capsule effect is quoted in full, as follows:

“An Irvington studio, tucked away among the vines and shrubbery in the vicinity of Pleasant run, forms the workshop of an artist whose career has been one of serious study. Canvases large and canvases small bear evidence of the steps that have been taken, of the periods of change and development that have followed one another in logical order as advancement was made. From the time in girlhood days, with its usual dreams of books to be written, when there was a decision to take a few art lessons in order to make the decorative drawings that would illustrate the printed pages, until the present day, when big Indiana landscapes are being painted on little rectangular pieces of canvas, an art talent whose motive has been subjective, rather than objective, has been seeking to express the individuality of the artist while interpreting the beauty in nature. We are taught that all art is an attempt at self-expression. But we know that all art is not to the same degree stamped with the artist's individuality. 

It was one of those days when the thermometer was said to have registered 110 degrees on the street the middle of last week that I lifted unwilling feet over hot cement sidewalks a distance which, in usual weather, would have meant about a half mile walk, but which seemed immeasurable increased in the immense heat. A short stretch of cinder walk offered an alluring  turn from the glare of the pavement at Lowell avenue. A few steps brought me to number 6031, which marked the studio of Dorothy Morlan.  This two-roomed studio, in the yard, separate from the dwelling house, was built several years ago, but it so happened that this was my first visit to it.”

The article explains to the reader that despite Morlan's recent sparsity of exhibition in local shows, indeed it cites her decision to skip the upcoming Indiana Artists exhibition at Herron, she remained active and busy in her artistic creations, as attested by the many works, large and small, on the walls and in the corners of her studio. 

Her most recent 'period' of work are the smaller canvases along the line of Winter Evening discussed a year prior in The Star. The eight or ten such small pictures of the flat open fields surrounding Irvington, showcase Morlan's unique talent, as Lucille Morehouse describes, “...in the small pictures (Morlan's) representation of the big things in nature impresses with a feeling of vastness not always found in a landscape painting whose dimensions are several times larger.”

Morehouse contrasts the newer work with her earlier solo show some twelve or fourteen years prior, which included “...bright, joyous canvases painted at Hanover  – scenes along the Ohio River, interpretations of morning mists and the sparkle of sunlight on the water and the coming of springtime along wooded hillsides.”

Morehouse cites Dorothy Morlan as giving credit, in part, for her “strong feeling for the big things in nature” to the influence of the painters Edward W. Redfield and Walter Elmer Schofield, both of whom had works represented in the permanent collection of Herron Institute, and both of whom painted “big winter landscapes” with a “broad, vigorous brush.” 

Morehouse lauds Morlan for her determined, experimental approach despite the influence of those and other artists who she held in high esteem. “Be influenced, but do not imitate,” Morehouse proclaims, as a could-be Morlan mantra. 

Lucille Morehouse provides some final insider advise to her readers when she says about visiting an artist's studio as opposed to seeing the work hanging in a gallery or museum. “There is a sort of studio atmosphere, a feeling of intimacy and a charm of companionship with the artist that is wholly  lacking when one views the pictures of many artists in a large exhibition. Try it and see!”

Less Exhibits, More Honors – Morlan's 'December.'

Morlan's hiatus from exhibition continues over the next years. In late summer 1923, she is mentioned in Star coverage of the Indiana State Fair art exhibition, not as an exhibitor, but as one of the many no-shows. Perhaps at that period of time, the State Fair exhibit was just getting established as a serious venue for Indiana's best art and artists.

On January 5, 1924, on the front page of the 'photogravure' section of the Sunday Star, an interesting full-page pictorial, depicting an interesting pastiche of Indiana geography, culture, history and architecture, is presented in a piece tied together by its title, Four Corners of Indiana.

Photogravure was a popular etching and printing method at that time, which resulted in images with subtle gradations in tone and a rich velvety texture distinct from standard photographs of the period. 

Four Corners showed images of the farthest reaches of Indiana, northwest, northeast, southwest, and southeast, along with two fine contemporary homes, a photo of the last surviving indigenous people of the Miami tribe, an aerial view of Wabash College and two Indiana artists, Dorothy Morlan and Otto Stark, on opposite sides of the page facing each other, standing at their easels. A map of the Indiana and "the heart of Hoosierdom," Monument Circle,  is shown at the center of the pictorial spread.

