I never meet the late Christian Brinton. As a young man I road my bicycle past Quarry House many times. I happened to run across some of his papers in the late 1960's. In the process I became interested in this man who wrote with conviction about his subject. A man who was in the fore front of American Avant Garde art in the early 20th Century. He wrote about Edvard Munch in 1919. He was early in appreciating Munch's work in this country. Many of the artists he wrote about have disappeared into the void of unknown artists. There are some interesting exceptions. I believe that this record can be constructive for all interested in art.
Questions about Dr. Brinton:
Biography?
Some areas of Dr. Brinton's interests:
20th Century Modernism, Dada, Russia, Constructivism, Vadim Tchernoff, Chagall...
41-79-1 Mushik and Tractor, Unkown, Russian, Drawing
41-79-2 Milkmaid and Model Barn, executed collectively by the students of Leningrad Institute, Drawing
41-79-3 Portrait of Professor Nicholas K. Roerich (first president of the exclusive Miriskustra (World Art) group, by David Davidovich Burliuk, Russian the later American, b. 1882, oil on canvas
41-79-4 Impression of the Red Cavelry Driving Petlura from Kiev, by Vikto Nikandrovich Palmov, Russian, b. 1887 d. 1929, oil on board
41-79-29 Woman of the Fields, Boris Dmitryevich Grigoryev, Russian, b. 1886, oil on compo board
41-79-47 A Close Shave, by David Davidovich Burliuk, Russian the later American, b. 1882, oil on canvas
41-79-66 Study, Ikon of the Modern Age, by John D. Graham, Russian, oil on canvas
41-79-67 Our Forefathers, by Nicholas Konstantinovich Roerich, Russian, b. 1874, tempera
41-79-68 The End of Harvest - Visag is de Russis, Boris Dmitryevich Grigoryev, Russian, b. 1886, tempera & oil
41-79-69 Dawn - Russia, by David Davidovich Burliuk, Russian the later American, b. 1882, oil on canvas
41-79-70 Love in the Forest, by Heinrich Campendonk, German, b. 1889, oil on canvas
41-79-71 The Village of the Berenday, by Nicholas Konstantinovich Roerich, Russian, b. 1874, oil?, tempera?
41-79-74 The Rokeby Hunt, by Robert Winthrop Chanler, American, b. 1872, gesso panel
41-79-76 Pacific Island Totem Pole, 1923, by David Davidovich Burliuk, Russian the later American, b. 1882
41-79-77 Autumn, by Gela Archipenko, Russian then American, b. 1887, oil on canvas
41-79-79 Return from Work, by Nikolay Ivanovich Vasilyev, Russian, b. 1889, oil
41-79-80 Stage Decor for Act I of Judith - by Freidrich Hebbel, by Vadini Anatolievich Chemov, b. 1887, Russian, tempera
41-79-81 Portrait of a Friend, 1910, by Gari Melchers (Julius Garibaldi), American, b. 1860, d. 1932, oil on canvas
41-79-82 Russian Village Boy & Girl, 1925, by David Davidovich Burliuk, Russian the later American, b. 1882, oil on canvas
41-79-89 Moscow in Revolution, 1924, by David Davidovich Burliuk, Russian the later American, b. 1882, oil on canvas
41-79-94 Bashkir Family Kargalinskaya Steppe, 1927, by David Davidovich Burliuk, Russian the later American, b. 1882, oil on canvas
41-79-95 Ikon After the revolution, by David Davidovich Burliuk, Russian the later American, b. 1882, oil
41-79-98 Park Kiev, by Abraham Anshelovich, Russian, b 1881, oil
41-79-99 Peasant familu Before the Cottage, Boris Dmitryevich Grigoryev, Russian, b. 1886, tempera
41-79-100 Chinese Masks, by Alekandr Yevgenyvich Yakovlev, Russian, b. 1887, tempera
41-79-101 The Impromptu Visitor, by Bela Kadar, Hungarian, b. 1877, oil
41-79-102 Russian Carpets and Toys, by Aleksandr F. Hausch, Russian, b. 1873, oil
41-79-103 Angel of Peace, by Bela Kadar, Hungarian, b. 1877, oil on canvas
41-79-105 Portrait of an Art Critic (Christian Brinton), Bela Kadar, Hungarian, b. 1877, oil on canvas
