Manuscripts Collection
Quick spent the early 1930s in the East, attending the Vesper George School of Art in Boston (1931-1934) and studying at several Massachusetts and New York art colonies, particularly the Barn Studio in Andover, Massachusetts, and in Woodstock, New York. He received his first honorable mention in a major art show at the Springfield (Massachusetts) Art League's annual show in January 1935. In 1936 and 1937 he was awarded the prestigious Louis Comfort Tiffany Foundation fellowship (one of only eight given annually) and spent the summers studying at the Tiffany estate on Long Island, New York. In August he held his first one-man show, at the Addison Gallery of American Art, Andover, and in October had a painting in the Art Institute of Chicago's annual exhibition of American works. He returned to Duluth in 1937, opened a gallery (November 1937), and was employed as sculpture and art instructor at the College of St. Scholastica (1938-1940).
Quick joined the Army Air Corps in June, 1943. Assigned as an air corps artist, he spent part of his tour of duty painting a series of murals at the Keesler Base, Biloxi, Mississippi. He was honorably discharged from the Army in February, 1946.
In the fall of 1946 he joined the faculty of the Minneapolis School of Art, now the Minneapolis College of Art and Design (MCAD), as a painting and drawing instructor. He received his Bachelor of Fine Arts degree from the college in 1951, was promoted to associate professor in 1964 and to professor in 1973, and also taught in the school's evening program. He served as overseas director of its Junior Year Abroad program (1970-1971), supervising students at the Ateliers '63, a studio school in Haarlem, The Netherlands, the Gerrit Rietveld Academie in Amsterdam, and the Wimbledon School of Art in London. In November, 1973, he received an honorary Master of Fine Arts degree from MCAD and at his December, 1977, retirement was named the school's first professor emeritus.
In June, 1947, Quick and Byron Bradley of the Kilbride-Bradley Gallery, Minneapolis, began the Grand Marais (Minnesota) Outdoor School of Painting as part of the Minneapolis School of Art's summer program. During 1949-1951 the classes were held in Red Wing and Minneapolis, but the program was moved back to Grand Marais in 1952 and was rechristened the Town Hall Art Colony. In 1956 the art school terminated its sponsorship of the colony, and Quick and Bradley became its sole owners. They renamed it the Grand Marais Art Colony. From its earliest years the colony offered Saturday classes for children. In the 1950s and early 1960s it also ran an eight-week series of Friday night lectures on various aspects of art and the study of art, as well as a four-week Town Hall Music Series that brought such diverse talents as concert violinist Rafael Druian and the Doc Evans Dixieland Band to the Grand Marais community. After Quick's death in 1981, his widow Marion Quick, and Bradley continued to operate the colony.
During his career Quick produced over 10,000 artworks. His work was shown in numerous one-man and group exhibitions in such galleries as Duluth's Art Institute and the Tweed Gallery; Minneapolis's Harriet Hanley Gallery, Walker Art Center, Kilbride-Bradley Gallery, Minneapolis Institute of Arts, Martin Gallery, and MCAD; and the Art Institute of Chicago.
Quick was also a member of the Five Minnesota Artists traveling demonstration group
(1950), had works in American Federation of Art and United States Information
Service traveling exhibits, and produced watercolor illustrations for
His book
Quick married Marion Lucille Riedel on June 25, 1938. They had three children: Mary, Dan, and Leslie. He died in Minneapolis on December 2, 1981, of complications following open heart surgery.
Biographical data was taken from the collection.
The collection focuses particularly on the production and exhibition of Quickâs artwork, his employment as a painting and drawing instructor at the Minneapolis College of Art and Design (1946-1977), and his involvement with the Grand Marais Art Colony as co-founder and instructor (1947-1981).
Correspondence with fellow artists and MCAD colleagues, Twin Cities art patrons, former students, and Grand Marais Art Colony associates reflect his activities in the Minnesota and national arts community and document some of his privately commissioned artworks and his many exhibitions and awards. There is some information on MCAD administration, particularly its junior year abroad program (1970-1971), and considerably more on programs and activities at the Grand Marais Art Colony.
