The Dallas Nine
   The Dallas Nine group of artists were introduced in their first exhibition in Dallas February 1932, titled; "Exhibition of Young Dallas Painters" all under the age of 30. The exhibit was held at the Dallas Public Art Gallery, sponsored by the Dallas Museum of Art. The original group of nine consisted of Everett Franklin Spruce (1908-2002); William Lewis Lester (1910-1991); Jerry Bywaters (1906-1989), Otis Marion Dozier (1904-1987), Perry Nichols (1911-1992), Lloyd Goff (1908-1982), John Douglass (1905-1969); Charles McCann & James Buchanan "Buck" Winn (1905-1979). The exhibit gained National recognition in New York's Art Digest Magazine.

     Later the Group expanded to include;  Alexandre Hogue (1898-1994); Merritt T. Mauzey (1898-1973); Charles Taylor Bowling (1898-1994); Florence McClung (1894-1992); Harry P. Carnohan (1904-1969); Russell Vernon Hunter (1900-1955; Don Adair Brown (1899-1958) & others including sculpture by Dorothy Austin. The youngest and later years include Ed Bearden; Barney Delabano, DeForest Judd & Dan Wingren.

The Dallas Artists League, an informal discussion group active from 1932 to 1936, provided a forum for the exchange of ideas and heightened the public profile of its artist members with the popular annual Alice Street Art Carnivals. Organizations such as the Dallas Art Institute, the Highland Park Society of Arts, the Dallas University Club, the Klepper Sketch Club, the Lawrence Art Galleries, and the Joseph Sartor Galleries further stimulated the Dallas artistic climate by exhibiting young artists' work. Members of the Dallas Nine received much-needed financial support with the beginning in 1933 of the federal Public Works of Art Project, which awarded mural commissions to many Regionalist artists. New Deal patronage of artists continued into the early 1940s under the auspices of the Work Projects Administration and the Treasury Section federal art project. The Centennial Exposition of 1936 was perhaps the most influential event in forging a group identity among the Dallas Regionalists. Although the Nine failed to secure the mural commissions for the Hall of State, they dominated the Texas section of the Dallas Museum of Fine Arts exhibition, and were praised in the national as well as the local press.

     Such contemporary Mexican painters as Diego Rivera and José Clemente Orozco were major influences on the Dallas Regionalists as were the works of Thomas Hart Benton and other nationally known Regionalists.

     Dozier, Spruce, Lester, and other Dallas artists injected new life into the Texas Regionalist movement by experimenting with a semiabstract style rooted in Southwestern subject matter.

     The artists pushed the boundaries of regionalism and helped shape the Texas Art movement into a Modern & Regionalist Period with semi-abstract form.   

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Spruce 1936
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