41-79-106 A Critic and his Artist friends, 1924, David Davidovich Burliuk, oil on composition
41-79-107 Young man from Penza, Nikolay Stephanovich Cickovsky, Russian, b. 1894, oil on canvas
41-79-108 Russian Legend, by Nikolay Stepanovich Cicovsky, Russian, b. 1894, oil on canvas
41-79-109 Tea for Two, by Nikolay Ivanovich Vasilyev, Russian, b. 1889, oil on canvas
41-79-110 Modern Ikon, by Nikolay Ivanovich Vasilyev, Russian, b. 1889, oil on canvas
41-79-111 David Davidovich Burliuk - Father of Russian Cubo-Futurism, by Nikol Ovsryvich Schattenstein, Lithuanian then American, b. 1879, oil on canvas
41-79-112 Ilya Prorok (Elias the Prophet), by David Davidovich Burliuk, oil on canvas
41-79-113 Young Russia, by Nikolay Ivanovich Vasilyev, Russian, b. 1889, oil on canvas
41-79-114 Still Life - Vyatka Toys, by Sergey Yuryevich, Russian, b. 1894, tempera and oil
41-79-115 Village Carpenters, by Viktor Nikandrovich Palmov, Russian, b. 1897, oil
41-79-116 Russia, by Nikolay Stepanovich Cickovsky, Russian , b. 1894, oil
41-79-117 Rest at Midday, by Nikolay Ivanovich Vasilyev, Russian, b. 1889, oil on canvas
41-79-119 Before the Mirror, 1915, by Aleksandr Porfirievich Archipenko,(LINKS - 1,) Ukranian then American, b. 1887, sculpto-painting (excellant work if it is the one I remember-EZ)
41-79-120 Portrait of the Peasant Poet Nikolay Alexeyevich Kluyev, by Boris Dmitryevich Grigoryev, Russian, b. 1886, d. 1939, tempera
41-79-138 Sunset - Moonrise, by Bela Kadar, Hungarian, oil on canvas
41-79-139 A Chester County Art Critic, 1940, Horace Pippin, American, b. 1882(1888-1946?), oil
41-79-144 Egytian Nights, by Boris Israelevich Anisfield, Russian the American, b. 1879, oil on composition board
41-79-147 White Nights, Petrograd, 1920, by Boris Dmitryevich Grigoryev, Russian, b. 1886, oil on composition board
41-79-148 Tibetan Red Sect Lamas at Ceremony, by Svyatoslav Nikolayevich Roerich, Russian, b. 1874, oil on composition board
41-79-149 Russian Dancer, by Nikolay Stephanovich Cicovsky, Russian, b. 1894, oil on canvas
41-79-150 The End of the Harvest, 1920, by Boris Dmitryevich Grigoryev, Russian, b. 1886, oil on composition board
41-79-151 Nijinsky and Pavlova in Les Sylphides, by Carl Sprinchorn, Swedish, b. 1887, oil on canvas
41-79-153 Ikon Episodes from the life of St. Anne, Mother of the Virgin Mary, Unkown Russia, 16th century, tempera on wood panel
41-79-335 Adoration of Moscow, 1932, by Nikol Ovseyvich Schattenstein, Lithuanian, b. 1879, oil on canvas
41-79-336 Portrait of Christian Brinton, 1912, by Henrih Lund, Norwegian, oil on composition
end of list, I am certain that few of these works are currently on exhibit.
Aliev (Azerbeidjan)
Arutchan (Armenia)
Barto, R.
Bakhteev, V.G.
Bibikov
Bicos, S.
Blank, B. and Fradkin, M. (Ukraine)
Bremian, V.
Brouni, L.
Bogorodsky, F.
Deyneka, A.A.
Efimov, I.
Echeisrov, G.
Elkonin, V.
Favorsky, V.
Goncharov, A.
Garibian, A. (Armenia)
Hijinsky, L.
Iliyn, N.
Issurov, G. (Tatar Republic)
Judovin, S.
Gudiashvlli, Lado
Gurevch, M.
Katzman, E.
Kassian, V. (Ukraine)
Kopterov, V.
Kozlov, S.(Tatar Republic)
Konchalovsky, P.P.
Kuprejanov, N.N.
Kruglikova, E.
Krotkov (Georgia)
Kravchenko, A.I.
Krassilnikov, D.
Labas, A.
Laptev, A.
Luchishkin, S.
Mavrina, T.
Mitrokhin, D.
Mogilevsky, A.
Muhamedjand, V.M. (Tatar Republic)
Nikitin, I.
Nivinsky, I.
Nurenberg, A.
Ovanesian (Armenia)
Obolenskaya, Julya
Pakhomov, A.K.
Pavlinov, P.
Pavlov, N.
Piskarev, N.
Pimenov, J.
Podchenko, A.
Radimov, P.A.
Sakhnovskaya, E.
Samoilovkih
Samokhvalova
Sokolsky, N. (Tatar Republic)
Shifrin, N.
Staronosov, P
Sterenburg, D.
Tagirov (Tatar Republic)
Tolkachev, Z.(Ukraine)
Velikanov, J.
Zankevich, B.