In her March 1, 1924 Star column, Lucille Morehouse covers the 17th Indiana Artists exhibit at Herron Institute. Her observations note the distinctions in the show from those of prior years, describing the work as generally smaller, the landscapes generally fewer – with more still lifes, portraits and figure pieces represented – and also an increase in craft works and sculpture.

For the column, Morehouse speaks generally of the landscape work, not noting the names of individual artists or titles, but her words on one picture seem to be  about a Dorothy Morlan picture. 

“Outstanding among the landscapes is a big snowy field,  with an evergreen or two, when early twilight turns the snow to violet-blue.”

Lucille Morehouse was likely describing the large Morlan canvas,  December,  that was exhibited in the Indiana Artists show, and a photo of which appeared on a pictorial page of The Indianapolis Star later that month on March 30.

The picture was an important one for Morlan, and Morehouse, as the critic again describes the piece when it appeared hanging in a prime spot, a “place of honor,”  in an October 1924 exhibit of five women artists at Pettis Gallery, on the fifth floor of the Pettis Dry Goods store in Indianapolis. 

Morehouse reports that the five woman had appeared, some together, some in groups or solo, at various earlier times in venues such as the Indiana Artists at Herron Institute, the Indiana Artists' Club and Woman's Department Club House.

Morehouse says about the five women generally, 

“There are neither insanities nor inanities in this exhibition of paintings...” and further, “ ...in both subject and treatment, the work would hold its own with a like number of pictures by a like number of men...”

In discussing the honored Morlan landscape, confirmed to be December later in her column, Morehouse writes, 

“The fact that the canvas measures 30x42 inches is not the only thing that makes it big. And the fact that the wide, snow-covered field stretches back and back, apparently for miles, is not the chief thing that makes the picture big. But it is the artist's interpretation of a big solemn mood that stamps the canvas as one of the most distinctive, to my way of thinking, that has been painted recently by any Indiana artist, man or woman.”

Morehouse continues, in part,

“There is a beauty in execution...There is a tenderness, a tranquility, moderating its austerity.”

The First Hoosier Salon, The Valley, and Deaths. 

In March 1925, the inaugural Hoosier Salon exhibit opened at the Marshall Field and Co. store in Chicago, Illinois. Dorothy Morlan was represented with a prize winning painting, A Frosty Morning,  which later traveled with other representative works and was displayed at the West Baden Springs Hotel in Indiana. 

Lucille Morehouse details the first Hoosier Salon, the mechanics of its inception and initial patronage, the prize winners and participants over two articles appearing in The Indianapolis Star on March 8 and March 15, 1925. She describes an unnamed Morlan canvas, presumably Frosty Morning, as “a big sober landscape.” The picture won the $50 Nolan prize. 

The Indianapolis Star was running a pictorial series in its paper 'Notable Paintings by Indiana Artists' in 1925. On September 20, No. XIV in the Series was The Valley by Dorothy Morlan. The reproduction image looks almost like a drawing rather than a painting, or perhaps a watercolor, as fine dark lines sketch in the curving flow of river and the roll of hills. There is an etched or hatched quality to the work, a sgraffito of paint marks such that, if oil was used, it appears paint was very sparingly applied, and perhaps in a subtractive manner removed with a palette knife.

Lucille Morehouse reports on the summer activity in the studio of Dorothy Morlan in an October 25, 1925, Star article.  She describes, 

“ (Morlan) defied the heat of summer as she sifted 'snow' to the canvas, working from sketches she had made last winter, but modifying them so that the completed picture will in no wise be a realistic view along Pleasant Run.”

The following year, on January 10, 1926, The Indianapolis Star posted a death notice for Dorothy Moran's father, age 75 years. 

Albert Morlan was husband to Martha, and father to Miss Dorothy, and  to sons Percy and Harold, all of Indianapolis, and to son Ralph of Nashville, Indiana. 

Albert Morlan died at home on Lowell Avenue in Irvington, and funeral services were private.

An August 1927 'In the World of Art' column by Lucille Morehouse, reports that Dorothy Morlan had spent the summer in California, after the death of her mother in April, to tend to an ailing aunt. Morlan's aunt succumbed to her illness and Morlan was set to return to Indiana that fall. She had suffered the death of father, then mother and finally aunt within a year and a half.

The 21st Indiana Artists exhibit at Herron is reviewed by Lucille Morehouse in the March 4, 1928 Indianapolis Star. She describes Morlan's painting Where the Blue Begins, which, from the sound of Morehouse's description,  may have been influenced by Morlan's many close personal losses over the prior months. Morehouse writes, 

“Dorothy Morlan displays the largest landscape canvas, a big sober composition of slow-sloping fields with patches of snow under sullen sky and with distant body of water.”

