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Thomas Miller is a prolific graphic designer and visual artist, whose best known publicly accessable work is the collection of mosaics of the founders of DuSable Museum of African American History in Chicago, Illinois. The mosaics are a prominent feature of the lobby of the museum, the original portion of which was designed c.1915 by D.H. Burnham and Company to serve as the South Park Administration Building in Washington Park on the city's south side. After serving various purposes, the building became the home of the DuSable in 1973.

Early life
Miller was born in Bristol, Virginia, where he graduated from Douglas High School in 1937. He then attended Virginia State College (now Virginia State University) which was founded in 1882 as the country's first fully state supported four-year institution of higher learning for African-Americans. He graduated from there in 1941 after having earned a bachelor's degree in art education, and subsequently enlisted in the U.S. Army, where he attained the rank of first sargeant, serving in the 3437 Quartermaster Truck Company          during World War II.

In the pursuit of art
Although interested in sketching and painting while still a child, during which time his mother was his most ardent enthusiast, Miller didn't have the opportunity to study art until he came to Chicago after he was discharged from the army. It was then, determined to develop his talent, that Miller applied to and was accepted as a student at the Ray Vogue School of Art, an achievement not then to be taken for granted, considering that he and his fellow student Emmett McBain ". . .were the only African-Americans besides the janitors." . The school had been founded in 1916 as The Commercial Art School, and was one of the first colleges of applied art and design in the United States. By 1946, when Miller became a student, Ray Vogue had a national reputation as a leading educator in professional art and fashion design. While at Ray Vogue, Miller studied commercial and graphic art, and completed his studies there in 1950.

Morton Goldsholl Associates
Miller began his career as a professional artist with a brief stint in the Chicago offices of Gerstel-Loeff before joining Morton Goldsholl Associates, a studio that was known at the time for its "progressive hiring policies" in that it was one of the few firms then that hired minorities and women in a professional capacity. The road to Goldsholl was not an easy one. Although armed with with a degree from a respected state university and, later, training as a commercial artist, Miller was challenged to overcome the barrier that was created by the color of his skin. Leaving his wife Anita and two children in the care of her sister in Florida, where the two women taught in the public schools, Miller set out to find employement. His first efforts were made in New York City and New Jersey, and although he received an offer of employment with the understanding that he work behind a screen so that his presence would not be obvious to the other designers, his object was to be hired as an equal in his field. Exhausting the possiblities out East, his next stop was in Chicago. Morton Goldsholl

Miller flourished there, staying until his retirement thirty-five years later.

Although a relatively small firm by Chicago standards (the office was founded in the early 1940's and consisted of only about a dozen people at any given time, including Morton Goldsholl and his wife, Millie) Goldsholl was considered to be one of the leading graphic designers in the city of Chicago. In 1950 the studio was responsible for the creation of the Good Design Award which had been established that year by the founders of The Chicago Athenaeum: Museum of Architecture and Design: architects Eero Saarinen, Charles Eames, Ray Eames, and Edgar Kaufmann, Jr.. The award has been sponsored by that organization and The European Centre for Architecture Art Design and Urban Studies since it was introduced, and this year an award was given to Steelcase, Inc. for their "environmentally sustainable" Think chair. The Goldsholls studied under László Moholy-Nagy at the New Bauhaus (now the IIT Institute of Design at the Illinois Institute of Technology), and as the studio developed, it became internationally renowned for its creative output, which included animation    and the development of branding and packaging for major international organizations like Motorola, Quaker Oats and the Peace Corps. Animation by the firm included commercials for companies the caliber of Gillette and Hallmark, whose advertising budgets would allow them to go anywhere, but who instead elected to come to Morton Goldsholl Associates, "The most successful of [Chicago] animation producers" Millie Goldsholl is an accomplished photographer and was one of the founders in 1975 of  the midwest USA Chapter of ASIFA, the International Animation Association. The innovation of Morton Goldsholl Associates wasn't expressed only in art per se - for example the firm was awarded a patent in 1985 (US4501488) for the invention of an "Image processor and method for use in making photographic prints" which was capable of making unusual images using ordinary photographic film. During his career at Goldsholl, Miller contributed to many of these projects, and was the primary designer at the studio of the new packaging and identity for 7-up in the mid 1970's, a project that earned several awards for both him and for his company. During the 1960's he was one of few African Americans to maintain a membership in traditional trade organizations like The Society of Typographical Arts. .

