110

Merton Daniel Simpson

(1928-2013)

"Confrontation," circa late 1960s

Oil on canvas
Signed lower right: M.D. Simpson; titled in pencil on the stetcher bar
24" H x 20" W

  • Provenance: Other notes:
    Abstract Expressionist, amateur jazz musician, and important dealer of African and tribal art, Merton Simpson grew up in Charleston, South Carolina in a large family of eight children. As a child, he was hospitalized and bedridden for extended periods due to diphtheria and started drawing as an outlet in his recovery. Local artist and Director of the Studio Program at the Gibbes Museum of Art, William Halsey, was Simpson's first art instructor, and hired him to work at the Museum, the only African American employee of the institution in still segregated Charleston. Music was also important to the artist, and he played jazz saxophone with the Jenkins Orphanage Band (though not an orphan himself).

    Simpson had early success in a solo exhibition at the Home Book Shop, Charleston, and inclusion in Atlanta University's "Eighth Annual Exhibition of Painting, Sculpture, and prints by Negro Artists." At age 20, he moved to New York to study at The Cooper Union under Robert Gwathmey and at New York University under Hale Woodruff. He also worked at legendary New York framer Herbert Benevy's frame shop, where he was directly exposed to Abstract Expressionism through interactions with artists including Hans Hofmann and Max Weber.

    Simpson joined the Air Force in 1951 interrupting his formal art studies. He served until 1954 as an Air Force artist, where he painted portraits, most famously that of General Dwight D. Eisenhower, and also played in a jazz combo on the base. Returning to New York, Simpson was encouraged by the inclusion of his painting "Nocturnal City" in a 1952 Metropolitan Museum of Art exhibition, and felt reinvigorated to resume his studies and work at the frame shop.

    In the mid-1950s, Simpson's paintings were included in two museum shows: "Younger American Painters" at the Guggenheim Museum (1954) and "Eight New York Painters" at the University of Michigan (1956). A growing interest in African sculpture, fostered by his Professor Woodruff, led the artist to open the Merton D. Simpson Gallery on Madison Avenue in 1954, a gallery that exhibited African art and objects alongside Modern art and remained open until the artist's death in 2013. The success of the gallery allowed Simpson to support his siblings' education and to make annual purchasing trips to Europe and Africa beginning in 1959. During early trips to Europe, Simpson was exposed to the robust expat African American community of writers, musicians and artists who had largely escaped prejudice in the US.

    Simpson joined the "Spiral" in 1963, a Black art collective interested in exploring how art could contribute to the Civil Rights movement. The group included many significant African American artists including Charles Alston, Emma Amos, Romare Bearden, Reginald Gammon, Alvi Hollingsworth, Norman Lewis, Richard Mayhew, and Simpson's professor Hale Woodruff.

    Simpson's personal experiences of prejudice and an increased interest in social activism led to one of his most significant series of paintings, the "Confrontation" series, executed between 1964 and 1969. The anger and frustration of the period are starkly evident in the dominant black and white foreshortened portrait compositions, like the present painting, that at once reference the artist's contemporary experience with social turmoil and intolerance, alongside ancient tribal imagery and early modernism in their stark and unambiguously emotional compositions.

    With the success of his gallery, Simpson was able to travel regularly to West Africa by the 1970s and 1980s. While these trips were ostensibly to search for African Art, they also connected the artist more profoundly to his heritage which in turn impacted his own work. Two 1980s series "Universal Orchestrations" and "Contemporary Melodies" blended his African art heritage with AbEx-influenced spontaneous brushwork and the artist's love of jazz. Further innovations to Simpson's work in the 1990s incorporated collaged elements of West African hunting cloth, adding three-dimensional sculptural elements to his work. A 1995 Gibbes Museum of Art retrospective and continued gallery shows in the early 2000s have solidified Simpson's legacy as both an important American Modernist artist and legendary dealer of African and Tribal Art.
  • Condition: Visual: Overall good appearance. A 0.5" rice-size puncture in the canvas, with an attendant pressure mark and a small, minor, stretcher bar crease, all near the upper edge, at right.

    Blacklight: A few pinpoint-sized touch-ups in the puncture mentioned above.

    Frame: 30.5" H x 26.25" W x 2" D


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June 17, 2025 12:00 PM PDT
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