Cranbrook
Carl Milles: "The Triton Pool" and "Europa & the Bull"
Eliel Saarinen: Saarinen House courtyard.
Cranbrook was my life and home for nearly two decades; the memories are many. In “Bringing Back Saarinen”, I write of my first visit and impressions; then of the restoration of Saarinen House. The “Cranbrook Lecture” gives basic facts; in the Cranbrook Archives are tapes of interviews with me and my papers. There is much more to tell.......
What is important are the personal reminisces and writing of the recognition that came to the Academy for its importance in design, art and architecture. That influential role is fully documented in the 1983 book “Design in America: The Cranbrook Vision 1925-50”; that quarter of a century coincided with Eliel Saarinen’s time at Cranbrook. In 1925, Eliel came as its architect and later became head of the Academy. He died in his home there July 1, 1950; supposedly after his wife had read him a letter from his friend, the composer Sibelius.
The critic, Wolf Von Eckardt, wrote in The New Republic, June 1978, that “In retrospect, Cranbrook…by its more prominent graduates…had a decisive influence on the look of Twentieth Century America.” What I will recall, and write of now, may give further insights into this remarkable institution and place.
I left Cranbrook in late November 1994. ! was, according to my contract, President of the Academy through June of 1995. I gave the commencement address that May with my successor; now 'director'of the Academy.
During my tenure, 1977-95, I was honored to be President of the Academy. I held that title longer than Eliel Saarinen and may be the last to do so?! Also, during my tenure, I was Director of the Museum. Now, I am happy to hold the title Director Emeritus; bestowed on me by the Board of Governors, who approved my initial appointment in 1977.
Arrival 1977
My decision to come to Cranbrook as President involved various issues and took me over year to make. I felt that I could offer much as the fifth President and the first from outside the Academy since Saarinen himself; the first President of the Academy, formally founded in 1932. I had a reputation both in the academic and museum world; nationally and internationally. At the Corcoran, I headed one of the greatest American institutions; the first art museum in the nation’s capital and the third oldest in the nation. I had been there for ten tumultuous years, five as director. I was proud of what had been achieved but time to move on.
Cranbrook was of international repute but was languishing; the need for fresh ideas from the outside became obvious. European born and educated, I related to the international nature of Cranbrook; even named by the founder, George G Booth, after the family town in Kent, England. The early artists in residents were from Finland, Sweden, Hungary and Italy; women artists were amongst these early teachers who helped create this unique community. Not only did I feel that I was coming at the right time and could offer much, I realized that Cranbrook offered me opportunities to grow. I was a painter, involved with fine arts; the Academy offered the opportunity to learn about architecture, design and crafts. I felt that the appointment was of mutual benefit to the institution and to me as an individual. Fortunately, the Board of Governors felt the same and I accepted their offer to be President.
How ironic that when I arrived, in 1977, there was little interest in the architecture, history and heritage of Cranbrook. Indeed, when I announced my intention to partially restore Saarinen House, there was resentment, particularly from some faculty. I was asked why should time and money be wasted on an old dead architect from Finland?! As I was European born and educated, I had been brought up with a respect and appreciation of the past; although my commitment was to the present. However, some of the faculty seemed only concerned with their work and newness. The maintenance staff shared that concern; the intent was to tarmac the beautiful brick walkways and replace leaded windows with plain glass. Fortunately, I arrived in time to prevent further destruction and desecration.
The national acclaim that came to the initial restoration of Saarinen House helped further interest in restoration throughout the Cranbrook community. Alumni wished to support efforts to restore their schools to their former glory. I attended a meeting of alumni of Cranbrook School for Boys; they wished to restore the magnificent courtyard. The question was asked, “Who shall be the architect?” to which I replied, “There is only one architect for Cranbrook and that is Eliel Saarinen!”
Most fortunate, our curators had found the original drawings for Cranbrook by Eliel Saarinen. These invaluable drawings and plans, now part of the Cranbrook Collection, had been left in storage in the basement of Booth House. The large and detailed drawings are a testimony to the draftsmanship and creativity of Eliel and proved invaluable in the restoration of his buildings. Kingswood School is shown in rich detail; a vision of intricate and delightful design. To view these drawings for the first time was a revelation for me; bringing not only a greater appreciation of Eliel’s genius but a growing commitment to furthering an awareness of his vision.
How strange, I found myself at Cranbrook doing what I had done at the Corcoran: bringing back a sense of understanding and appreciation of these different but great institutions. The Corcoran Collection had been neglected as had Saarinen’s architecture; I was proud to bring recognition and respect back to both. In each case, I had not come to the institution with the intention of bringing back the past; yet that became inevitable.
As far as Eliel Saarinen was concerned, I found myself curious about the man and his architecture. I read what little was available; most of all, I relied on my eye, wandering around the community, looking at his wondrous architecture. I appreciated his genius for design and decoration, evident in the exteriors and interiors of his building. His architecture was to enrich the lives of those fortunate enough to live and work at Cranbrook. I studied the buildings, took photographs and, although self taught, I began to lecture on his architecture. I wanted to share my passion and his genius with others.
Chief
deSalle Auditorium 1987. Artists in residence front row left to right Carl Toth (with beard), George Ortman, Gary Griffin, Michael Hall, Steve Murakishi, Dan Hoffman, Katherine and Michael McCoy.
At the same time, I was learning to deal with the nine artists in residence that comprised the faculty. I will never forget our first meeting. The Head of Sculpture was Michael Hall, who lived in Milles House, regarded himself as a spokesman for his colleagues. He stood and stated that the Academy was different from other schools in that, like an inverted pyramid, the faculty were at the top and their ideas and opinions filtered down to the President; presumably me?! I sat for a while as he stood, then replied, “Michael, you are a sculptor and must know that an inverted pyramid is a weak and unstable structure? From this moment on, as President, I will be at the top of the pyramid and my decisions will filter down to the faculty!” There was a moment of silence; then Michael looked at me and said, “Yes, Chief” and sat down. To this day, Michael still calls me “Chief”.
I hoped that Michael was referring to the founder, George G Booth. In his book, ‘The Only Thing Worth Finding’, the author Arthur Pound writes on the founding of the Academy: “Booth pondered the human side of the equation…the inhabitants…the teachers…The faculty he envisioned as being guided by a chief who would be a contact for all…his influence would permeate every studio, exhilarating and appraising all, a living stimulus to achievement and a rebuke to inferiority.”
The founder’s words had a profound impact on me and I could not agree more with his forward looking thoughts. Booth wrote, “…there is a spirit of fertility, which through imaginative treatment and prophetic experiment will bring Art forth to interpret itself and seed again…art belongs to each age anew and there is something for this day to record as its record, monument and inspiration to another generation.”
I read more about the founder and his wish for “the leadership of artists of the highest standing”. As far as permeating every studio, I constantly visited the studios of my students. To me, the students were the reason for the Academy and my commitment was to them. At the end of each academic year, I reviewed each and every students’ work; both in their first and second year reviews. The faculty worked in teams; only I saw the work of every one of the 140 students. I made notes and sketches of each students work, showing their progress and aesthetic endeavors. These notebooks are in the Archives; a record of their creative efforts and my tenacious interest.