A Group of Her Own.

The inaugural Irvington Artists exhibit at the Carr Hall automobile salesroom on East Washington Street in Irvington took place from November through December 1928. The event was widely covered in the local press which reported over one thousand visitors to the exhibit. A half page pictorial spread was devoted to the Irvington Artists on November 25 in The Star. It included William Forsyth and daughter Constance Forsyth, Helene Hibben and Thomas Hibben, Frederick Polley, Clifton Wheeler and Dorothy Morlan. 

Simon P. Baus, Robert Craig and Hilah Wheeler were not included in the pictorial, but did exhibit in the show. 

Clifton Wheeler, Hilah Wheeler and Simon P. Baus were all reported to have sold work during the exhibition's run.    

Dorothy Morlan was represented by at least two works, including Ohio River Valley and Valley in Winter.

The Irvington Artists exhibit, sponsored by the Irvington Union of Clubs, was noted in Lucille Morehouse's 1928 'year in review' column that was printed in the January 2, 1929 Indianapolis Star.

And with that, another decade in the career of Dorothy Morlan comes to a close.

Later that fateful year, 1929, a stock market crash would wreak havoc on the economies of the world. The 1930s would bring the Great Depression and worse. The perseverance of Dorothy Morlan and her fellow artists through those turbulent years will follow in Part Four.

Mark Diekhoff,  August 2025

Dorothy Morlan in the 1910s – Indiana's First Modernist Painter, Part 2

Dorothy Morlan in the 1910s

Active Exhibition and Working Holidays.

Dorothy Morlan's active involvement in the contemporary art scene of Indianapolis and wider Indiana continues with the dawn of the new decade in the 1910s. She continued to exhibit regularly in annual exhibits, such as those of the Indiana Artists at John Herron Institute, the Western Society of Artists, and established yearly shows in Richmond and other Indiana cities. She also continued her working art  holidays at Brookville, Indiana and other locations to seek an ever expanding landscape of study for her painting.

In the waning days of winter 1910, as reported in The Indianapolis News, February 26, the 14th Annual Society of Western Artists exhibit would open at Herron Art Institute in Indianapolis. The show included work by Dorothy Morlan and had already traveled through St. Louis and Chicago, receiving good reviews in the newspapers of those cities.

The Fort Wayne Journal Gazette remarks in the March 20, 1910 edition on a traveling exhibit of Indiana artists just ending at the public library that included Hoosier Group artists and Dorothy Morlan, among others.

The Indianapolis News society page, on April 30, notes that Dorothy Morlan will spending the summer in or near Brookville sketching and painting.

The Richmond Palladium and Sun-Telegram on May 18, 1910, announced in its society column that J. Ottis Adams, at his Brookville home 'The Hermitage,' would be conducting classes in landscape painting over the summer. He was assisted in instruction by Dorothy Morlan, an artist already familiar to many in the Richmond art community.  Ottis explained the allure of the picturesque Brookville area, saying,

“Located on a narrow ridge between the two branches of the Whitewater (River), with quaint old buildings and stone terraces rising from the waters of an old canal, it presents, from many points of view, quite a foreign aspect, furnishing much charming material for the art student; while the streams, rocky ravines, roads and old bridges, in conjunction with splendid groupings of trees, with hills far and near for background, afford unlimited motifs in the immediate neighborhood...from simple door yards and old-fashioned flower gardens to far reaching-views of distant hills or wide stretches of plain such as from the artist's standpoint are unexcelled in the middle west and would be difficult to surpass anywhere.”

A September 23, 1910 front page column in the (Richmond, Indiana) Evening Item newspaper advises that the annual exhibit by the Richmond Art Association will be delayed indefinitely due the fact that the electricity has not yet been installed in the show's location, the new high school building. The lights and other materials having been shipped were en-route,  but their later installation would delay, at best, or at worst, postpone the exhibit to contain works by J. Ottis Adams, Dorothy Morlan and many others.

The show did go on, once the lights were installed, and eventually opened and was reviewed by an anonymous writer in the same Richmond newspaper on October 24.  The writer raves on the newly furnished galleries, perfect for viewing art with gray carpet background walls, natural sky lighting and work that was hanging at a comfortable eye-level. 