For the struggling, aspiring land the Soviet Uinion has, during the past decade, displayed astonishing artistic activity and productivity. Any country may well envy such a record. Whilst at home art has taken on new vitality and significance, exhibitions of major importance have been successively held in Berlin, New York, Paris, andVenice. And meantime, the loan collection of Russian Ikons, a revelation to the Western World toured Europe, England, and America during three consecutive seasons. Apropos of the present cross-section of the minor arts, mainly graphic, of contemporary Soviet Russia, assembled by Moscow Voks, the term for "virgin soil" is employed with due regard for relativity. All soil contains alike the seeds of past sowing and the potentiality of fresh, vigorous growth. Following the Revolution, there persisted traces of the old aestheticism - l'art pour l'art, so beloved of purist and pedagogue. Among the more mature talents who electedto cast their lot amid the stressful exigencies of the coming regime were Konchalovsky, Sterenberg, and Favorsky. Each represented in the collection, and it is not without interest to compare their contributions with that of the progressive newcomers. It is in the modest realm of the block print that the exhibition appears strongest, and here Favorsky and his pupil, Kravchenko, together with Bibikov, Goncharov, judovin, Kassien, Pavlinov, Piskarev, and Sakhonovskaya, reveal themselves as belonging in the first catagory. The more free, spontaneous field of watercolour finds spirited modernist exponents in Labas and Pimenov, whilst Pakhonov and Zankevich are of a sober mood. Whatever the medium, this art, gathered even from the remotest newly art-concious corners of the Soviet Union, is vital, unfatigued, and replete with wholesome variety. It sounds the note of salutory experiment so typical of the younger citizens. And of equal, if not greater promeninece, is the note of serious work - the titanic task of industrialization set by the Soviets as their shining goal. This veritable ritual of labour, this mighty rhythm underlying life and also art in the Soviet Union, had its casual, episodic prelude in The Stone Breakers of Gustave Courbet, in Menzel's Iron Foundry, and in the sombre processional of Constantin Meunier's miners and puddlers of the Belgian Black Country. But it had not as yet assumed the character of a vast, synchronized social expression as in the U.S.S.R. Here indeed it becomes a species of Sacre. Not the Sacre du Printemps, but the Sacre du Travail. And this new Sacre, as you see, is already finding its place in the fruitful soil of art.
Mrs. Victor Blakeslee
Mrs. Wm. Curtis Bok
Mr. Adolphe Borie
Mrs. Adolphe Borie
Mr. Bernard Davis
Mrs. Bertram I. de Young
Miss Gertude Ely
Mrs John Lowry Hady
Mr. Earl Horter
Miss Clara R. Mason
Mr. Alexander Portnoff
Dr. Lucy L.W.Wilson
Miss Mary Winsor
Joseph Teichner, Chairman
Serge Soudeikine, Honary Chairman
David Burliuk
Eugene B. Dunkel
Professor Ferenc Imrey
R.M.Klous
David Burliuk
Eugene B. Dunkel
M. Foschko
Professor Ferenc Imrey
Serge Soudeikine
Joseph Teichner
Theresa Bernstein
Archel Gorky
John D. Graham
Kadar Bela
William Meryowitz
Clark Robinosn
Herman Post
S.L.Shane
Katherine S. Dreier (Societe Anonyme)
Joseph Teichner
Nicolas Vassilieff
Theresa Bernstein
Maurice Brevannes
Kadar Bela
Elinor B. Gibson
Prof. Golubiatnikoff (Kiev)
Archel Gorky
David Burliuk
Eugene B. Dunkel
R.M.Klous
John D. Graham
Boris Grigorieff
Stuart Davis
Nicholas Ignatenko
William Meryerowitz
Jan Matulka
National Museum of American Art owns these works of Matulka Jan Matulka Still Life Composition 1964.1.29 Jan Matulka Surrealist Landscape 1979.87Lue Osborne
S.L.Shane
Cordray Simmons
Prof. Taran (Kiev)
V.N.Palmoff
Alexander Portnoff
Hermann Post
Serge Soudeikine
Note EZ: the language below is sexist. On the other hand it was written in 1912 or 1913. The danger at looking at this record is that we may choose to see it only within the reference of our own time or we may choose to see it within the context of the time that it was written. It is much more difficult to see it within the context of the time that it was written.
Detached, and in a measure isolated through the artistic activety of these peoples has perforce been, their contribution in certain instances transcends that which is merely local in appeal. With the work of such men as Sergel, Thorvaldsen, and the troubled ,aspiring Munch, this art attains true universality of utterance. And yet, while such manifestations constitute its moments of supreme expression, it everywhere commands respect through its genuine creative fecundity, and above all through its virile, organic nationalism.
Christian Brinton in his forward.