The papers also include Quick's sketchbooks (circa 1954-1979), largely containing quick studies of landscapes, people, and animals, with assorted narratives and notes. They are supplemented by photographs of some of his finished works; miscellaneous sketches and cards; records of several major exhibits; articles about Quick and his work; and purchase records for his paintings (1970-1978). Drafts and page proofs (circa 1979-1980) of his book Adrift in Aesthetic Latitudes are present, as are miscellaneous articles and lectures by Quick and his notes on his treatment for alcoholism (1980-1981).
The materials are divided into the series listed below and are arranged chronologically within each series unless otherwise noted.
St. Paul, Minnesota : Minnesota Historical Society, 1986. 6 reels; 35 mm.
Microfilm available for sale or interlibrary loan from the Minnesota Historical Society.
Due their deteriorating condition the original newspaper clippings (2 folders) were disposed after microfilming.
Accession numbers: 13,353; 13,405; 13,834; 13,909
Processed by Cheryl Norenberg Thies, June 1987
Catalog ID number: 007647961
Additional
This collection is indexed under the following headings in the catalog of the
Minnesota Historical Society. Researchers desiring materials about related topics
should
Quick's birth certificate (photocopy) and Social Security card; United States Army documents, including his induction order (June 1943), national service life insurance application (July 1943), honorable discharge (February 1946), and Veterans Administration certificate of eligibility (1949); passport (1972); and obituaries and memorial service bulletins and statements (1981-1982).
George Vesper School of Art illustration certificate (1933) and diploma (1934), Minneapolis School of Art Bachelor of Fine Arts degree (1951), Outstanding Educator of America certificate (1975), Hennepin County Citation of Honor (1977), and United States government memorial certificate honoring Quick's armed forces service (circa 1982).
Black and white and color photographs, both formal portraits and informal shots, of Quick painting, sketching, and relaxing, including photographs taken at the Tiffany estate (1936), while trout fishing (1965), and at his MCAD retirement party (1977).
The bulk of the correspondence falls into two categories: 1) letters to Quick from fellow artists and MCAD colleagues, Twin City art patrons, former students, and Grand Marais Art Colony associates; and 2) get well wishes and condolences following his open heart surgery and death. Letters in the first category cover Quick's privately commissioned artworks and his activities at MCAD, the art colony, and in the Minnesota and national art community. The main correspondents include MCAD colleague James C. White, Minneapolis physician Richard J. Webber, Minneapolis Society of Fine Arts president Walter G. Robinson, and Minneapolis architect James E. Stageberg.
There are also materials pertaining to his European travels, his family, the publication of his book, and his recovery from alcoholism. The following annotations highlight some specific items and topics:
Undated and 1930-1959: Letters from New York artist John Groth (undated), announcements of Quick's various national awards and exhibitions (1935-1937 including the Challoner Fellowship, an invitation to his Duluth gallery opening (November 1937), and the 1946 Minneapolis School of Art summer classes brochure.
Materials relating to the Grand Marais Art Colony include Quick's handwritten plea for a Minneapolis School of Art commitment to the colony (1946?), student rosters (1947, 1952), and open letters to the Grand Marais community urging support of the colony (April 1955, 1957).
1960-1969: Invitation to a Kilbride-Bradley Gallery exhibit of art colony works (September 1964), a letter from Quick describing his European travels while on sabbatical leave from MCAD (January 1967), and the MCAD faculty and student directory (September 1968). Letters from Walter and Joan Mondale concern a commissioned painting done for Joan (1964-1965) and a painting on loan for Mondale's Washington, D.C. Senate office (1969).
1970-1973: Numerous personal letters written to Quick while he was in Europe, with comments on Minnesota politics and art activities, MCAD happenings, art colony scheduling and brochures and mutual friends. Correspondents include Walter G. Robinson, William Gregory III, James E. Stageberg, Richard Webber, Beret Bayers (an MCAD colleague), and Byron Bradley and Ben Larsen (art colony associates).
