Florence McClung

Florence McClung (July 12, 1894 – 1992) was an American painter, printmaker, and art teacher. She was the daughter of Charles W. and Minerva (McCoy) White and was born in St. Louis, Missouri. She moved to Dallas, Texas, as a child when her associates in 1899 and lived there until her death. She far along was united with the Dallas Nine, an influential charity of Dallas-based artists.

She was born Florence Elliott White in St. Louis. She attended local schools and became highly immersed in music, studying for a career as a concert pianist.

In the beforehand 1920s in Dallas, McClung studied pastels in imitation of Frank Reaugh, working next with artists Olin Travis and Alexandre Hogue.

She painted for periods of period in Taos, New Mexico in the middle of 1928 and 1932, joining a circle that included Hogue, Mabel Dodge Luhan and Tony Luhan and the Taos Society of Artists. The town was a store place for artists and writers of many backgrounds, including English writer D.H. Lawrence and his wife.

In addition to making art, in Dallas McClung became active in artists' associations and worked to promote nod of women artists. She was an active zealot of the Printmakers Guild in the 1940s and 50s (it was renamed as Texas Printmakers in 1952). This guild was made in the works of a little group of Texas women artists, who founded it after swine excluded because of their gender from the Lone Star Printmakers of Dallas, headed by Hogue and Jerry Bywaters. In 1945, she was elected the Director of the Texas Fine Arts Association, now known as the Texas Visual Arts Association. In 1946, she was elected to the board of directors of the Southern States Art League.

McClung's innovative works were mostly serigraphs. As she approached her in advance sixties in the mid-1950s, she began to lose her sight and decreased her productivity. She may next have created fewer works because it became hard for her to "reconcile her love for rural countryside later than the growing urban mood of Dallas". She eventually became blind in her right eye behind an operation in 1986.

Her art always remained deeply linked to the Texas identity. According to a review of a 1941 exhibit by her: "Underlying the proceed and reflected in everything its manifestations is a comprehensibly defined purpose: to make a vivid, permanent wedding album of those phases of southwestern activity which even now are disappearing". Before she died, McClung gave several of her paintings to the Dallas Museum of Art.