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James Edward Brewton (November 4, 1930 – May 11, 1967) was an American painter and printmaker who synthesized expressionism, graffiti and Pataphysics. He was born November 4, 1930, in Toledo, Ohio, and committed suicide in Philadelphia at age 36, on May 11, 1967. At the time of his death, Brewton was beginning to distinguish himself as one of Philadelphia's premier painters and printmakers. ==Training and career== While in his teens, Brewton studied drawing at the Toledo Museum of Art and painting with John Charvet. At 21, Brewton joined the Marines and served in the Korean War. He did surprisingly well, climbing to the rank of sergeant. Combat changed him, however: He became a pacifist, protesting the Vietnam War and painting antiwar works. Brewton's health was wrecked, and he was increasingly plagued by debilitating spine problems. Although Brewton's style became expressionistic and inspired by graffiti, his training was traditional. Taking advantage of the G.I. Bill, he studied at the Ruskin School at Oxford in 1954-55 and the Pennsylvania Academy of the Fine Arts (PAFA) from 1955 through 1958. At PAFA, Brewton was a protégé of Franklin C. Watkins and Hobson Pittman. Pittman owned a self-portrait by Brewton, which he featured during tours of his art collection (like the one organized by the Radcliffe Club of Philadelphia in 1961)〔''Evening Bulletin'', March 29, 1961; photo caption, "Hobson Pittman with Brewton's self-portrait"; Philadelphia.〕 and exhibited in the show, "Paintings, Drawings, Prints, and Sculpture Collected and Owned by Fourteen Philadelphia Artists." Marcel Duchamp was a guest lecturer at PAFA, and Brewton riffed off of Duchamp's work throughout his life. At The Print Club, where Brewton worked on weekends, he first saw the work of Asger Jorn and was greatly impressed by the wildly expressive and colorful work of the CoBrA group. Brewton later befriended Jorn, living in Denmark for months at a time.〔''Aarhuus Stiftstidende Sondag'', July 15, 1963; "Broget kunstnerkoloni samlet i Funder"; Denmark〕〔Andersen, Troels, ''Asger Jorn: En biografi'' (Kopenhagen 1994) 2 vols. Translated in German: ''Asger Jorn: Eine Biographie 1914-1973'' (Walther König: Köln 2001)〕 Other strong influences were André Breton and Alfred Jarry. These European, avant-garde inspirations were unusual for a Philadelphia-based artist in the 1950s. Brewton's work won awards and prizes,〔''Wilmington Journal''; April 28, 1959; "Month-Long Exhibition to Open Friday at Art Center; Paintings by Freeland, Jamison, Brewton Capture $100 Awards."〕〔''The Philadelphia Inquirer''; June 15, 1958; "Travel Scholarships Given 17 Students at Academy of Fine Arts."〕 and he was championed by critics in Philadelphia and New York while still a student.〔''The New York Times'', November 29, 1959; Canaday, John: Review of American Biennial, (with photo of Brewton's "The Suicide of Judas").〕〔''Art in Focus'' (U.S.-based) Vol. 11, No. 5, February 1960. Grafly, Dorothy: "American Art – Whither?" (with cover photo of Brewton's "The Suicide of Judas").〕 "Mr. Brewton's career was launched dramatically," ran his obituary in The Philadelphia Inquirer in 1967, "when his canvas ‘The Suicide of Judas’ won the prestigious $1000 Schiedt prize …. the tall ex-marine sergeant, a veteran of the Korean War, thus captured—at the very early age of 28—the same award William Glackens, Stuart Davis, Hans Hofmann, Ivan Albright and Charles Burchfield had earned in their maturity."〔''The Philadelphia Inquirer''; May 28, 1967; "James Brewton, Posthumously"〕 From his base in Philadelphia, Brewton traveled whenever he could, to Spain, France, England and Denmark. He and his then-partner, writer Barbara Holland, lived in Denmark during much of 1962. In early 1964, Brewton lent several works he owned to the Philadelphia Museum of Art's Asger Jorn exhibition.〔"Asger Jorn's Graphic Work," Philadelphia Museum of Art, January 8-February 9, 1964〕 In the last years of his life, Brewton was represented by Harry Kulkowitz's Kenmore Galleries, on Rittenhouse Square in Philadelphia. His prints were selling well, and the Philadelphia Museum of Art holds several in its permanent collection. From his colorful, CoBrA-inspired phase, Brewton had progressed to muted, wall-like pieces incorporating graffiti. By 1965, the works had evolved into a synthesis of graffiti ("anonymous and therefore for all mankind") 〔''The Philadelphia Inquirer''; May 1971; Forman, Nessa: "Now That He's Dead – Has His Time Come?"〕 and Alfred Jarry's philosophy of 'Pataphysics. Brewton called these works "Graffiti Pataphysic" and also continued to paint portraits. By the time he died in 1967, Brewton had "had several one-man shows, and museum curators were beginning to exhibit interest," as Nessa Forman wrote in ''The Philadelphia Inquirer''. "There was an artist," Forman continued, "who was ahead of his time, who was brilliant, sensitive and nonviolent, who loved his art and just wanted to paint. And he committed suicide…."〔''Ibid.''〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「James E. Brewton」の詳細全文を読む スポンサード リンク
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