Viewing page 46 of 80

This transcription has been completed. Contact us with corrections.

-1-

[[strikethrough]]
James Brooks is a quiet, thoughtful, questing man who depends, for his work, on his inner strength and commitment. He entered the U.S. Army in 1942 at the age of thirty-six and found himself a civillian again in 1946 after two and one-half years in the near Easy and a final six months in Washington. That constituted a major break in his painting career, even though he was doing art work in the Army. But the sketches of Army life and operations were far removed from the large murals which in the late 20's had established his substantial reputation. Now, on separation from his service, he had the opportunity to pick up his work in his established field or to reassess his interests and redirect his energies. His work as a muralist had drawn on his earlier studio work, his teaching and his lettering. He could again use the same background to do more innovative work, although his ability at murals gave him great assurance.

At this period in New York City he fortunately was able to resume his contacts with working artists he had known previously, many of whom were by now in the fore of the avant-garde group. Jackson Pollack's brother, Charles, had been one of the artists working for Brooks on the LaGuardia Airport mural, "Flight". In the Spring of 1942 when Brooks was going into the army, Marcel Duchamp had been organizing a group show for Peggy Guggenheim's "Art of this Century Gallery". Jackson Pollock had been invited to be in the show and Duchamp wanted to see Brook's work, but he had already packed up to enter the service. Pollock had his first one-man exhibition in November of 1943, Motherwell in 1944, Rothko in 1945 and Still in 1946.  Other artists who were able to progress with their work during that time were Gorky, Guston, Baziotes, de Kooning, and Kline. These war years of artistic productivity for so many had set back Brooks' painting, and also required a period of
[[/strikethrough]]