"Portrait Of A Young Man"


"Sculpture Studio"


"Wicker Rocker"


Cathedral, Monterrey

1953 35x27

"Red Tights"


"House On Nurnbergstrasse"

1955 23x30

"Three Tierd Formation"


"Espalierd Burlap"

1957 24x34


1958 38.5x52.5

"Plants On The Terrace"

1959 30x24


After taking Art History courses at the University of Houston, I became enamored of El Greco and his extended figures. I painted this self-portrait in a raincoat with El Greco in mind. This painting was in the Houston Artists Exhibit at the Museum of Fine Arts, Houston in 1950. It was originally larger but I folded it down to fit in a frame that I had. The rest of the painting is still attached. I re-signed it for the present owners.




As I was working on this painting I knew I was an artist. I was no longer the student but the artist. I was in control. Or at least the painting was in control. There was the feeling that a transition was made. I purposely sketched in the wicker rocker with my left hand to get a more free, slightly askew, representation of the chair. As I worked with the turpentine washes, I discovered I could move the pigment over to an edge, wash off the pigment, or shade the values. It was exciting. I remember that I was working on the floor with the canvas laying flat. That way the thin washes did not run but stayed where I had pushed them. As I recall, the painting came together rather fast and it was complete in that afternoon.
The chair was and is a favorite of mine. It was the first antique that I ever bought. I saw it in an antique store in Bastrop, Texas. I didnít buy it then but went back for it a few weeks later paying the huge sum of $17.50.


Portrait of Leila 1954

Regatta 1954

When I was stationed in Furth, Germany with the 793 MP Battalion as a radio operator, The University of Maryland offered me space in their building as a studio. All I had to do was keep the room neat and clean. It was a short walk from the kaserne and near the photo lab at the USO building. I bought supplies in Nurnberg and tacked the canvas to a board to work on.

With my two year tour of duty in the army over, I returned to Houston. I knew I wanted to do abstract painting after the everyday  realistic existence of the service. There seemed to be a theme of two elements in the paintings. I don't think it had anything to do with the fact that Leila and I were married in August of that year.

From Here To There 1956

Opposition of Forms 1956