As an independant artist
Thomas Miller was an independant artist before he earned his living from art as a profession - while he was stationed in Europe during World War II, and without having yet recieved professional training, his raw talent was enough that he was able to sell oil paintings in England, France and Belgium.

Archives
The papers of Thomas Miller are archived at the University of Illinois at Chicago and include photographs, proofsheets, slides, award certificates, realia, prototypes, calendars, periodicals and samples of his designs for industry. (7-UP, MIC, Betty Crocker's Chicken Helper, children's textbooks etc. are found throughout the papers and in the photographic images, slides and realia. STA: The 100 Show, 1961, 1986, and Simpson Connections Calendar, 1985 were transferred into the Special Collections Rare Book Collection.)

Listing of selected works
Over the course of a career (both independant and professional) that so far has spanned nearly eighty years, Miller has produced over 1000 works of art that include internationally recognized corporate branding, illustrations for books, lithographs, drawings, sculptures, and various other projects. He also collaborated with co-worker Susan Seig in 1985 to produce the calendar "Art of the Shakers". Below is a chronological listing of some of his more important and notable work.

In Carlos Lozano's biography, Sex, Surrealism, Dalí, and Me, produced with the collaboration of Clifford Thurlow, Lozano makes it clear that Dalí never stopped being a surrealist. As Dalí said of himself: "the only difference between me and the surrealists is that I am a surrealist."
 * 1910 Landscape Near Figueras
 * 1913 Vilabertin
 * 1916 Fiesta in Figueras (begun 1914)
 * 1917 View of Cadaqués with Shadow of Mount Pani
 * 1918 Crepuscular Old Man (begun 1917)
 * 1919 Port of Cadaqués (Night) (begun 1918) and Self-portrait in the Studio
 * 1920 The Artist's Father at Llane Beach and View of Portdogué (Port Aluger)
 * 1921 The Garden of Llaner (Cadaqués) (begun 1920) and Self-portrait
 * 1922 Cabaret Scene and Night Walking Dreams
 * 1923 Self Portrait with L'Humanite and Cubist Self Portrait with La Publicitat
 * 1924 Still Life (Syphon and Bottle of Rum) (for García Lorca) and Portrait of Luis Buñuel
 * 1925 Large Harlequin and Small Bottle of Rum and a series of fine portraits of his sister Anna Maria, most notably Figure at a Window
 * 1926 The Basket of Bread and Girl from Figueres
 * 1927 Composition with Three Figures (Neo-Cubist Academy) and Honey is Sweeter than Blood (his first important surrealist work)
 * 1929 Un chien andalou (An Andalusian Dog) film in collaboration with Luis Buñuel, The Lugubrious Game, The Great Masturbator, The First Days of Spring, and The Profanation of the Host
 * 1930 L'Âge d'Or (The Golden Age) film in collaboration with Luis Buñuel
 * 1931 The Persistence of Memory (his most famous work, featuring the "melting clocks"), The Old Age of William Tell, and William Tell and Gradiva
 * 1932 The Spectre of Sex Appeal, The Birth of Liquid Desires, Anthropomorphic Bread, and Fried Eggs on the Plate without the Plate. The Invisible Man (begun 1929) completed (although not to Dalí's own satisfaction)
 * 1933 Retrospective Bust of a Woman (mixed media sculpture collage) and Portrait of Gala With Two Lamb Chops Balanced on Her Shoulder, Gala in the Window
 * 1934 The Ghost of Vermeer of Delft Which Can Be Used As a Table and A Sense of Speed
 * 1935 Archaeological Reminiscence of Millet's Angelus and The Face of Mae West
 * 1936 Autumn Cannibalism, Lobster Telephone, Soft Construction with Boiled Beans (Premonition of Civil War) and two works titled Morphological Echo (the first of which began in 1934)