Other letters concern the St. John's Catholic Church (Grand Marais) mural (April 1970); Quick's loan of artwork to several Minnesota corporations; his portraits of Fargo (North Dakota) Forum executive Norman D. Black, Jr. and Medtronics, Inc. president Earl E. Bakken; and his mother's death and the settlement of her estate (October and December 1970).
1974-1979: Invitation to an evening at Quick's studio sponsored by the Minnesota Arts Forum (December 1975); inventory of paintings at his Minneapolis chapel studio (May 1976); his memories of Minnesota jazz musician "Doc" Evans (January 1977); and the invitation to his retirement convocation (December 1977), with numerous congratulatory letters.
Letters concerning a drawing done for. Minnesota Medicine magazine (April 1974); paintings done for Minneapolis's Cathedral of St. Mark (April-May 1974) and Lynnhurst Congregational Church (April 1976), and as fundraisers for the Minneapolis Society of Fine Arts (August-December 1974, February 1975); and a portrait done of St. Olaf College (Northfield, Minnesota) president Sidney Rand (November 1977, August 1978). There is also correspondence with Atherton Bean discussing the Minneapolis Society of Fine Arts (March-April 1976).
1980-1984: The bulk of the letters for this period is composed of get well wishes (November 1981) and condolence letters and cards (December 1981-1982) following Quick's open heart surgery and death. There are also acknowledgments of contributions to MCAD's Birney Quick Scholarship Fund (December 1981 - March 1982) and the program from a Grand Marais memorial jazz concert (summer 1982).
In addition, there are letters congratulating Quick on the publication of his book (June 1980 - 1981); letters from his editor Ray Bechtle (1980-1981); letters from Sidney and Lois Rand describing their life while Sidney served as United States ambassador to Norway (December 1980); letters about sections of Quick's 1930 St. Louis County Courthouse mural being displayed in the Duluth Depot (September 1980) and about the possible sale of the art colony (January 1984); and an invitation to an art show celebrating the North Shore's famous, and much painted, "Witch Tree" (September 1980).
Chronicling Quick's career from the Massachusetts years through his death, the bulk of the clippings focus on his numerous local and national exhibitions and awards; his involvement in the Grand Marais Art Colony; his mural productions; his years at MCAD; his speeches, lectures, and demonstrations; and the publication of his book.
Of particular interest are several clippings covering the presentation to
Joan Mondale of Quick's painting parodying Minnesota politics (February
1965), a
Quick's Minneapolis School of Art (1958, 1960-1970) and MCAD (1971-1977) contracts, covering terms of employment, faculty status, salary, and day and evening teaching assignments.
Nine handwritten problems Quick used in painting and drawing classes.
The papers, mainly correspondence and reports, include a student roster with assigned institutions, tuition costs, and required readings (undated); a letter from MCAD president Arnold Herstand notifying Quick of his selection as the overseas director (January 27, 1970); letters from J. Zimbrolt, the previous overseas director, with tips on living in Haarlem (September 3, 1970) and from MCAD colleague Stan J. Gustafson, dealing mainly with Quick's MCAD finances but also containing personal notes on mutual friends and MCAD activities (1970-1971); and a letter from Quick to his mother describing life in The Netherlands and trips to Scotland, England, and Germany (autumn 1970).
Letters between Quick and Wimbledon principal William Brooker discuss extended Christmas travel time for the Wimbledon students (October-November 1970) and problems of a student who returned to the United States at mid-year (November-December 1970). Correspondence among Quick, Herstand, Ateliers '63 director Paul Schotel, and D. Dooijes of the Gerrit Rietveld Academie discuss the future of the program in The Netherlands and the decision to terminate it (1970 -March 1971).
