257:, an historically African American neighborhood in Orleans Parish. Eventually she settled at 5444 North Dorgenois street in the Lower Ninth, in a single shotgun house with the owner of the property, Jennie Johnson. The lawn of the property was allegedly covered in four leafed clovers, a detail that can be glimpsed in black and white photographs of the property. She named it the "Everlasting Gospel Mission", and turned the first room of the house into a prayer room where she would give sermons. Her paintings adorned the white walls of the prayer room, which also contained a small desk, a tapping stick, musical instruments and her painted paper megaphones that she would use to preach.
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seals, Armageddon, the return of the Jews to the Holy Land, the millennial kingdom of Christ on Earth, and the New
Jerusalem." It is for her paintings of New Jerusalem that Sister Morgan is most well known. The holy city of New Jerusalem "coming down from God out of heaven" was consistently depicted as a multi storey apartment building in her compositions. In some of her New Jerusalem paintings, a choir of interracial angels adorn the sky. The choir of angels frequent many of her paintings, sometimes as one of many elements in a composition, and other times as the sole subject.
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acrylics, tempera, ballpoint pen, watercolors, crayon, colored and lead pencils and felt tip markers. Using inexpensive materials she had at hand, Sister Morgan painted on paper, toilet rolls, plastic pitchers, paper megaphones, scrap wood, lampshades, paper fans and styrofoam trays. The fact that she was self-taught, coupled with her choice of materials as well as her style and subject matter have led her to be characterized as a naive, folk, visionary, vernacular and outsider artist.
212:(n.d.). On it she has written, "Sitting in my Kitchen one night I heard a great strong Voice speak to me said I'll make thee as a signet for I have chosen thee I got this calling on the 30th day of Dec in 1934 I had to answere to my calling and one day give up and Pack up and go … a chosen vessel of God's its wonderful to Be. God called me a chased me and turned me into the hands of his son and JESUS said take up your cross and follow me."
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raised livestock and grew vegetables on the land surrounding the large house. They held neighborhood feasts at the
Orphanage, where the 'Prophetesses' (as Sister Morgan would later name them in her paintings) would play the piano, drums, cymbals and beat tambourines. In addition to street preaching, the three women visited
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In 1938 a second revelation followed, in the form of a voice that said, "Go-o-o-o-o, Preacher, tell it to the World". It was in this year that she left
Columbus, first for Opelika, Alabama, then to Mobile and possibly Montgomery. She worked as a nursemaid and nanny in Opelika and Mobile, and possibly
177:
Gertrude
Williams married Will Morgan on February 12, 1928. She lived with her husband at 1324 North Avenue in Columbus, GA. While there is no evidence of a divorce, it is known that Sister Morgan left Columbus alone in 1938, traveling first to Alabama and then to New Orleans, where she would settle.
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featured twenty artists (including Sister Morgan) and close to 400 paintings and sculptures. It opened at the
Corcoran Museum of Art and went on to tour the San Francisco Museum of Modern Art, The Saint Louis Art Museum, The Baltimore Museum of Art, the Des Moines Art Center and the Cleveland Museum
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met Sister Morgan while she was preaching in the French
Quarter. He invited her to perform and exhibit work in his art gallery after coming upon her shouting on a street corner with a paper megaphone. Borenstein cultivated an audience for her work by introducing her paintings to collectors, artists,
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When she arrived in New
Orleans in 1939, Sister Gertrude met Mother Margaret Parker and Sister Cora Williams. The two women were involved in the Holiness and Sanctified movement, an African American faith in which the activities of music, song and dance were central. The three women soon established
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Sister Morgan's art brought her fame and notoriety, something she reportedly both enjoyed and felt conflicted about. In 1973 she announced that the Lord had ordered her to cease painting in order to concentrate on her preaching and poetry. 'Painting now? Oh no,' she reportedly said in 1974. I'm way
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Originally conceiving her artworks as appendages to her gospel teachings, Sister Morgan's paintings are often inscribed with passages from scripture and lyrics to popular gospel songs. Similarly, her paintings that document her childhood, early adulthood and first years in New
Orleans are inscribed
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Similar to other self-taught artists, Sister Morgan used simple forms to depict the human figure. Her works are characterized by their lack of the use of formal techniques such as perspective and definition of light and shadow, giving them a flat, two dimensional quality. She painted and drew using