The show contained only strong works, the writer opined,  including the “remarkable excellence” of a Dorothy Morlan canvas, The Ohio in June.

An exhibit which was shown in the Marion, Indiana Carnegie Library was covered by their Chronicle paper,  February 3, 1911. J. L. Messena writes that Dorothy Morlan's picture, A Bit of Canal,  “is an interesting bit of work for the freedom and individuality of treatment.” 

As can be gathered by her newspaper write-ups, works by Morlan continued to intrigue and surprise with their skillful and spontaneous execution, effective moody coloration, and simplified compositions and designs – all characteristics distinguishing  her from her seniors and fellows at the time in Indiana. These characteristics, to varying extents, were shared by the so-called burgeoning schools of 'expressionist' artists, among the first 'modernists,' around the world.

The 5th Annual Indiana Artists exhibit at Herron Institute was reviewed in a long article in the Art & Artists column on the Sunday Indianapolis Star on April 14, 1912. The column was anonymous, but well written and thorough. The time frame was about a year before the appearance of Lucille E. Morehouse as the by-line critic in the Art & Artists column.

The article contained illustrations of three stand-out works, one each by by J.E. Bundy, William Forsyth and Dorothy Morlan.  Morlan's  was the “...bold, well-executed winter picture, Old Mills – West Philadelphia.” 

Although the newspapers at the time were silent on the matter, perhaps the additional instruction at the Pennsylvania Academy of Fine Art, at Philadelphia, that Morlan cites in later years occurred around this time and resulted in the Old Mills painting.

As promised, a year later, Lucille E. Morehouse is on the art beat, and pens her first thoughtful words on Dorothy Morlan in the March 9, 1913, Indianapolis Star.

Her study of Morlan's pictures Approaching Storm and Winter compels the Star's new art writer to contrast the strange repulsive allure of Morlan's somber colored works of dark and chilling subjects. Paintings that could be misperceived and dismissed as glumly uninteresting by average art eyes more keen for the bright colors of flowers or gardens. But Lucille Morehouse had patient eyes and an inquisitive mind,  and she took her own sweet time in front of interesting artworks. Her long study of Morlan's work results in a poetic epiphany in the writer, as she is driven to quote Longfellow in the aftermath of her reflection on the pictures.

Oh, the long and dreary winter,

Oh, the cold and cruel winter – 

As Morehouse writes,  Longfellow's lines “seemed so to harmonize with the spirit of the picture. If you have never felt...with its big icy power, the oncoming winter storm, then Miss Morlan's picture will help you enter altogether into the spirit of it.” 

Morehouse implores the reader again with her suggestion, “But you must take time to see all that is there for you, just as you would take time to read a wonderfully gripping story in the pages of a book – and perhaps to the lay the book down and cry a little...”

Clearly moved, Morehouse writes, “If you take a half hour to study it, to follow that wagon track across a snowy field toward the sheltering home far in the distance, to see the sky grow darker and darker until the whole earth seems to take on a sullen blackness, and then the big white flakes come cutting sharp lines through the gloom – oh, it is all a wonderful representation of nature's somber mood!”  

An anonymous review of the same paintings in The Indianapolis News on March 15, says of Morlan's pictures, “...two large winter landscapes wrapped in deep melancholy, a style which this talented young artist affects just now.”

Modern Art in America, and Indiana.

The Armory Show in New York, officially called the International Exhibition of Modern Art, was just happening on the East Coast of the U.S. 

America was awakening to the shock of not only cubist and futurist visions, but also the first expressions of more natural subjects not enlivened by the play of light and spontaneity like the impressionists, but endowed by emotion and enhanced by obsession. Among them, Morlan and other progressive artists of her generation, the emerging expressionists.   

On June 29, 1913, Lucille Morehouse, in her Star column, detailed the summer goings-on of various Indianapolis art personalities, including Dorothy Morlan. 

Miss Morlan, she writes, “...has opened a studio at her home 6030 Lowell Avenue, Irvington. The studio is built apart from the house and occupies a place under large beeches on the lawn. Miss Morlan will remain in Indianapolis during the summer, making studies for landscape work along the streams and in the fields and woodlands near Irvington.”

The following year, in February 1914, an exhibition and a tea for Dorothy Morlan was hosted by the Art Center Studio, on 142 East Market Street, Indianapolis. Perhaps the Studio was associated with or inspired by the artist Miss Emma King who had hosted a show and tea for Dorothy Morlan on Market Street a prior time. 

