Jerry Bywaters was born in Paris, Texas in 1906. As a leader of the Dallas Nine art collective, he championed Southwestern regional art during the Great Depression.
You’ll recognize his distinctive landscapes, portraits, and social commentary pieces in museums across Texas. His 21-year directorship transformed the Dallas Museum of Fine Arts with over 2,500 new acquisitions. His legacy continues through his preserved collection at Southern Methodist University (SMU).
Early Life and Artistic Development in Paris, Texas
Born in the northeast Texas town of Paris in 1906, Jerry Bywaters became one of the state’s most influential artists well before his museum leadership. His artistic journey began at Southern Methodist University, where he earned a degree in English literature in 1926.
After graduation, you’ll find Bywaters’ worldview expanded through European travel, followed by studies at the Art Students League of New York. By 1933, he had gained national recognition for his diverse portfolio of landscapes, still-lifes, and portraits. His talents extended to lithography and public murals.
Bywaters’ work aligned with the American Scene movement. As a founding member of the Lone Star Printmakers, he shaped Texas’s artistic identity and completed six mural projects through New Deal art programs. His legacy continues at Southern Methodist University, which honors his contributions through curated programs in the visual arts.
The Dallas Nine: Championing Regional Art in the Southwest
Regionalism found a Texas voice through the Dallas Nine, a collective that helped define Southwestern art during the Depression. This influential group, with Bywaters as a central figure, challenged the dominance of East and West Coast art centers by focusing on local landscapes, rural life, and regional culture.
You’ll find their aesthetic evident in the work of artists like Otis Dozier and Lloyd Goff, who captured scenes of everyday life in the Southwest. Bywaters’ leadership helped secure key federal art commissions, providing exposure for Texas artists during a pivotal period.
The Dallas Nine’s dedication to authentic local representation established a lasting foundation for Texas regional art—a legacy that still echoes in Dallas’s Deep Ellum, where creative communities have fought to preserve cultural identity.
New Deal Art Programs and Mural Legacy
Beyond his role with the Dallas Nine, Bywaters contributed to public art across Texas during the New Deal era. You’ll find his murals in cities like Dallas, Quanah, Farmersville, Trinity, and Paris, where he depicted historical narratives tied to local development.
Working with mediums such as casein on plaster, Bywaters produced wall paintings in post offices and libraries. Although some were later removed or painted over, notable examples—such as his work in the Paris Public Library—have been preserved. Before becoming museum director, he built his reputation by winning federal art competitions, reflecting a dedication to the accessibility of public art.
His historical sensitivity and preservation-minded approach mirrored efforts to protect cultural landmarks like Dallas’s Longhorn Ballroom—both honoring local heritage.
Transforming the Dallas Museum of Fine Arts (1943-1964)
In 1943, Jerry Bywaters was appointed director of the Dallas Museum of Fine Arts (now the Dallas Museum of Art), launching a transformative 21-year tenure. Under his leadership, the museum acquired over 2,500 works, expanding its collection to include artists such as Paul Gauguin, Georges Braque, and Pablo Picasso.
Bywaters balanced his curatorial role with other duties—serving as an art critic for the Dallas Morning News and teaching at SMU. He curated exhibitions like “Religious Art of the Western World”, bringing national recognition to the museum.
Despite facing McCarthy-era criticism over the museum’s exhibition of “un-American” art, Bywaters remained steadfast in promoting modern and regional artists, helping shape a vibrant Texas art scene that extended far beyond Dallas.
Artistic Style: Landscapes, Portraits, and Social Commentary
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Although known for museum leadership, Bywaters’ own artwork placed him among the most important 20th-century Texas artists. His oil paintings of Southwest landscapes captured both natural terrain and the growing imprint of urban development.
You’ll see versatility in his portraits, which convey deep psychological insight, and in works like “Sharecropper” and “On the Ranch”, which explore the lives of working-class Texans. These compositions reflect his dedication to portraying the diverse experiences of everyday people.
His printmaking also reinforced this message—pieces like “Gargantua” and “Ranch Hand and Pony” show his technical range and commitment to accessible, expressive art rooted in regional themes.
Preserving a Legacy: The Jerry Bywaters Collection at SMU
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Bywaters’ enduring influence is safeguarded in the Jerry Bywaters Collection on Art of the Southwest at SMU, established in 1987 with his donation of personal archives. This collection includes over 4,000 items, such as letters, photographs, sketches, paintings, and prints.
As both a museum director and art critic, Bywaters was a tireless advocate for regional art. His SMU archive remains a vital resource for scholars, helping document both his own legacy and the broader story of Southwestern American art.
Today, institutions like the Smithsonian draw from this archive, ensuring that Bywaters’ contributions to Texas and American art are studied, respected, and preserved for generations.