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Morgan particularly favored the Book of
Revelation. William A. Fagaly writes, "The apocalyptic text of the Book of Revelation offers a plethora of visionary images: the Apocalypse and its four horsemen, the Antichrist, the Whore of Babylon, the Beast (with the mark 666), the heavenly book of seven
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The three women adopted black robes, and gave shelter to as many as twenty orphans and runaways at a time. (In Sister
Gertrude's paintings, the three women are pictured in their black robes, adorned with white collars, cuffs and waist ties). As Gentilly was a fairly rural area at this time, they
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Another recurring image in her work is a self-portrait as the Bride of Christ, riding with Jesus in an airplane. There is speculation that this references the hymn "Oh, Jesus Is My Air-o-plane", recorded in 1930. Another hymn, "Jesus, Savior, Pilot Me", first published in 1871 by Edward Hopper,
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In 1956, Sister Gertrude Morgan received another revelation from God urging her to paint. She understood the act of painting as a tool to be used in her service to the Lord, just as she used music in her street preaching. Sister Morgan used her early paintings as visual aids in her sermons and
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Sister Morgan's first documented involvement with religion came in her late teens, when she joined the Rose Hill Memorial Baptist Church, a local congregation in Columbus, Georgia. After she began painting in 1956, Sister Morgan documented this time in her life in the paintings
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On July 8, 1980, Sister Morgan died in her sleep at her home in the Lower Ninth Ward. Her funeral arrangements were made by Larry Borenstein and a service was held at the well-to-do House of Bultman, on St. Charles Avenue. Her art work was displayed at the service, and
417:(NOMA). This exhibition then traveled to NOMA and later to The Center for Intuitive and Outsider Art in Chicago. The exhibition was accompanied by the publication of a catalogue containing essays by William A. Fagaly, Jason A. Berry and Helen M. Shannon.
855:. Powell, Richard J., 1953-, Patton, Sharon F., Smithsonian Institution. Traveling Exhibition Service. Washington, D.C.: Smithsonian Institution Traveling Exhibition Service, in association with University of Washington Press, Seattle. pp.
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a mission and orphanage at Mother Parker's house at 533 Flake Avenue in Lower Gentilly, then on the outskirts of New Orleans. The orphanage was funded by money raised from preaching and performing in the streets.
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and added contemporary beat programming and instrumentation. The album received rave reviews and created a new, young audience for Sister Gertrude Morgan. The album artwork featured her paintings.
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Sister Morgan signed her paintings with many names, among them Black Angel, Lamb Bride, Nurse to Doctor Jesus, Everlasting Gospel Revelation Preacher, Bride of Christ and Little Ethiopia Girl.
233:, providing spiritual guidance for inmates, as well as traveling to other towns in Louisiana and Texas for church camps and meetings. Sister Morgan worked at the orphanage until 1957.
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477:: Ropeadope, 2005. Sister Gertrude Morgan originally recorded at the Preservation Hall, New Orleans, 1968. King Britt recorded at the Hut and Nautica, Philadelphia.
1003:. n.p.: Atlanta, Ga. : Tinwood Books ; : In association with the Schomburg Center for Research in Black Culture, the New York Public Library, 2000.
276:. She then discarded her black missionary attire in favor of an all-white ensemble made up of a nurses' uniform, peaked nurses' cap and matching white shoes.
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Morgan's former house and mission remained a neighborhood landmark after her death. Like the rest of the neighborhood, it was severely damaged in the
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The first of many revelations that Gertrude was to experience came in 1934. The story of this revelation is inscribed on one of her paintings,
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were both fans of her work. Warhol was an occasional correspondents, while Friedlander used Sister Morgan as a subject in his photographs.
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She's the Four-Leaf Clover in the City Katrina Turned Over: The Historical Sister Gertrude Morgan and Her Post-Hurricane Katrina Specters.
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teachings, often with children. Her paintings depict religious subject matter almost exclusively, illustrating scenes from scripture. The
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Her later work is characterized by the dominance of the inscriptions. Her imagery becomes sparse and in some compositions non-existent.
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Conwill, Kinshasha Holman. "In Search of an 'Authentic' Vision: Decoding the Appeal of the Self-Taught African-American Artist."
