The curator of the Portland Art Museum's prints and
drawings was a professor of art and adviser to world leaders
Article by Randy Cragg ( randygragg@news.oregonian.com ) and
D.K. Row ( dkrow@news.oregonian.com )
As printed in THE OREGONIAN, Portland,
Oregon USA October 29 2000
Gordon Gilkey at his print room
library in the Portland Art Museum in 1998. Photo by FD Bunsen |
One of Oregon’s most influential cultural
figures, Gordon Gilkey, died Saturday at Providence Portland Medical
Center after a long illness. He was 88.
Gilkey's reputation was both historically deep and global. He was an
artist, the Portland Art Museum's curator of prints and drawings and the
founder of the museum's Vivian and Gordon Gilkey Center for the Graphic
Arts:
During World War II, he advised the U.S. Army Air Corps about cultural
monuments that should be spared from bombing and spearheaded the earliest
repatriation efforts of art stolen by the Nazis. He was a professor of art for
more than 50 years, an illustrations adviser to Winston Churchill and a knight
in six countries.
But of the many labels he wore, none better describes his broad
influence than "educator."
"He was utterly inspiring," said Sally Lawrence, president of
the Pacific Northwest College of Art, where Gilkey was "artist in
residence" for life. "He taught his students not only about art, but
about a generosity of spirit."
Gilkey's chief medium as artist, teacher and international networker was
printmaking. He made, traded and collected prints throughout his life, amassing
'a personal archive of nearly ) 4,000 prints-dating from the Renaissance to the
present, arrayed from most countries in the world and including works by the
likes of Durer, Rembrandt, Goya and Picasso:
"Gordon worked hard to bund an international community of
printmakers," said Stephen Gould, president of the Print Council of
America. "He was one of the few curators in America to make a sustained
effort to reach out to many nations,"
"He knew prints, he knew a number of the artists who
made ( them and he never forgot the name of someone he met," said Peter
Parshall, curator of Old Master prints at the National Gallery in Washington,
D.C.
Gilkey's love of artistic process, unrelenting
drive and deftness at bartering made him a legendary figure among 2Oth century
printmakers.
During World War II, he traded art supplies for
prints with famed artists such as German expressionist Max Beckmann, eventually
helping him to emigrate to the United States. Even this year, he pulled his
long strings into the U.S. State Department to extend the visa of Chinese
artist Wang Gangyi, who is currently an artist in residence at the co1lege,
working in Gilkey's personal studio on a stipend he created.
"He often gave the college and artists
money out of his own pocket," said local printmaker and teacher Tom
Prochaska. He was a real romantic who brought so many into the fold of art. We.
all looked up to him."
Born in 1912 in Linn County, Gilkey attended
Albany College and then the University of Oregon, where he received the
school’s first master of fine arts degree in printmaking in 1936.
During WWII, Gilkey served in the U.S.Army Air
Corps, becoming chief of the War Department's Special Staff Art Project in
Europe. There he spearheaded the drive to repatriate lost artworks confiscated
by the Nazis, solidifying connections to artists, collectors and diplomats of
numerous countries.
In 1947, Gilkey returned to Oregon, becoming a
professor of art and eventually the dean of the College of liberal Arts at
Oregon State University. He retired in 1977, but soon after used his
ever-growing collection of art to shop for a new job. In 1978, he found it,
sealing a deal to donate his encyclopaedic collection to the Portland Art
Museum. In return, the museum was to build a study center for the collection
while Gilkey received lifetime appointments as museum curator and professor at
the college of art (then still associated with the museum).
Working with -and sometimes against the will of
three different museum administrations, Gilkey raised most of the $1.2 million
to build the print center on his own. Named for him and his wife, the Gordon
and Vivian Gilkey Center for the Graphic Arts opened in
1993. Today the center is house to 25,000 prints, roughly 14,000 of which once
belonged to Gilkey, according to his assistant, Pamela Morris.
Gordon never met a print he didn't like,"
said John Buchanan, the museum's director. "His gift to the museum will
keep on giving."
The center is the only place in the Northwest
where the public can examine works of art dating as far back as the 15th
century. Art- viewing amateurs can rub shoulders with the most serious scholars
to see everything from Durer's "Nürnberg Chronicles" to an x-ray of
Hitler's brain.
He's been the single, largest force for making
the museum's collection accessible to the public," said Terry Toedtemeier,
the museum's curator of photography. Hundreds of classes have been taught at
the museum using actual works of art. Nothing made Gordon happier than to see
someone succeed at making something."
No achievement better summed up Gilkey's drive
and philosophy than the International Print Exhibition he organized at the
museum in 1997. Gilkey solicited 4,800 slides from around the world, even going
on Tasmanian radio to rally artists. A global summation of the art of
printmaking, the show featured 480 prints from 74 countries as far-flung as
Thailand, Namibia, Macedonia and Estonia.
"Without question, it's the most comprehensive
print exhibition in the u.s. in 10 or 15 years," said Roberta Waddell,
noted print curator of the New York Public Library, when the show opened.
Of the many honors he received, Gilkey most coveted
his appointment by French President Jacques Chirac to honorary officer in the
French Legion of Honor in recognition of his service to French culture, both
promoting artists and supporting Portland's French-American International
School, where the middle school is named for him.
Throughout his life, Gilkey made his own prints,
and even as late as July, when fighting colon cancer and heart disease, he
continued to work in his studio. In November 1999, the Pacific Northwest
College of Art mounted a career retrospective of Gilkey' s 60-year career as an
artist and a celebration of Gilkey's life.
One of Oregon's first artists to work with a
computer, Gilkey always embraced the latest techniques. Lawrence recalled that
in one of her final conversations with Gilkey, he was anxious to leave the
hospital to experiment with his new iMac.