An unnamed critical review of this show is carried in a column to the February 3, 1914 Indianapolis News. Morlan's unique meld of impression and expression, spontaneity of execution and deliberative design are noticed and haggled about by the writer, who says, perhaps too critically,

“Miss Morlan's well-known preference for the quieter moods of nature is here illustrated with two large canvases...Nocturne and...Winter Evening... They are feelingly done and colorful, but too thin as to paint....”

And, 

“(in other works) Miss Morlan uses another style, that of palette knife persuasion in painting the sunshine effects...Her color is clean and interesting in harmony, yet we feel too strong a 'family resemblance' in color scheme with all the pictures, as though the artist painted with a  preconceived idea rather than being open to the impressions of the day.”

The critic follows the 'yes, but' observations on a more solely positive note,  

Miss Morlan's dash and vigor of expression engages the attention, and her impetuous handling proves her of artistic metal...”   

The column sums up with biographical information about the artist. It reports that Morlan paints near her studio in Irvington, where “...she finds the simple motives that she loves best.”   It also indicates the artist has painted on the Maine coast, noting the maritime example included in the show. Her Herron and local instruction has been supplemented by then at the Pennsylvania Academy under Daniel Garber, and in New York under Robert Henri.  

Additional coverage of the show, along with a seated profile photo of Morlan at her drawing table appears in the February 8, 1914, Indianapolis Star. New information contained in the column indicates that the show consisted of oils, pastels and crayons. The crayons primarily depicted the vicinity of Hanover, Indiana along the Ohio River.  

It is mentioned that Morlan's earliest creative interest was in writing, but was supplanted by her art ambitions due to the influence of her father Albert Morlan (1850-1926), who was an artist himself, and associated with William Forsyth and others of the Hoosier Group. Indeed an ink drawing by her father is now in the collection of Newfields, titled House at Corner of East Street and North Liberty, 1895.

In the July 5, 1914 edition of the Indianapolis Star, amid a page of news of terrible tragedies and injuries to children as a result of fires and fireworks, it is announced a group of local artists will be decorating the new Burdsal Units of City Hospital in Indianapolis under the supervision of William Forsyth. The women's ward area to be decorated by artists Dorothy Morlan and Lucy Taggart. 

That fall in October, an exhibition of paintings by local artists opened at the (Indianapolis) Propelaeum. Morlan exhibited, as well as William Forsyth, Simon P. Baus, Waymon Adams, T.C. Steele, Emma King, Frederick Polley, Otto Stark and Clifton Wheeler.

On November 14, 1914, Morlan had a painting in the Society of Western Artists exhibit described by an anonymous writer in The Indianapolis News as a  “...picture of Ohio River foothills, with the river far below the level of the eye....charming in its high keyed color scheme, the bare tree in the foreground and patches of snow give a beautiful interpretation of winter.”  

By February 3, 2015, the decorations were complete in the children's ward of City Hospital, as reported on the society page of The Indianapolis Star.  A tea in honor of the contributing artists was given, and it was noted that their efforts were largely offered free of any charge for the benefit of the city, as the limited budget for the project was taken up almost entirely with the purchase of artists materials. 

With war in Europe, local artists would occupy more and more of their time in the following years with  volunteer efforts, and by providing art works for auction to raise money, in service of the armed forces and the like.

The 8th Annual Indiana Artists exhibit at Herron was reported in the March 6, 1915 Indianapolis Star. Dorothy Morlan's contribution to the show was “an unusual picture,” Nocturne.  The painting also described in the Indianapolis News the same day as “a composition of houses and an icy stream and a snow-covered landscape in moonlight, beautiful in quality and feeling.”

A year later, in an April 1916 Indianapolis News article reports that the 9th Annual of the same show, again at Herron, contained a Morlan picture , described as “of exceptionally good quality” and “a really distinguished work.”  Winter – Coast of Maine is described more specifically as “beautiful in quaint gray green coloring and structural in composition, with hills and evergreen trees in the foreground and expanse of sea in the distance.” 

On Women Artists – A Man's World and a Woman's Words

In a September 30, 1916 Art in Indiana column to The Indianapolis News, called  'Fifteenth Article. Women Artists.', William Forsyth provides a survey of practicing female artists in Indiana at the time, both professional and semi-pro. Artists include but are not limited to Susan Ketcham, Winifred Adams, Janet Scudder, Caroline Peddle Ball (a sculptor born in Terre Haute, who studied under Saint Gaudens, and was then living in New York) , Olive Rush, Lucy Taggart and Dorothy Morlan.