660 pages, frontipiece in color, 375 illustrations, complete index of artists, Bound in blue cloth 8 vo. (9 1/2 x 6 1/2)
Carl G. Laurin, art critic and author of Konsthistoria, Sweden through the Artist's Eye, etc.;Published by The American-Scandinavian FoundationEmil Hannover, Director of the Danish Museum of Industrial Art, author of monographs on Watteau, Kohke, Eckersberg, Constantin Hansen, contributor to Danmarks Malerkunst;
Jens Thiis, Director of the National Gallery at Christiania, author of Norske Malere eg Billedhuggere, Leonardo da Vinci, et.;
Christian Brinton, M.A.., Litt. D., author of various esays on Scandinavian Art, and the book of the Scandiavian Exhibition of 1912-1913.
Leading the life of a small farmer down in the Birmingham district, it is only within the past week that I have learned of the proposed alterations affecting the National Bank of Chester County. It is with a mixture of surprise and dismay that the details have dawned upon my pastoral perceptions. For the moment I am moved to forget the potato blight and the depredations of a rotund but wily groundhog who, in the rose-tipped radience of these July mornings, ravishes my kitchen garden.
It is the blind, instinctive forces of nature and the lower orders of the animal and insect world which the farmer has to contend. Impelled by elemental urge, they are oblivious of the havoc they wreak. They are unaware of the pangs they engender in the bucolic beast. Yet whereas the farmer, like the placid domestic creatures upon which he depends, is a slow moving, slow thinking being, the townsman is in a different catagory. He is typically keen, alert, and concious, if not at times self-concious. He knows what he is about, but, with increased knowledge, come added duties and obligations. We simple, isolated sons of soil and toil expect of him a more highly developed sense of social and civic responsiblity than falls our humble lot. We hold that, in the interest of the community at large, he should not deface and destroy but preserve and upbuild.
As an intermittent visitor to West Chester in my indefatigable Ford, I have lately remarked divers changes in the aspect of our fair County Seat. We farmers do not envy, we take pride in the economic ascendency of our urban brethern. Still, whilst we applaud your material progress, we cannot but deprecate certain of its external manifestations. When I was a dark-haired urchin and used to drive up the pike to the Model School, or pass golden hours in the quaint Church Street den of the venerable taxidermist Lucius Price, and for many years thereafter, West Chester was noted for its sedate and modest mien. During the past decade, however, its serene and friendly physiognomy has altered most deplorably. In your quest of material gain you are repudiating your precious patrimony of natural, seemly beauty and propriety. And you are actually exterminating the goose that may be counted upon to produce the proverbial golden egg.
It is difficult to concieve why the otherwise sagacious residents of west Chester should fail to recognize what a commercial, as well as cultural and spiritual asset is the very iniqueness of their borough. Its particular character and appeal, coming from the country that produced the Magna Carta and Grey's Elegy, andtaking fresh root in new soil, typify that, which is best in what we proudly consider the American tradition. It is such qualities as your town still possesses that have constituted the fame, and in no small degree the fortune, of places like Concord and Stockbridge in elm-shaded Massachusetts, and nearby Dover with its unspoiled Green. The inspirational value of fitting background cannot be overestimated. It is something that was not lost upon Emerson, Hawthorne, and Thoreau, nor must one forget Sidney Lanier or the debt of our own Bayard Taylor owed his native Kennett. Such a heritage should not be dissipated. It must be conserved not alone for ourselves, but for the eager, aspiring generations that are coming after.
(MORE TO COME....I believe Dr. Brinton to be the author of this open letter.)
More to follow by Dr. Brinton:
Exhibition of Etchings, Lithographs & Woodcuts by Edvard Munch, 1919
Worcester Art Museum, Exhibition of the paintings by members of the Societe Anonyme, November third to December fifth 1921,Foreword by Raymond Wyer, Modernism in Art by Christian Brinton
The Boris Anisfeld, Reinhardt Gallery, Mar 25 - Apr 12, 1924
Ignacio Zuloaga, The Reinhardt Galleries, Jan 4-Jan 31, 1925
Exhibition of Russian Painting and Sculpture, realism to surrealism, 1932
The Face of Soviet Art, An Aesthetic Synthesis, 1934
The Art of Soviet Russia, 1936
Exhibition of Soviet graphic art, 1940
Paintings of India, Svetoslav Roerich, 1940
Civic Vandalism, An open leter from "RUSTICUS" to the townsfolk of West Chester, Pennsylvania. July 25, 1927
Correspondence sent by Dr. Brinton:
Sept. 6, 1938
Mr. F. de Sales Dundas, Esquire, Philadelphia, PA.: Subj. Gustavus Hesselius
Mr. Thomas C. Colt, Jr., Virginia Museum of Fine Arts, Richmond, VA: Subj. Gustavus Hesselius
Miss. Julia Sully, Richmond, VA.: Subj. Gustavus Hesselius