Since 1903, members of Arts and Letters have delivered commemorative tributes to fellow members who have passed away. These remarks celebrate and reflect on the lives and work of the members being honored and acknowledge their contribution to the arts. A selection of tributes is now available in the digital archive below. As we prepared this archive, we were reminded that these tributes reflect their times, and, in some instances, include terminology and social and moral judgments we do not endorse.
For results outside of Tributes please use the general search or click here.
Brenda Putnam was born in Minneapolis in 1890, and died at the age of 85 in Concord, New Hampshire. Her father was for many years Librarian of Congress living in Washington, D.C., but Brenda spent most of her working life in New York City, where she shared a studio with her friend Anna Hyatt, who later became Mrs. Archer Huntington. It was there I had the good fortune to study with these artists. Happy days for us all!
In appearance Brenda was small, delicate, and intense. Her straight, black hair, with its severe Dutch cut and bangs gave her a curiously Egyptian look, whereas at heart she was a thorough New Englander, always espousing the cause of some underdog she felt had been unfairly treated. Sensitive to a fault, and rather shy, she cared little for publicity but was deeply engrossed in her chosen profession. I say "chosen" advisedly because her talents were many and of such a high order she really did have to choose among them. But, if sculpture had the number one place in her life, music was a close second, for she was a fine pianist and her musical contacts enabled her to make distinguished portraits of such great musicians as Arthur Bodansky and Pablo Casals (commissioned by The Hispanic Society of New York). She was widely known for her portraits, one of the best being of Amelia Earhart, and, incidentally, she did a bas-relief of William Dean Howells for this Academy of Arts and Letters.
Writing was her third talent. That she had an unusually scientific mind for a woman artist was evident in her book Animal Anatomy which she not only wrote but illustrated with beautiful drawings of bones. Another successful book, The Sculptor's Way, was a mine of information, a veritable textbook for artist and student alike. Both books showed complete mastery of her subject as well as the ability to impart her knowledge in a clear, concise manner.
Teaching was her fourth talent, and she really loved it. Her keen eye and quick mind let nothing escape her notice.
Brenda's studies began in Boston under Bela Pratt. Later she went to the Art Students League in New York, where James E. Fraser was teaching. In 1927 she went to Italy to work with Libero Andreotti.
She loved children, using them very effectively in sundials and portraits. Her "Child with Kid," in Brookgreen Gardens, South Carolina, and her "Sea Horse Sundial" show them at their joyous, unsentimental best. This latter piece won the Barnet Prize at the National Academy of Design, as well as the Widener Memorial Gold Medal at the Pennsylvania Academy of Fine Arts. The National Academy also awarded her the Watrous Gold Medal for a reclining nude figure, "Midsummer."
Among her many interesting commissions one from Congress stands out particularly. This was to design a Gold Medal for Admiral Ernest J. King, Chief of Naval Operations during World War II.
Brenda Putnam was such a dedicated sculptor one can not think of her apart from her work, which was her happiness and fulfillment. Her statue of "Puck," at the Folger Shakespeare Library in Washington, is a beautiful example of this fusing of her knowledge, art, and personality. Brenda out of sight, but at her best.
Indeed, the artistic abilities of this modest artist rightly deserve the recognition and success they have achieved.