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Byron Browne in the Thirties: the Battle for Abstract Art

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Byron Browne in the Thirties: the Battle for Abstract Art Byron Browne in the Thirties: The Battle for Abstract Art April J. Paul Archives of American Art Journal, Vol. 19, No. 4. (1979), pp. 9-24. Stable URL: http://links.jstor.org/sici?sici=0003-9853%281979%2919%3A4%3C9%3ABBITTT%3E2.0.CO%3B2-M Archives of American Art Journal is currently published by The Smithsonian Institution. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/si.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sun Jan 13 10:39:52 2008 Byron Browne in the Thirties: the Battle for Abstract Art April J.Paul In 1925, by choosing to enter the National Academy of Design, Byron Browne 11907-1961) committed himself to a program of traditional artistic train- ing that disallowed the "modern move- ment." Extremely talented and im- mensely successful as a student, by the time he graduated in the spring of 1928 Browne had won nearly every prize of- fered by this conservative school. Yet, as he won award after award for his aca- demic painting, Browne's interests shifted; he began to experiment with an abstraction of forms inspired by the School of Paris. This absorption would eventually establish him as one of the leaders among those few Americans who dared to contest the anti-European "American Wave. " The promise of an early, brilliant ca- reer was considerably dashed, however, by the rising surge of nationalism, which saw the easily understood art of Ameri- can Scene painting become the accepted mode of the day. Seen in the context of the Great Depression, nearly unanimous rejections from museums and dealers, and the verbal violence of art critics op- posed to abstractionist tendencies, Byron Browne's drive toward a newer kmd of art reveals a courageous and tenacious spirit. Browne's art followed several dis- tinct directions in his struggle to free Byron Browne in his studio, 1937. Photographer unknown. himself from a realistic approach and to Photograph: Courtesy of Stephen B. Bnmne. carve a new aesthetic based on abstract principles. These efforts engaged him vertically and horizontally, overlapping food on the table.= through the entire decade of the thirties. at right angles. Painted strips of the same Browne's gloomy prospect was For Byron Brme, as well as for his colors and paint between the strips create somewhat alleviated by the advent of his American contemporaries who were ori- contrapuntal rhythms, as in music, and first one-man show, held in 1933 at the ented toward the School of Paris, the result in a composition which, at first, Eighth Street Playhouse in Greenwich cubist works of Picasso, Braque, and Gris seems wholly abstract. Closer examina- Village. There is no record of whch were of prodigious interest. The Cubists' tion refutes this impression, for refer- works were shown nor of the critical re- use of papiers-collb and collage inspired ences to the human face seem to be em- sponse the exhibition generated, if any. one of Browne's first efforts in the direc- bedded in the complex form on the nght, It would be reasonable to suppose that tion of abstract art. In the collage titled which is not unllkely given Browne's Browne showed his cubist-inspired paint- Fugue, 1930 (fig. l),narrow strips of red, -predilection for the firmre.' ings and perhaps a few pieces of sculp- black, and white paper were pasted In spite of a n&ly total dearth of ture, a medlum in which he continued to galleries and museums wilhg to show work. the works of the few Americans who What a momentous event it was, in dared to paint abstractly, Browne re- that day, for an artist to display his work April 1. Paul received her M.A. in art history mained adamant where his new direc- before the public. Then, as now, an ex- from the University of California, Davis. She tion was concerned. One has only to hibition was of enormous importance, wrote her thesis on Bryon Browne with the aid of a Graduate Research Award granted by think of the social pressures then being but with the economic, social, and cul- the Committee on Fellowships and Graduate directed against this style to marvel at tural situation in such turmoil, one was Scholarships, Davis. She is completing a book such perseverance, for he was now in lucky to exhibit at all. In spite of rock on Browne and is currently in the Ph.D. pro- worse financial straits than durin his bottum prices, the public was disin- gram in art history at The Graduate Center/ student days. Like most artists, he faced clined to buy American works and, with City University of New York. deep poverty that rarely allowed enough few exceptions, neither Browne nor any other artist was able to make a fair living Browne submitted three works to the The PWAP does not help the real through his talent.3 agency to prove his ability and evidently creative artist. In the first place the During President Hoover's adminis- was accepted immediately. His leaning subject matter is dictated to the art- tration, in 1931, attempts were made to toward abstraction did not pass unno- ist. As my work contains little or alleviate the plight of artists in New ticed, for in the files at the National Ar- no emphasis on subject matter I was York City through the formation of the chives a typewritten sheet of paper con- ignored for a long time after the Gibson Committee for the Unemployed. tains the following terse notation: "3rd PWAP began to function and then It was, according to artist Joseph Solman, Class. Has vigorous distorted style which cut off after a period of four weeks. a six-month makeshift program that ac- would be very difficult to place in a pub- This has also happened in many complished little. Later the Committee, lic building." s The word "Easel" was other cases. So here we have a great under the supervision of the College Art handwritten on the page. Browne was art movement in the country with Association, funded another project for assigned to the Easel Painting classifica- the idea of aidmg the artist. As far as hungry, materials-short artists; &s time tion and Mrs. Force gave him his first I and many others are concerned we 100 were given art-related jobs.4 The job, a picture to be titled Music, a figure might be at the North Pole. numbers of unemployed artists, however, painting of large proportions (5 by 3% One case in particular I know of were growing by the thousands. feet), which would be suitable also as a which I should hke to bring to your In order to pressure the national gov- mural for a library or music room. attention. People receiving incomes ernment for subsidies, a number of art- Browne lost no time setting to work on from various sources are getting the ists banded together in 1933 to form the the canvas and by the months end it government check regularly while Unemployed Artists Group, later to be- was nearing completion, as noted in a the ones in need have barely a roof come the famed Artists Uni~n.~Never- progress report dated February 1, 1934. lo over their heads. This is not laying theless, not until after Roosevelt as- His success was short-lived, how- it on too thick as I know from first sumed office in March of that year were ever, for on February 9 Browne received a hand information. Now about the there any massive, concrete relief pro- letter terminating hls employment, ef- case I spoke of. Here is an artist who grams established for all American art- fective the next day. The letter offered receives a steady, reliable and com- ists in order to mitigate their special pre- no explanation other than ". owing to fortable income and is employed by dicament. Upon formation of the first restrictions in the number of artists we the PWAF'. This person's contribu- New Deal effort designed for artists, the can employ, and the large number now tion consists of small etchmgs done Public Works of Art Project (PWAP, on our waiting list, we are forced to ter- from photographs of historical build- 1933-1934), Byron Browne applied and minate your employment under this ings. This, you can readily see, does qualified for huing along with hundreds Project, effective Saturday, February 10." not come under the heading of crea- of other artists. The letter was signed Public Works of tive art.
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