Forsyth describes Morlan as “a landscape painter of talent” and “one of our best known women painters.”

Forsyth concludes his article with somewhat pithy and Darwinian remarks about art generally, and not specific to women artists, when he states, 

“Art is not an adventure undertaken by the few for the gratification of natural instincts, but a part of the complete expression of a people; not, as is mistakenly supposed, an exotic to be carefully pampered to preserve its life for a select few, but it speaks for its race in a language of its own. It is as sane a natural expression as literature or music. It desires no coddling, but its life is appreciation; without that it must inevitable die...only the strong persist, for they must feel and speak for all.” 

Perhaps I'm reading into it with 20/20 hindsight, but Forsyth comes across as a bit of passive-aggressive, a bit side-eyed,  a bit 'mansplaining,' as it's called today. 

Forsyth beckons backward, perhaps unknowingly, to a classicism of worthy beauty, recognizable by all –  man, woman and gods alike – rather the actual and unfolding individual visions that were then sweeping away all  prior commandments on art. He understands the concept of expression as a vital component of art, its undisputed indispensability – he drops the word twice – but without recognizing the very real and modern 'expressionism' blossoming the world over, including by an Indiana women in his own backyard – namely, Dorothy Morlan, his student and  Irvington neighbor. 

Perhaps an age old wisdom explains Forsyth's nearsightedness in this regard. Quoting the New Testament, Matthew 13:57, “A prophet is not without honor except in his own town...”

In the October 28, 1916, Indianapolis News, it was reported that the Herron Art Institute had a Centennial Exhibition in honor of 100 years of Indiana statehood. Relics and antiques were shown as well as a gallery of Indiana artists. Dorothy Morlan's submission was a somber-colored picture called March, which was described as “poetic in feeling.”

On January 20, 1917, The Indianapolis News society page ran a lengthy column, “Many Indianapolis Women Have Gained Fame in State and Station with Brush and Chisel.” Perhaps it was inspired by or written in  response to Forsyth's article of a few months prior, to set the record straight, so to speak, or at least provide a female perspective on the  milieu of local women artists. 

The column is without by-line, and the identity of the editor, whether male or female is not readily known. But the mere fact that the article allows for the women to speak in their own words acts as a counter-point the Forsyth professorial tome.

Morlan's words provide an argument against Forsyth's notions of a generalized, communal and victorious art.

“Art is merely one kind of language for the expression of ideas. When we look at pictures or other works of art, we know something about the artist. If he is a landscape painter we know at once what he likes – the sort of thing that expresses, however imperfectly, his own temperament and outlook, for we are really seeking ourselves in nature, and we are bound to see unconsciously the thing that best expresses our own personal feeling.”

Morlan continues along the same lines, with an example, 

“The more intensely the artist feels, the more likely he is, as he approaches maturity, to seek expression by means of some one definite type. Take Rembrandt for example. Can anyone think of Rembrandt without immediately without recalling the wonderful concentration of light that is peculiar to him, and the atmosphere of mystery that permeates all his work? Why Rembrandt wouldn't be Rembrandt at all if he had followed fads and fashions in painting. Rembrandt expressed himself forcibly in one particular way, just as every great artist must – a powerful way that commands attention.”

About her particular obsessions, singularly revolving around the landscape, Morlan says,

“I am in love with the meeting place of earth and sky. I like best the kind of picture that suggests to me the bigness of the earth – that the sky has no boundary.  I love large and simple spaces. What could be finer than a deep shadow in the foreground, in fact spreading far over the landscape, simplifying everything within close range – then a gleam of sunlight illuminating the distant fields.  This is the sort of thing that makes me wild to paint – the sort of thing that I must attempt if I am to paint at all.”

Uncle Sam (and Lucille Morehouse) Says 'I Want You.'

Within a few months, the United States would join a world at war. 

Over the course of the year Morlan would continue to participate in local exhibitions, but would increasingly volunteer in support of war efforts; helping the U.S. Navy by knitting socks and scarves for sailors, and by donating art for auctions and designing  posters for the Red Cross.

As the holidays approached toward the end of the year, The Indianapolis Star on October 28, 1917, reported that local artists were holding a benefit exhibition with proceeds, in part, to support Indiana artillerymen. Artists contributing to the effort included Otto Stark, Carl Graf, William Forsyth and Dorothy Morlan, among others. 