Clippings, photographs, rosters, and invitations from the colony's 1947-1949 and 1952-1955 seasons. Photographs and clippings document the students and faculty at work and play, the 1947-1948 clothesline art shows, and the colony's 1953 gift of the Bear Tree Sculpture to the Grand Marais community. Also included are the 1947-1948 and 1952 student and faculty rosters and an invitation to the Rainbow Cafe exhibit of colony artworks (October 1952).
The Town Hall Art Colony sign (undated); various buildings used by the colony (undated and 1980s); students and faculty sketching, painting, and sculpting, both in the studio and outdoors (undated and 1967, 1980s); the 1947-1949 clothesline art shows; the Bear Tree Sculpture, with shots of its construction and dedication ceremonies (1954); and Quick and Bradley at one of the colony's traditional Monday night fish fries (1974).
Information on the colony's programs. Materials for 1948, 1950-1951, and 1964-1965 are not present.
Brochures listing titles and speakers.
Season schedules, weekly concert program and tickets; and posters.
Preliminary prints and finished cards. Proceeds from the sale of the 1962 card were donated to the University of Minnesota's Variety Club Heart Hospital.
Articles featuring Quick's watercolor illustrations of Duluth (July 1957, February 1970), Frontenac, Minnesota (February 1958), trout rivers (May 1958), and several Minnesota/Wisconsin restaurants (1957-1959, 1961-1962).
Photographs of murals in Grand Marais's Shoreline Motel and high school (1930s) and state bank (circa 1950), in the Duluth Chamber of Commerce dining room (1937), and at the Keesler Base (1943-1945); as well as contracts, photographs, correspondence, press releases, and booklets pertaining to murals done for the Minnesota Mutual Life Insurance Company, St. Paul (1954-1955, 1960), Minnesota Federal Savings and Loan, St. Paul (1957-1958), and St. John's Catholic Church, Grand Marais (1966).
Although these photographs represent only a fraction of the artworks produced by Quick during his career, they give the viewer a sense of his style and the changes it underwent through the years. Rarely duplicating each other, the photographs document many of Quick's still lifes; landscapes, particularly North Shore scenes; and portraits. They are divided into three sections or volumes, each arranged chronologically according to the date of the original artwork's creation.
The photographs in the first section include views of Quick's summer studio and Grand Marais; a section of his St. Louis County courthouse mural (1930s); and portraits of Robert Olafson (1930s, 1942), Duluth engineer Ben Bonneville (1936), Swedish artist Knute Heldner (1942), jazz pianist Frank Gillis (1976), and St. Olaf College president Sidney Rand (1978). The majority are identified by title; a smaller number include the date, size, and medium of the original artwork.
Photographs in the second and third sections include a self-portrait (circa 1937), portraits of Marion Quick (1942 and 1984, the latter with their daughter Mary), several Biblical theme works, and a number of works from Quick's 1966-1967 and 1970-1971 trips to Europe. The majority of these photographs list the work's title, plus the owner's name and address and the original artwork's size, medium, and date. Many in the second section also are annotated with Quick's comments.
Miscellaneous pen and ink and pencil sketches of people and landscapes, one of which is entitled "On The Wall, Key West, 1979;" and unidentified pen and ink portraits done at the Cook County (Minnesota) Historical Society's annual meeting (1981).
Quick's sketchbooks contain pencil, pen and ink, and felt-tip marker drawings, mainly in black. They were all quickly executed, with no pretense of being finished works. The majority are of landscapes, particularly the North Shore, Alaska, and Europe; of people, mainly musicians and nude figure studies; and of a variety of animals.
The volumes also contain scattered writings -- both drafts of lengthy pieces and quickly noted ideas. They focus on such topics as the art colony, critiques, creativity, drawing, Europe, Christmas, provincials in Minneapolis, an artist's life, teaching, and art students. There are also teaching notes and problems.
There is no discernible arrangement to the sketchbooks. Quick always kept several volumes at hand, using whichever one he happened to pick up at that moment. He also worked from both the front and back of a volume and was not consistent in the orientation of the drawings on the pages. The volumes have been arranged and microfilmed according to size, from the smallest to the largest. Within each volume the pages are filmed from front to back, with no attempt to make each of the images "right-reading." This technique allows the viewer to observe each volume's actual format.
