MEASURMENTS:26"HX35"W FRAMED, MINT CONDITION/"in the style of" Malcolm A. Morley was a British-American artist and painter. He was known as an artist who pioneered in varying styles, working as a photorealist and an expressionist, among many other styles. Morley's earliest work upon leaving art school, while remaining in England, adopted traditional, naturalist styles of painting. His work was "a compromise between old-school observation-based naturalism and art that was modern mostly because its subjects were recognizably of the present."After his arrival in New York, he began in the early 1960s to work abstractly, creating several paintings made up of only horizontal bands with vague suggestions of nautical themes, whether in imagery or in the works' titles.He also met Andy Warhol and Roy Lichtenstein and, influenced in part by them, made the drastic change to a photorealist style (Morley preferred the phrase Superrealist). Inspired by seeing Richard Artschwager using this technique, he began to use a grid to transfer photographic images (often of ships) to canvas, and became one of the first and most noted photorealists, along with Gerhard Richter, Richard Artschwager, and Vija Celmins.After seeing one of Morley's paintings of an ocean liner, Artschwager suggested that Morley visit Pier 57 and paint some ships from life. "I went down to Pier 57, took a canvas and tried to make a painting outside," Morley said. "But it was impossible to comprehend it in one glance, one end is over there, the other end is over there, a 360-degree impossibility. I was in disgust—I took a postcard of this cruise ship called the Queen of Bermuda."He would adopt this as his style for a few years, transposing images from a variety of sources (travel brochures, calendars, old paintings) to canvas. One factor that distinguished Morley from his photorealist peers was that rather than painting from the photograph itself, he was painting from printed reproductions such as postcards, sometimes even including the white border around a postcard image or the corporate logo from a calendar page.[8] His choice of these bland materials was partly driven by a desire to find pop-culture imagery that other artists, such as Warhol and Lichtenstein, were not already using: “What I wanted was to find an iconography that was untarnished by art." Morley achieved "instant success" with such work./Private collection, no documentation.