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in 1939, where she lived and worked until her death in 1980. Sister Morgan achieved critical acclaim during her lifetime for her
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391:) in New York. The three-person exhibit displayed over 75 of Sister Morgan's paintings, alongside fellow visionary artists
200:(n.d.). These paintings narrate the shifts in the Rose Hill church leadership, after the death of Reverend Miller in 1930.
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paintings. Her work has been included in many groundbreaking exhibitions of visionary and folk art from the 1970s onwards.
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opened at the Folk Art Museum in New York City. The exhibition was curated by William A. Fagaly, former Director of the
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and Bruce Brice. It was also in 1973 that the NOMA exhibited Sister Morgan's work for the first time, in a show titled
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in 2005. The damaged house was gutted in hopes it could be repaired and renovated, but was subsequently demolished.
162:, to mother Frances "Fannie" Williams and father Edward Williams. She was the seventh child of a poor rural family.
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349:, a fan and collector of Morgan's work used thirteen of her illustrations to accompany a book of Bible quotations,
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was of special significance, and provided subject matter that she would return to over and over again in her work.
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In 1957 Sister Morgan received another revelation from God. Dreaming, she heard a voice that told her she was the
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For reasons unknown, Sister Morgan left school before completing the third grade. Around 1917 her family moved to
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Pictured in My Mind: Contemporary American Self-taught Art from the Collection of Kurt Gitter and Alice Rae Yelen
468:: Preservation Hall Recordings, 2004. Recorded live in the Prayer Room, 511 Royal Street, New Orleans, Louisiana.
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Cardinal, Roger; Kogan, Lee; Larsen, Susan C.; Patterson, Tom; Perry, Regenia (3 November 1995).
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903:"What Carried Us Over: Gifts from the Gordon W. Bailey Collection • Pérez Art Museum Miami"
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In 1970, Sister Morgan's work was shown at the Arts and Science Centre in Baton Rouge, LA.
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with the narratives of specific events, that often reference her evangelical activities.
442:. In 2004 the original album was re-released on the Preservation Hall Recordings label.
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African-American artists, 1880-1987 : selections from the Evans-Tibbs Collection
734:. New York, New York: American Folk Art Museum; Rizzoli International Publications.
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artist, musician, poet and preacher. Born in LaFayette, Alabama, she relocated to
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Berry, Jason; Fagaly, William A.; Morgan, Gertrude; Shannon, Helen M. (2004).
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too worried. Worrying about what time it is and praying on people's cases.'"
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Doorway of Sister Gertrude's former home/mission in the Lower 9th Ward, 2007.
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Music was another tool of Sister Morgan's ministry. In the early 1970s,
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Souls grown deep : African American vernacular art of the South
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Crown, Carol; Rivers, Cheryl; Wilson, Charles Reagan (3 June 2013).
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Campbell, Mary Schmidt (Winter 1982). "Black Folk Art in America".
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971:"CRITIC'S CHOICE/Jazz CD's; Singing With Power, Citing the Bible"
169:, where she worked as a servant and nursemaid in a private home.
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was recorded in order to capture Morgan singing and playing her
765:"Sister Gertrude Morgan | Biography & History | AllMusic"
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The New Encyclopedia of Southern Culture: Volume 23: Folk Art
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Federal levee failure flood disaster during Hurricane Katrina
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Tools of Her Ministry: A Biography of Sister Gertrude Morgan
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The Tools of Her Ministry: The Art of Sister Gertrude Morgan
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The Tools of Her Ministry: the Art of Sister Gertrude Morgan
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began work as a healer and street prophet during this time.
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In 2004, the first major retrospective of Morgan's work
253:, Sister Morgan roomed in various houses, mostly in the
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Price, Ann. "Character Portrayal Outstanding in Show",
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Thesis (M.A.) - University of Missouri-Columbia, 2009.
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Reynolds, Clarence V. (June 2004). "Divine Folk Art".
449:, which took the a cappella/tambourine recordings of
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THE ROSE HILL MEMORiAL BAPTiST CHURCH, Columbus Ga.
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368:from the 1970s is in the permanent collection of
138:(April 7, 1900 – July 8, 1980) was a self-taught
823:"Books in Brief: Nonfiction - Shouting in Color"
383:In 1973 her work was included in the exhibition
356:One of the tempera and paint illustrations from
791:Hirsch, Faye (May 2005). "Her All-Seeing Eye".
