|Biography from The Johnson Collection:|
|Born to a family of Savannah, Georgia, artists, Christopher Aristide Desbouillons Murphy was a pivotal twentieth century figure—as a painter, etcher, and arts advocate—in his hometown’s rich cultural narrative. The eldest of seven children born to Christopher Patrick Hussey Murphy (1869-1939) and Lucile Desbouillons Murphy (1873-1956), both recognized and respected artists in the community, he displayed an early interest in art and began formal lessons at a young age. In 1918, visiting artist Hardesty Gilmore Maratta provided Murphy with instruction that emphasized Maratta’s innovative color theories which combined art and musical chords to produce “harmonized” color within compositions.|
Upon graduating from a private Catholic high school, Christopher Murphy, Jr.—as he was commonly known—enrolled at the Art Students League in New York City in 1921. There, his teachers in drawing, painting, and etching included George Bridgman, Frank Vincent DuMond, Henry R. Rittenberg, and Joseph Pennell. An architecture course with Lloyd Warren, director of the Beaux-Arts Institute of Design, rounded out his training. Murphy received the prestigious Louis Comfort Tiffany Foundation fellowship in 1925. Between 1925 and 1930, Murphy divided his time between the Art Students League and classes in Savannah; he also found work as a commercial artist in New York, employment where his expertise in etching proved especially useful. Throughout this period, his ongoing studies were supplemented with private instruction from visiting artists in Savannah such as Hilda Belcher, Adolphe Blondheim, William Chadwick, and Eliot Clark.
Murphy’s liberal education prepared him for work in a variety of mediums—watercolor, gouache, etching and drypoint, and oil—and his choice of subject matter was equally diverse, including portraits, landscapes of gardens and marshes, cityscapes, architectural studies, and marine scenes. He found inspiration in both the grander scenic parts of his historic hometown, as well as humbler locales within the city and beyond; throughout his life, he was drawn to water and consistently captured the area’s various waterways in his work. In describing his approach to painting, Murphy said that he “chose to depict the subject without swamping it with technical mannerisms—to convey clearly the innate interest of the subject to the beholder in a pleasurable form.” Murphy exhibited extensively during his career at notable venues, including the National Academy of Design, Art Institute of Chicago, New York Watercolor Club, American Watercolor Society, Sesquicentennial Exposition in Philadelphia, Whitney Museum, Victoria and Albert Museum, and the Southern States Art League, where he was recognized in 1927 and 1931 for works on paper.
By 1931, the economic hardships brought on by the Great Depression tethered Murphy to Savannah, a move that did not discourage the young artist who once wrote that “however big and wonderful New York may be, you can be sure that is does not compare with . . . Savannah.” Back at home, the artist continued to produce at a prolific rate, entered his work in important regional and national exhibitions, and began to teach at local institutions, including the Telfair Academy of Arts and Sciences and Armstrong Junior College. Murphy was a founding member of the Association of Georgia Artists and served as president of the Savannah Art Club. His technical expertise and affinity for the Southern scene were apparent in his art, culminating with a series of illustrations for Savannah, a book produced in collaboration with Walter C. Hartridge, a Savannah historian and leader in that city’s preservation movement. Murphy’s quintessential images of Savannah established the artist as a beloved native son of Georgia, and his work is heavily represented in Georgia museums, including the Telfair Museum of Art and Morris Museum of Art.
The Johnson Collection, Spartanburg, South Carolina
|Biography from Morris Museum of Art:|
|The following biography has been provided by Karen Towers Klacsmann,
Adjunct Assistant Curator for Research, Morris Museum of Art, Augusta,
Christopher A. D. Murphy was born in Savannah, the oldest of seven
children born to Christopher Patrick Hussey Murphy and Lucile
Desbouillons Murphy. He was commonly known as Christopher Murphy, Jr.,
even though his middle names honored his maternal grandfather and
differed from those of his father. Both of his parents were artists,
and they provided him with his earliest instruction. Hardesty G.
Maratta, an artist and color theorist who visited Savannah in 1918, was
another early influence on the teenaged artist.
Although art was a constant presence in the Murphy household, among the
Murphy children only Christopher and Margaret pursued the visual arts
as a professional vocation. On his graduation from Benedictine High
School, Christopher left Savannah for New York City to study at the Art
Christopher lived in New York from 1921 through 1923 and intermittently
in 1925 and 1930. His teachers at the Art Students League included
painters George Bridgman, Frank Vincent DuMond, Henry Rittenberg, and
Adolphe Blondheim, as well as the etcher Joseph Pennell. He was
intensely interested in architecture and, in 1922, studied design with
the architect Lloyd Warren, who was the director of the Beaux-Arts
Institute of Design in New York City. In 1925, Murphy was awarded
a Louis Comfort Tiffany Foundation Fellowship. And when at home,
he also studied privately with artists who visited Savannah, including
Hilda Belcher, Eliot Clark, and William Chadwick.
Murphy was a prominent member of the Savannah arts community from the
time of his return there until his death more than forty years later.
In 1929, the Association of Georgia Artists was organized in his home
with the purpose of encouraging art and initiating annual exhibitions
throughout Georgia. He taught privately and at the Telfair Academy of
Arts and Sciences and at Armstrong College (now Armstrong Atlantic
State University). During World War II, he served in the U.S. Coast
Guard. His work was widely exhibited at the annual exhibits of the
Southern States Art League and at the American Watercolor Society, at
the Victoria and Albert Museum in London, Cleveland Print Society,
Philadelphia Print Club, Brooklyn Society of Etchers, Savannah Art
Club, and the Whitney Museum of American Art. His work appeared in such
popular publications as Country Life, American Architect, House
Beautiful, and The Southern Architect, and in 1947 he collaborated with
Walter Hartridge on the book Savannah, providing drawings and etchings
of his native city. He married Ernestine Cole, and they had a son,
Christopher Cole Murphy.
Equally adept in watercolor, drawing, etching, and oil, he received numerous awards and accolades for his work.
He is represented in the permanent collection of the Morris Museum of Art by one hundred works in various media.
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