The Murphys
Sara (1883–1975) and Gerald (1888–1964) Murphy moved to France in 1921 with their three young children to carve out a life free from the strictures imposed by their wealthy New York families. They improvised their own brand of unconventional modernism that fostered creativity and intellectual freedom, epitomizing the modern American to both their countrymen and those they encountered abroad. Calvin Tomkins in his 1971 book about the Murphys, Living Well Is the Best Revenge, wrote: “Those closest to the Murphys found it almost impossible to describe the special quality of their life, or the charm it had for their friends…They were utterly captivating.”
“Self-invention became a way of life for Gerald Murphy—something that he raised to an art form. The creation extended to the constructed perfection of family, homes, dress, ways of entertaining, and being in the world,” says Dr. Rothschild.
She continues, “The Murphys’ status as progressive moderns was tied to the elegant simplicity with which they lived but also to their American-ness and their role as transcontinental intermediaries, who moved back and forth across the Atlantic bringing the latest ideas and products from one culture to another. In one way, I hope this exhibition contributes to the understanding of how the Euro-American dialogue helped spawn 20th-century modernism.”
The Murphys astonished many with an ultra-modern pared-down style. In their Paris apartment, wood floors were painted black, walls stark white, and the only “art” on view was an actual steel ball bearing—the largest made—mounted to rotate on a black pedestal set atop an ebony piano.
By settling down in Villa America, their home in the Cap d’Antibes, a beachhead in the south of France, the Murphys invented the idea of year-round living in the Riviera: before their arrival, there was no summer season, no summer days at the beach. Gerald’s resort wear inspired Coco Chanel, and Sara’s habit of sunbathing with pearls draped down her bare back inspired imitators on both sides of the Atlantic.
Small and unpretentious, Villa America featured American innovations unheard of in Europe at the time, like screen doors and stainless steel bathroom fixtures. Le Corbusier praised the Murphys’ imaginative renovation of the house, particularly the new flat roof that served as a sun deck. The interior was decorated with black floors, zebra rugs, lots of mirrors, and big glass bowls filled with flowers. In 1930 Léger created a large double-sided screen for the Villa that marked a change for him from geometric/mechanical to biomorphic/celestial imagery. Entitled Large Comet Tails on Black Background, the screen is featured in the exhibition.
“Making It New offers both a lesson in how sociability can foster creativity and an antidote to the ongoing romantic narrative of the isolated genius.” says Lisa Corrin. “As a museum that encourages a multi-disciplinary approach to learning, WCMA is proud to make this timely contribution to cultural studies.”
Sponsorship
Making It New has been made possible in part by the National Endowment for the Humanities: great ideas brought to life; the Terra Foundation for American Art; the Getty Foundation; and the Dedalus Foundation, Inc.
Any views, finding, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.
National Tour
After its showing at the Williams College Museum of Art, Making It New: The Art and Style of Sara and Gerald Murphy travels to the Yale University Art Gallery (February 26–May 4, 2008) and the Dallas Museum of Art (June 8–September 14, 2008).
Catalogue
Making It New: The Art and Style of Sara and Gerald Murphy, published by University of California Press, Berkeley, contains a biographical essay by Dr. Rothschild, essays by Murphy scholars Calvin Tomkins, Amanda Vaill, Kenneth Silver, and Linda Patterson Miller; art historians Dorothy Kosinski and Kenneth Wayne; artist/writer Trevor Winkfield; musicologist Olivia Mattis; and poet and author William Jay Smith.