669:"Gertrude Morgan - United States Census, 1940"
642:"Sister Gertrude, a Preacher Who Could Paint"
8:
887:: CS1 maint: multiple names: authors list (
387:at the Museum of American Folk Art (now the
315:establishes a related Jesus-as-pilot motif.
158:Sister Morgan was born Gertrude Williams in
474:King Britt Presents Sister Gertrude Morgan.
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447:King Britt presents Sister Gertrude Morgan
18:
1154:20th-century African-American musicians
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364:'s Evans-Tibbs Collection. Her artwork
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529:The Grove Encyclopedia of American Art
445:In 2005, the Ropeadope label released
821:Sheets, Hilarie M. (15 August 2004).
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403:Black Folk Art in America, 1930-1980
353:. It sold more than 300 000 copies.
1159:20th-century African-American women
640:DeCarlo, Tessa (22 February 2004).
526:Marter, Joan M. (3 November 2011).
999:Arnett, Paul, and William Arnett.
471:Britt, King, and Gertrude Morgan.
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198:Rose Hill Memorial Baptist Church
1149:African-American women musicians
1104:Musicians from Columbus, Georgia
482:Art in Progress: Sister Gertrude
187:Early involvement in the church
1139:20th-century American drummers
1094:People from LaFayette, Alabama
1089:African-American women artists
969:Ratliff, Ben (2 August 2004).
953:10.1080/00043249.1982.10792823
603:. Univ. Press of Mississippi.
1:
1099:People from Columbus, Georgia
1010:5, no. 4 (Autumn 1991): 2-9.
1084:American outsider musicians
1079:Christian music songwriters
532:. Oxford University Press.
345:In 1970 poet and performer
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1109:Musicians from New Orleans
237:Everlasting Gospel Mission
77:Providence Memorial Park,
1124:American outsider artists
1059:20th-century evangelicals
1034:New Orleans Museum of Art
849:C., McElroy, Guy (1989).
620:– via Google Books.
586:– via Google Books.
549:– via Google Books.
415:New Orleans Museum of Art
808:Black Issues Book Review
389:American Folk Art Museum
385:Louisiana Folk Paintings
329:Around 1960, art dealer
220:Orphanage in New Orleans
210:1324 NO AVE COLUMBUS GA.
401:In 1982 the exhibition
397:Naive Art in Louisiana.
334:museums and galleries.
100:29.976871°N 90.227854°W
16:African-American artist
1129:Women outsider artists
1114:Artists from Louisiana
929:October 7, 1970, 16-A.
907:Pérez Art Museum Miami
370:Pérez Art Museum Miami
246:
136:Sister Gertrude Morgan
66:New Orleans, Louisiana
23:Sister Gertrude Morgan
1064:American evangelicals
457:Works or publications
244:
231:Orleans Parish Prison
105:29.976871; -90.227854
1119:Artists from Alabama
1069:American evangelists
514:Notes and references
465:Let's Make a Record.
204:Revelations from God
129:Will Morgan (1928-?)
1144:Self-taught artists
569:. UNC Press Books.
496:Let's Make a Record
451:Let's Make A Record
436:Let's Make A Record
366:Let's Make a Record
358:God's Greatest Hits
351:God's Greatest Hits
96: /
1134:Tambourine players
976:The New York Times
828:The New York Times
647:The New York Times
462:Morgan, Gertrude.
287:Book of Revelation
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160:Lafayette, Alabama
47:LaFayette, Alabama
1074:Women evangelists
927:Morning Advocate,
393:Clementine Hunter
376:Major exhibitions
167:Columbus, Georgia
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941:Art Journal
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362:Smithsonian
340:Andy Warhol
196:(n.d.) and
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103: /
1043:Categories
912:2023-09-29
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616:3 November
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440:tambourine
347:Rod McKuen
154:Early life
91:90°13′40″W
88:29°58′37″N
39:1900-04-07
883:cite book
875:20917949
857:107, 120
795:: 66–69.
769:AllMusic
502:See also
498:played.
406:of Art.
251:Gentilly
173:Marriage
148:folk art
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984:2014
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