Summer 2026

annually at professional art associations, commer- cial galleries and museums than Morgan. There are two major impediments hindering the evaluation of her persona and art. The first is Morgan herself, a very private person. The largest collection of the artist’s papers, which are currently in the archives of Monterey Museum of Art and the Oakland Museum of California, consist almost entirely of newspaper clippings of her exhibits and formal correspon- dence relating to the shipping of her art from one venue to another.An interview with her sis- ter and short “histories” by members of the Morgan family shed few insights into her charac- ter. The second impediment is the lack of any clear linear evolution in respect to her style after 1914. This has annoyed modern art historians who search for “developmental stages” to neatly (Clockwise) “Desert Mountain, Palm Canyon,” a 12.5 x 14.5 inch tempera, from the collection of Saint Mary’s College Museum of Art; A 1920 portrait of Morgan by Maude Evangeline Stinson, from the collection of Paula and Terry Trotter; “Two Sisters on Carmel Beach” (aka “Two Figures on a Beach”), a 29.5 x 23.5 inch oil, from the collection of Lawrence E. Brown. 170 C A R M E L M A G A Z I N E • S U M M E R 2 0 2 6 Courtesy of Lawrence E. Brown Collection Courtesy of Saint Mary’s College Art Museum Collection Photo: Courtesy of Paula and Terry Trotter Collection, Trotter Galleries