In the Circle

A few weeks ago, we gave visitors the opportunity to share stories about the artists in the Intimate Modernism: Fort Worth Circle Artists in the 1940s exhibition. Here are a few of the responses that we received:

Talking as he entered the door, arms flailing and excitement in his voice, Bror [Utter] entered the art studio at the Fort Worth Woman’s Club. “I have just seen the funniest movie ever,” he said. “You must go see A New Leaf with Walter Mathau.” That being enough chit chat before class, he encouraged us with his knowledge of painting with watercolor.

Bror was an interesting conversationalist—well, he did most of the talking but it was worth lending an ear. He was a diligent reader and shared with us his enthusiasm for historical writings.

To sit and listen to Bror was an education. He often shared non-art related ideas. One such: ‘when drying clean lettuce with a paper towel, hang the towel to dry for future use.’ To follow his art instruction was indeed, a privilege. His intuitive way of presenting technique was such that you never forgot what he said. (Of course, putting it in practice was something else.)

Among my blessings, I count my encounter with Bror Utter. It pleases me greatly to have him remembered and honored by the Amon Carter Museum.

Charlene J. Baker
Fort Worth, Texas

During the late sixties and early seventies I was a member of the Junior Woman’s Club art department and Bror [Utter] taught our classes each week. He was always very considerate of our feeble attempts and never embarrassed any of us, and he was always generous with his knowledge and assistance. Each of us developed a great deal of affection for him.

We would take turns bringing rolls for the class, and he would joke that those were his breakfast. As he had no car of his own he would take a taxi to the class and then get a ride home from one of us. At one point he had indulged in an extravagance by having a studio built at his home. He was so proud of it as it was just as he had planned and was something which he had always dreamed of. Unfortunately, not too long after it was completed, the Texas College of Osteopathic Medicine expanded northward and took in his property, building a large addition to their complex. This was a very bitter disappointment for Bror.

I was fortunate enough to purchase from him two prints. We keep them on our walls and enjoy them both for their beauty and also because of my memories of a very kind, gracious, and talented person.

Violet Wickes
Fort Worth, Texas

I was a writer for the now defunct Tarrant County Arts Alliance from 1988 until 1993, mainly interviewing local artists within the organization, until I heard from a friend about Bror Utter setting up an interview. While he was reluctant for he’d never heard of me, agreed to meet at his apartment located where the Modern Art Museum is now.

[I remember] noticing paintings on the walls, on the floor, a stack of etchings on a table. [I] don’t recall the [answers to my] several questions other than his influences, one being Cézanne. He also enjoyed music like Bessie Smith, the Beatles, and Rolling Stones.

He was having problems with his VCR, which he asked if I could adjust and doing so, he turned around, picked out an etching from the middle of the stack, signed it and handed it to me.

[I am] sorry to say the interview never made it to press. Sadly the alliance broke-up shortly after the interview.

Jesse F. Garcia
Fort Worth, Texas

My friendship with Bror Utter began in 1953 when I started studying with him, a relationship which lasted [the rest of his] life. I was invited to many of his parties and exhibitions he held at his studio. One Christmas he asked if I would provide the music for his party, so I borrowed a small field organ from First Christian Church where I was organist-director of music. At the party Flora [Reeder] sat down at the instrument and began improvising on some music from the Reeders Children Theatre productions when Dick [Reeder] loudly said, “Flora, get up and let Stanley play the organ!” To which she replied, “I’m not letting Stanley play the organ.”

At one of the Reeder’s Christmas parties several musicians and I were invited. And in comes Cynthia Brants with much gusto and a contraption she called a “gut bucket.” It included a small wash tub, turned over, with a broom handle attached to the edge of the bottom to which a heavy cord was tied to the other end of the handle to the bucket. By moving the handle and “plucking” the cord a drone sound was produced and resonated with the tub, the pitch depended on how loose or tight the cord was driven. You can imagine the hilarity which was created by Cynthia plucking away on her gut bucket in concert with the other musicians.

When Raymond Entenmann was director of the Modern Museum, Monday nights were “members night” which included exhibitions, demonstrations, lectures, movies or even musical concerts. At one particular event Kelly Fearing, who was teaching at the University in Austin, had sponsored a chamber music group from the Music Department there which included his friend Verna Harder who was the pianist. After a very exciting number which drew much applause, Bror Utter audibly exclaimed, “Harder, Verna.”

Stanley Shepelwich
Fort Worth, Texas

Marjorie Johnson Lee—I loved her art work. I gave her an art show at the Texas College of Osteopathic Medicine and worked with her on a show at 414 Templeton. She and I had a wonderful evening with Flora Reeder at an art show reception at the Old Modern. She was a talented lady and I was so pleased to see her art displayed in this show.

Bror Utter—He was my teacher at the Junior Woman’s Club and the Woman’s Club. He gave me permission to write up some of his painting methods. He told me that I was a creative painter and this is the way that my paintings began to evolve, studying with other teachers in the United States. We had many wonderful parties at his home and studio. He was such a “class act” in taste.

Jo Ann Fanning Durham
Fort Worth, Texas

Do you have a story about the artists or artworks in the Intimate Modernism: Fort Worth Circle Artists in the 1940s exhibition that you would like to share? I invite you to send them to us.

— Nora P., March 13, 2008, 4:21 p.m.