 * 1937 Metamorphosis of Narcissus, Swans Reflecting Elephants, The Burning Giraffe, Sleep, The Enigma of Hitler, Mae West Lips Sofa and Cannibalism in Autumn
 * 1938 The Sublime Moment and Apparition of Face and Fruit Dish on a Beach
 * 1939 Shirley Temple, The Youngest, Most Sacred Monster of the Cinema in Her Time
 * 1940 The Slave Market with Disappearing Bust of Voltaire, The Face of War
 * 1941 Honey is Sweeter than Blood
 * 1943 The Poetry of America and Geopoliticus Child Watching the Birth of the New Man
 * 1944 Galarina and Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening
 * 1944–48 Hidden Faces, a novel
 * 1945, Basket of Bread—Rather Death than Shame and Fountain of Milk Flowing Uselessly on Three Shoes; also this year, Dalí collaborated with Alfred Hitchcock on a dream sequence to the film Spellbound, to mutual dissatisfaction
 * 1946 The Temptation of St. Anthony
 * 1948 Les Elephants
 * 1949 Leda Atomica and The Madonna of Port Lligat. Dalí returned to Catalonia this year
 * 1951 Christ of St. John of the Cross and Exploding Raphaelesque Head
 * 1952 Galatea of the Spheres
 * 1954 The Disintegration of the Persistence of Memory (begun in 1952), Crucifixion (Corpus Hypercubus) and Young Virgin Auto-Sodomized by the Horns of Her Own Chastity
 * 1955 The Sacrament of the Last Supper, Lonesome Echo, record album cover for Jackie Gleason
 * 1956 Still Life Moving Fast, Rinoceronte vestido con puntillas
 * 1957 Santiago el Grande oil on canvas on permanent display at Beaverbrook Art Gallery in Fredericton, NB, Canada
 * 1958 The Rose
 * 1959 The Discovery of America by Christopher Columbus
 * 1960 Dalí began work on the Teatro-Museo Gala Salvador Dalí and Portrait of Juan de Pareja, the Assistant to Velázquez
 * 1965 Dalí donates a gouache, ink and pencil drawing of the Crucifixion to the Rikers Island jail in New York City. The drawing hung in the inmate dining room from 1965 to 1981
 * 1965 Dali in New York
 * 1967 Tuna Fishing
 * 1969 Chupa Chups logo
 * 1969 - Improvisation on a Sunday Afternoon, television collaboration with the rock group Nirvana
 * 1970 The Hallucinogenic Toreador, acquired in 1969 by A. Reynolds Morse & Eleanor R. Morse before it was completed
 * 1972 La Toile Daligram
 * 1973 "Le Diners De Gala", an ornately illustrated cook book
 * 1976 Gala Contemplating the Mediterranean Sea
 * 1977 Dalí's Hand Drawing Back the Golden Fleece in the Form of a Cloud to Show Gala Completely Nude, Very Far Away Behind the Sun (stereoscopical pair of paintings)
 * 1983 Dalí completes his final painting, The Swallow's Tail
 * 2003 Destino, an animated cartoon originally a collaboration between Dalí and Walt Disney, is released. Production on Destino began in 1945

The largest collections of Dalí's work are at the Dalí Theatre and Museum in Figueres, Catalonia, Spain, followed by the Salvador Dalí Museum in St. Petersburg, Florida, which contains the collection of A. Reynolds Morse & Eleanor R. Morse. It holds over 1,500 works from Dalí. Other particularly significant collections include the Reina Sofia Museum in Madrid and the Salvador Dalí Gallery in Pacific Palisades, California. Espace Dalí in Montmartre, Paris, France, as well as the Dalí Universe in London, England, contain a large collection of his drawings and sculptures.

The unlikeliest venue for Dalí's work was the Rikers Island jail in New York City; a sketch of the Crucifixion he donated to the jail hung in the inmate dining room for 16 years before it was moved to the prison lobby for safekeeping. The drawing was stolen in March 2003 and has not been recovered.

Details

 * Work held in the collection of the Museum of Modern Art, New York.
 * Image taken from MoMA.org

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