The Morton Contemporary Gallery, located in the heart of Center City Philadelphia, in partnership with Gratz Gallery & Conservation Studio of Doylestown, is excited to announce an upcoming exhibition of an extraordinary 20th century Modernist talent previously lost in the anals of history, but now found. Not long ago, a treasure was unearthed in a barn in the Catskills when 250 Peter Miller paintings were discovered and then restored by the hand of longtime Princeton University conservator and gallerist, Paul Gratz. The trove of work will soon go on exhibition in Philadelphia at the Morton Contemporary Gallery, located at 115 S. 13th St. This will take place from Saturday, Nov. 11 and run until Jan. 20, 2024.Born Henrietta Myers, American modernist and surrealist painter Peter Miller (Pennsylvania/New Mexico, 1913-96) attended the Pennsylvania Academy of the Fine Arts from 1933-37. As a young woman artist at the prestigious PAFA, Henrietta saw barriers ahead in her career, in a world of artists, collectors, and critics that was dominated by men. Should she take her given name or transform her public and artistic persona into a man in order to capture the attention of a male-centered world? In her application to PAFA, she wrote that "she would rather fail at painting than succeed at anything else in life." Ultimately, harking back to her childhood nickname of "Peter" and marrying fellow PAFA student Earle Miller in 1935, surrealist modernist Peter Miller was born. Miller came from an affluent family in Hanover, Pa., and later settled at the Rock Raymond Farm in Chester County, Pa. In her big hearted, ever philanthropic way, upon her death in 1996 she designated her 350-acre farm to be donated to the Brandywine Conservancy. Classified as an "American Modernist," the artist began her career with two solo shows at the prestigious Julien Levy gallery in 1944 and 1946. Reviewers of her exhibitions noted the unmistakable influence of artist Joan Miro (whose work Peter owned and whom she knew); Arthur Carles, whom she studied under; and sources in Native American culture. Throughout her lifetime, Miller came to know an illustrious coterie of artists, including the Calders, Henri Matisse, Max Ernst, and the surrealists of the time in New York City, all of whom influenced her aesthetic leanings. Additionally, one does not have to look hard to see her work sources inspiration at different times from Pablo Picasso, Fernand Leger, and Paul Klee. Interestingly, the single greatest influence of her artistic vision and style may well have been born of a very special friendship with one Edith Warner, a mystic from Sante Fe, N.M., who became Peter's mentor, and confidante. Peter, and her husband, Earle, split their time between Pennsylvania and their spiritual home in Santa Fe, where the couple eagerly escaped high society life on their large desert estate. It was her many years in Sante Fe, developing deep personal connections with the San Ildefonso Pueblo, that perhaps was the single greatest influence on her creative perspective and artistic expression. Peter's mentor, Edith, was personally connected to the San Ildefonso Pueblo, and together these two women were invited to witness sacred ceremonies and rituals, an honor granted to few white people at that time. Through the many friendships Peter made throughout Sante Fe, her body of work began to absorb a fascination and even obsession with original petroglyphs, ceremonial objects, and the soothing colors of the desert sand, sky, and canyon walls. A deep sensual painterly glow, resulting from layers and layers of paint, containing in places up to eight different colors in a small square inch, has come to define her unique aesthetic. Every painting of Miller's is a story, reflecting her heart and soul, allowing her love of nature and beliefs in all metaphysical things to shine through her work. She believed in exploring the magical realm, telepathy, synchronicity, alchemy, ESP, and tarot card reading. The concept of the collective subconscious captivated her curiosity and imagination. Peter and her husband often hosted dinner parties, inviting their guests to join them in storytelling and experimenting with the psychic phenomenon. Miller was a highly intellectual woman, her knowledge and interest in ancient cultures, history, and architecture is often reflected in her body of work. Steeped in the principles of theosophy, and being very familiar with the Transcendental Painting Group (TPG) of her peers, Peter Miller still remained independent in her artistic language and continued to explore her own unique vision of nature and spirituality throughout her long career as a painter. In 1986, towards the end of her life, Miller and her husband donated their beloved Miro painting, "Horse, Pipe and Red Flower (Still life with Horse)," to the Philadelphia Museum of Art. Anne d'Harnoncourt, the director of the PMA at the time, was one of Miller's best friends. Peter Miller was an artist, a philanthropist, a mystic, and a fearlessly courageous woman with an endless passion for nature, spirituality, and exploration. Until recently, Peter Miller has largely been a forgotten figure within the history of American Modernism. Through the discovery of the hoard of paintings, it an honor and privilege for both the Gratz Gallery and Morton Gallery to present the life work of Peter Miller.Morton Contemporary Gallery, with two locations in the heart of Center City Philadelphia, embodies an ethical as well as aesthetic vision, a commitment to equity and inclusion in tune with worldwide social movements. Owner and founder Debbie Morton aims to diversify not only the audience for fine art, but its source, by elevating the work of traditionally underrepresented artists such as women and artists of color from around the globe. The gallery's diverse contemporary art collection ranges from original works on canvas to sculpture, mixed-media and photography. Over 25 innovative artists are represented and on rotation at the gallery. Gratz Gallery & Conservation Studio has taken great pride in supporting the arts and communities of New Hope, Bucks County, Philadelphia, and the Delaware Valley. Over the years, Gratz Gallery has promoted and featured many important American artists from the New Hope Circle, The Philadelphia Ten, and students from The Pennsylvania Academy of the Fine Arts. Gratz Gallery specializes in 19th and 20th century American Art, offers museum quality fine art conservation services, and has been a trusted representative for collectors in the expansion and upgrade of their fine American art collections for over 40 years.For additional information, contact Debbie Morton at 215-805-1667 or Debbie@MortonContemporary.com.