Why art stories matter
The greatest interest in art comes from stories that are personal and share a common experience. An encounter with art is shaped not only by what we see, but also personal associations. The joy of creating art includes responding and understanding the visual efforts of artists when significant connections are made. Through this column in La Conner Community News, I will explore the legacy of art in our town in hopes that it will lead to many discoveries and initiate discussions that deepen our understanding of the artists who helped shape it.
La Conner’s Legacy and the Northwest School of art
La Conner holds a special place in the history of the Northwest School of art, an American art movement that flourished in the 1930s–40s. La Conner’s relationship to the artists promotes civic pride.
A Focus on four artists
To begin this journey, I’ll spotlight the individual contributions of four artists: Morris Graves, who used birds as personal symbols; Guy Anderson, who turned to Greek mythology for inspiration; Kenneth Callahan, who explored sweeping, existential themes; and Mark Tobey, whose spiritual abstractions were rooted in visual phenomena.
Understanding their work begins with recognizing the emotional and symbolic connections they invite us to make. The joy of creating art includes responding and understanding the visual efforts of artists when significant connections are made.
The life and vision of Morris Graves
Morris Graves first gained recognition in 1933, when the Seattle Art Museum bestowed him the Northwest Annual award for his painting Moor Swan — a symbolic self-portrait. His artistic path intersected with Mark Tobey in 1938 through the WPA Federal Art Project, and his friendship with Guy Anderson eventually brought him to La Conner.
In 1940, while working part-time at the Seattle Art Museum, Graves began building a home he called The Rock on Fidalgo Island. He bought the 20-acre property for $40 at a tax sale and constructed a tiny cabin furnished with beach sand, driftwood, and massive stones. Like Claude Monet, Graves shaped the houses and surrounding gardens he created as reflections of his deep connection to nature.
A signature style and global recognition
Graves drew inspiration from Asian aesthetics, the Pacific Northwest landscape, and the introspection born of wartime unease. He adopted white calligraphic lines from Tobey’s influence to depict elements like wind, sound, and moonlight—illuminating not just his subjects, but his inner world.
Graves’ inclusion in the Americans 1942 exhibition at the Museum of Modern Art marked his national breakthrough. Critics described his work as rooted in empathy, emotion, and symbolism—driven by personal insight and public consciousness.
Legacy and loss
Graves painted not to mimic reality, but to convey the feeling of a subject. In 2000, the Humboldt Arts Council dedicated Eureka, California’s former Carnegie Library as the Morris Graves Museum of Art. His California home has since become a nonprofit foundation preserving his legacy.
Tragically, his infamous Fidalgo Island home burned down just 19 days after his death on May 5, 2001. Friends said it felt like he was hurling thunderbolts.
Nicolette Harrington: Nicolette is a local artist who created Wingshadow Studios in La Conner 2010. She fosters creativity within the community, encouraging others to explore art as a means of connection and healing. She is a retired elementary art specialist currently serving on La Conner Arts Commission and Art’s Alive.
