Born April 7, 1900, Lafayette, Ala.; died July 8, 1980, New Orleans
A self-anointed minister, Sister Gertrude Morgan was born in Lafayette, Ala., in 1900. A devout Baptist, Morgan likely learned to read and write through the church, having left school in the third grade. She married in 1928 but moved away after receiving the first of many prophetic messages in 1934. By 1939, she had arrived in New Orleans. There, she met two other missionaries with whom she opened a small chapel and children’s home. The orphanage operated until 1957.
That same year of 1939, Morgan received a second prophetic message, revealing to her that she was the chosen bride of Christ. She began dressing in all white and would preach, sing and display her paintings in the French Quarter, beginning to garner attention. Between 1963–65, she moved into the white shotgun home of a woman named Jennie Johnson and created the Everlasting Gospel Mission. This space, with a yard full of four-leaf clovers, served as a place for Morgan to hold services, teachchildren and provide healing work, her term for caretaking through ministry.
Her art performed in many ways as illustrated scripture. She was inspired by scenes from the Bible, revelations in her life and a vision of a new world. In addition to paper and canvas, Morgan would paint on everyday objects such as foam trays, yard signs and hand fans for Mission-goers in the hot summers. Known for her art and music as well as character, Morgan quickly became a staple of New Orleans culture. A portrait of her was featured on the 1970 Jazz Festival poster, and, in 1972, she had her own festival booth for her paintings and preaching. From the ceiling of the peg booth, she hung a paper megaphone with which to preach. Around this same time, she produced an album of her songs, “Let’s Make a Record,” recorded in the prayer room of her home, and began exhibiting her art around the country. Feeling conflicted about her notoriety, she received a command from the Lord to stop painting in 1974. She passed away six years later in her home, a structure that remained standing until Hurricane Katrina in 2005.
—Emily Q. Slavin, Intuit Art Museum curatorial fellow
