Heritage, 2011, Volume 1 Page: 39
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the Arlington Main Street building, a themed mural Gath-
ering Pecans by Otis Dozier, a member of the Dallas Nine
(see page 14, first paragraph, for information on the Dallas
Nine), was included in the purchase. Morse explains that at
the time that this former post office was built in 1939, the
government often budgeted for the cost of art for these fed-
eral buildings. Dozier was commissioned to paint the mural
as part of the New Deal's Works Progress Administration
program. Several other Dozier paintings and lithographs are
also on display at the Colleyville location.
Making fine art a part of Worthington's corporate profile
was a deliberate decision on CEO Morse's part for a number
of reasons. "It used to be that many big city banks had nice
art collections, but some of those were sold off during the
1980's economic crisis," says Morse, "and as a result, today's
banks tend to look generic and impersonal." He goes on to
explain that Worthington National Bank's art collection
revives and differentiates this local institution from its
nationally-based competitors, creating a more visible
There were other considerations in using art to aestheti-
cally represent Worthington's corporate identity. Greg Morse
explains, "My father often told me that a person's 'rent' to
society is community service." Morse and the founding
members of WNB embraced this ethic as part of the bank's
business operations by opening the doors to the commu-
nity for something other than financial transactions. The
art and interior design of the banking offices invite social
events. "Our locations are often the sites of weddings, com-
munity meetings, and music recitals, enhanced by the grand
pianos placed in some of our lobbies," says Morse. Further,
the CEO regards the art collection and the restoration of
the historic buildings at the Fort Worth, Sundance Square
and the Arlington, Main Street locations as exemplifying
Worthington National Bank's commitment to preservation.
Impromptu tours are common, and staff members make it a
point to learn about the art and history of the location where
they work. "We feel an obligation to teach future genera-
tions the value in preserving the history and cultural heri-
tage of Texas," says Morse. "It's the right thing to do."
Jose Cisneros, Los Novios, Torch Collection.
Volume 1 2011 I TEXASHERITAGE 39
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Texas Historical Foundation. Heritage, 2011, Volume 1, periodical, 2011; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth254220/m1/39/: accessed May 24, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas Historical Foundation.