Fraternity-Testvériség, 2008 (86. évfolyam, 1-3. szám)
2008-07-01 / 3. szám
FEATURE There is one sad note in their wonderful odyssey of collecting Hungarian art: the sudden loss of their wise advisor and friend, István Rozsics, in January 2008 in Budapest. Mr. Rozsics played a role in nearly every piece in their collection and both collectors state categorically that they would not have the collection they have without the advice of Mr. Rozsics. They will greatly miss his advice and friendship. Wiltse and Brown both admit that collecting such art has changed the direction of their lives. Not only have they met some wonderful and interesting people, many of whom have come to be close friends, but they perceive that their daily lives have been enriched by the beautiful artwork which surrounds them. In their opinion, they believe that the best of Hungarian art is equal to the best of any of the art that was created elsewhere in Europe at the time. As Wiltse and Brown prepared to select pieces for shipment to Santa Fe for their gallery preview, I was able to sit with both and ask them about their Hungarian art collection. They are so ingratiating, forthright, and amenable that not for a moment did I find their scholarship and knowledge of Hungarian art works intimidating. On the contrary, they openly want to share their finds and educate people like me with little or no knowledge of form, texture, history, and the Hungarian modernist movement. Thus, it is hoped that FRATERNITY TESTVÉRISÉG readers with even a minimum amount of knowledge of art history will come to treasure the offerings of Jill Wiltse and Kirk Brown as I do and thank them for bringing “Hungarian Masterworks” to new American audiences. Q. Jill and Kirk, in your last catalogue, issued before the Denver, CO showing, you dedicated the catalogue to the memory of your parents. As you wrote, “Their sacrifices provided us with our educations which, to this day, instill us with a curiosity about things and a perpetual desire to explore.” I was moved by this tribute, but please explain how both sets of parents helped you and what in your educational background might have propelled you into art collecting? A. Our parents were not wealthy, but wanted the best education they could afford for us. To that end, they supported us unselfishly in every way within their power to leave us with educations which encouraged discourse and inquisitiveness. Our education was their bequest and their legacy to us, and we have benefited greatly by it. Our education provided us with the tools by which to reason and to be curious. Our art collecting is simply a result of that legacy. Q. How are you able to afford such magnificent pieces and how do you come to decide on the amount you'll spend on a certain chosen work? A. Good question. Art is a matter of the heart, at least for us, and many of the pieces we have were, frankly, way beyond our financial ability at the time - or way beyond what any reasonable person would consider their financial ability. However, if we fell in love with a piece coming up for auction or elsewhere, we did set a limit for ourselves (very often ignored). We simply committed to buy it and then figured out how to pay for it. There was no formula to our acquisitions. Q. In most of the art you exhibit, is it influenced by native Hungarian folk art or outside influences? A. We think the Hungarian art we have is influenced by both - the native Hungarian folk art and outside influences. Those Hungarian artists who studied outside of Hungary probably incorporated motifs and color schemes of their native folk traditions without ever realizing it. 18 FALL 2008
