Malcolm Morley

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Malcolm Morley (June 7, 1931 – June 1, 2018) was a British-American artist and painter. He was best known as a photorealist.

Tackle, 2004.


Morley was born in north London. He had a troubled childhood—after his home was blown up by a bomb during World War II, his family was homeless for a time[1] and he did not discover art until serving a three-year stint in Wormwood Scrubs prison. After release, he studied art first at the Camberwell School of Arts and then at the Royal College of Art (1955–1957), where his fellow students included Peter Blake and Frank Auerbach. In 1956, he saw an exhibition of contemporary American art at the Tate Gallery, and began to produce paintings in an abstract expressionist style.

In the mid-1960s, Morley briefly taught at Ohio State University, and then moved back to New York City, where he taught at SUNY Stony Brook from 1970 through 1974 and the School of Visual Arts.New York Magazine Feb 20, 1984</ref> At the time of his death Morley resided in Bellport, New York, in a former church that served as his home and art studio, which he shared with his wife Lida Morley since 1986. His work was featured as the inagruable exhibit at the Parrish Art Museum in Watermill, New York, when it re-opened in November 2012.[1][2] Morley died on 1 June 2018 at the age of 86, six days shy of his 87th birthday.[3]


In 1958, a year after leaving the Royal College, Morley moved to New York City, where he saw exhibitions of the work of Jackson Pollock and Balthus, both of whose treatment of their paintings' surfaces influenced him greatly. He considered Paul Cézanne to have been the quintessential sensationalist and acknowledged the French painter's deep influence on his own work. When Morley moved to New York he also met Barnett Newman, and was influenced by him. He painted a number of works at this time made up of only horizontal black and white bands. He also met Andy Warhol and Roy Lichtenstein and, influenced in part by them, changed to a photorealist style (Morley preferred the phrase super realist). He often used a grid to transfer photographics images (often of ships) from a variety of sources (travel brochures, calendars, old paintings) to canvas as accurately as possible, and became one of the most noted photorealists.

Red Arrows, 2000.

In the 1970s, Morley's work began to be more expressionist, and he began to incorporate collage into his work. Many of his paintings from the mid-70s, such as Train Wreck (1975), depict "catastrophes". Later in the decade, he began to use his own earlier drawings and watercolours as the subject for his paintings. In 1984, Morley won the inaugural Turner Prize. In the 1990s he returned again to a more precise photorealist style, often reproducing images from model aeroplane kits on large canvases.

His work often drew upon various sources in a process of cross-fertilization. For example, his painting The Day of the Locust (1977) draws its title from the novel The Day of the Locust, by Nathanael West. One scene in the painting is drawn from the opening scene of the novel, and other scenes are drawn from the 1954 film Suddenly and the 1925 Sergei Eisenstein film Battleship Potemkin.[1]

Latterly, he resided on Long Island and remained active though struggling with health problems.

Other information[edit]

Richard Milazzo authored the book Malcolm Morley in 2000, and Jean-Claude Lebensztijn wrote Malcolm Morley: Itineraries (Reaktion Books, 2001).


External links[edit]