 The following spring, the 11th Annual Indiana Artists exhibit at Herron is previewed in The Indianapolis News on March 9, 1918. New for that year, the exhibit would feature the grouped hanging of works by individual artists to facilitate better comprehension of the artists aims and style, etc.

Dorothy Morlan was only represented by only one large canvas in a side gallery according to a follow-up News review of the exhibit on March 16. The anonymous reviewer describes the picture as “one of her big open spaced landscapes, with a restful color scheme that is satisfying.”  Two days later in a review of the show by Lucille Morehouse of The Indianapolis Star on March 18, 1918, the critic highlights two noteworthy paintings by T.C. Steele, Christ Church, the Deep Snow and The Soldiers' Monument, Mid-Winter Afternoon.  She mentions many other artists and works, but is silent on Morlan, other than by mentioning her participation. 

It can be noted that the columns of Lucille Morehouse in The Star around this time begin with pleas for active patriotism. Such as in the same March 18 column, 'Woman Artists of Indiana are Urged to Aid Liberty Loan,' which begins with somewhat extreme propagandist jingoism as follows, 

“War work comes first. You women artists of Indiana who are busy with landscapes and portraits, with still life and flower studies, put aside your canvases for a brief time. You sculptors lay down your chisels... Your country calls...Your talents are in demand and you are called upon to help win the war.”  

And on on March 31, with a softer touch, but no less government-sponsored tone, Morehouse writes, 

“Here's a new way, and a commendable one, to sell Liberty bonds for Uncle Sam...Will you help? You who are public-spirited and have a few extra dollars in the bank, or dollars coming to you in your next pay envelope.” 

Morehouse goes on to describe that many artists at the 11th Indiana Artists exhibit have agreed to donate all sales proceeds to the Liberty bond effort, and she names then, one by one. Dorothy Morlan's name is not among them. 

It seems a tricky and unseemly business of Lucille Morehouse –  her list of patriots, and as a result the omission of others – which she tries to rectify by writing, “ ...the absence of a name from the above list does not mean that some other exhibiting artist may not be just as patriotic.”  

But such were the war times, when battle lines were drawn not only only on the fields of conflict, but between home-front factions as well.

The April 13, 1918 Indianapolis News reports that Morlan has traveled to New York for two weeks to attend two art shows; an Albert Ryder retrospective for the painter – deceased a year prior, and an exhibit of one hundred works by Rembrandt. 

We all know Rembrandt and Morlan's affinity for him by her direct remarks cited earlier, but it is interesting to study the work of Albert Ryder to ponder the crux of Morlan's appreciation for his work, and discover the threads that are woven between the tapestries of their visions – a subdued, yet dramatic, effect of light, the grand romance of an immense landscape and a personified approach to design and technique.

On April 21, Lucille Morehouse reports in her art column to The Indianapolis Star that local artists raised $500 for the purchase of Liberty bonds for the aid to “ many a returned soldier's comfort.” Dorothy Morlan's name was now among the lengthy 'who's who' of patriots.

Perhaps war efforts were prioritized by Dorothy Morlan, as documentation in the papers of her exhibitions and artworks was noticeably less over the following weeks and months. 

In a January 22, 1919, society page column in The Richmond Item,  'Work of Women Artists Constantly Gains Favor,' reports Dorothy Morlan's absence from a current Indiana Artists show. Esther Griffin White begins her article, 

“ The landscape phases of the current exhibit of Indiana art in the public art galleries are less interesting than the showing of portraits...due, perhaps, to the fact that some of the leading Indiana landscapists are not represented. Among those notable for their absence are...T. C. Steele, J. Ottis Adams...Dorothy Morlan...and others.”

On May 4, 1919, Lucille Morehouse, in a full page illustrated column in The Indianapolis Star reports on a new project utilizing local art talent to decorate several public schools in Indianapolis. Here again, Dorothy Morlan is noteworthy, not in her participation in the current project, but in her absence, only as a footnote, mentioned as one of many participants in the earlier City Hospital project from years prior.

Morlan's active exhibition and travel schedule of the 1910s had slowed by the end of the decade. The lapse would continue over the next few years as will be seen in the next installment of Dorothy Morlan's story in Part Three. 

Mark Diekhoff, July 2025

See Also

Irvington Historical Society

The Hermitage - Brookville, Indiana