Includes two titled sketches: Thunder Bay Landscape, May 9, 1977, and Bus Depot, Montreal, 1977.
Includes writings on an artist's life, entitled The Living Garrett.
Includes several sketches for the Minnesota Mutual Life Insurance Company mural (circa 1954-1955).
Includes a sketch for the Quick Look at Forty Years exhibit, MCAD, September.
Includes one watercolor landscape and several charcoal sketches.
Contains sketches from a 1978 Alaskan trip, including the Empress Hotel in Victoria, British Columbia, Alaskan landscapes, and the Black Nugget Bar in Jaspar, Alaska.
Includes two self-portraits, and preliminary sketches for his book (1979).
Contains what appear to be preliminary sketches for his book.
Includes a list of owners of his paintings.
Purchase records, donor loan forms, and lists of artworks from exhibits at the Kilbride-Bradley Gallery (1958-1959), Minneapolis Institute of Arts (1963), Duluth's Tweed Gallery (1968), and MCAD (1976). Information includes donor's or purchaser's name and address; the artwork's title, medium, size, and value; and the gallery's commission. There are also photographs of the 1968 Tweed Gallery show; a publicity poster for the Quick exhibit at the Martin Gallery (January 1970); and a group of invitations to openings (1940-1982), filmed together at the beginning of this series.
Numerous reviews of Quick's exhibits (1952-1976), and articles on his role in the art colony (1947, 1957, 1962, 1966), his participation in the Five Minnesota Artists traveling demonstration group (December 1950), and the December, 1977, MCAD retirement convocation.
Mainly undated manuscripts focusing on Grand Marais, drawing,
watercolor, and religion. In addition, there are three different
drafts of each of two manuscripts, The Living Garrett and The
Tightrope Walker (identified as chapters 1 and 2, possibly for his
planned second book); a 1961
Both handwritten and typed; the majority are undated. They comment on such topics as artistic experience, drawing, creativity, art and religion, Quick's own world of art, poetry, teaching, and studios. There are speeches entitled "On The Voices of Silence," given before the American Association of University Women, Rochester, Minnesota (January 1959), and "The Creative Urge," given before the American Institute of Architects (March 1965); and remarks about a watercolor demonstration (August 1977) and about the writing of his book (1980).
During January, 1980, Quick underwent treatment for alcoholism (locale not specified in the papers). The notes (January 15-17) describe his activities and feelings during that time. There are also several tests and questionnaires from the program, the goals he committed himself to attain, and a speech commenting on his thirteen months of sobriety (1981).
Publisher's press release and promotional flyer, order blank, and invitation to MCAD's April, 1980, autograph party.
Contain editing marks and corrections.
Several versions of the entire book, including a typed version with illustrations (1980), and two typed copies without illustrations, one original and one carbon, each with its own, and different, editing marks and comments (circa 1979).
Typed and handwritten drafts of the dedication, introduction, forward, 28 of the 32 essays, and the final word. Many of the drafts are incomplete.
Not used in the published version.
A volume recording monthly exhibition and studio expenses, as well as a list of works sold between September 15, 1971, and September 15, 1972, with the purchaser's name, title, and price for each work.
Purchase records (1970-1978) kept by purchaser's name in no discernible order, listing for each work the purchaser's name and address, title, medium, purchase price, and payment record. There are also statements (1973-1975) for lunches at The President Cafe, one of Quick's favorite Minneapolis restaurants. During this time period his bill at the restaurant totaled over $2000, which he paid with artwork instead of money.
Added in 1988 after the collection was microfilmed, this index was created by Marion Quick. Arranged alphabetically by the name of the owner or holder, the index also includes where and when a work was purchased or obtained; its size, media, and price; where a work had been exhibited and whether it won an award; and the address of the owner.