Summer 2026

172 C A R M E L M A G A Z I N E • S U M M E R 2 0 2 6 Salvador Dalí, during their visits to Carmel, to seek her advice on where to find the most “fan- tastic scenes.” Morgan never abandoned those peculiar trees as a subject, and a Pine Cone arti- cle from 1931 reported that she would “stick by her cypresses until they sink into the sea.” She also painted domestic and public architecture, but only a few portraits, primarily profiles. Her art developed with the times and was embraced by Carmel.The intellectual climate of her village, which included an eclectic literary and political mix of resident socialists, commu- nists and reactionary conservatives, as well as summer visits by many American and European avant-garde painters, fostered the cultivation of new forms in art. Unlike many painters who set- tled for the mundane after financial success, she learned to search within herself for new avenues of artistic expression. From April 30-August 16, Monterey Museum of Art is offering the first comprehensive retrospec- tive of Morgan’s art since a 1944 Stanford University exhibition. For more information, call 831/372-5477 or visit www.montereyart.org. From the collection of Paula and Terry Trotter (above) “Carmel Dunes,” an 11.5 x 35.5 inch oil from 1934-35 and (below) “The Spirit of the Cypress,” a 35 x 49 inch oil from 1924-25, which bested Hanson Puthuff for first place in a 1927 show. Courtesy of Paula and Terry Trotter Collection, Trotter Galleries Courtesy of Paula and Terry Trotter Collection, Trotter Galleries