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for Daniel Putnam Brinley
American, 1879 - 1963
From 1900 to 1902 Daniel Brinley studied at the Art Students League under Bryson Burroughs and Kenyon Cox, and in 1902 with John H. Twachtman at the league's summer school in Cos Cob, Connecticut. Later he studied under Birge Harrison at the league's Woodstock, New York, summer school. He was in Paris from mid-1905 until 1908, associating there with Patrick Henry Bruce and Edward Steichen and helping found the New Society of American Artists in Paris. In 1909, a year after his return to New York, Brinley became a member of the Photo-Secession and exhibited at Alfred Stieglitz's 291 gallery. From that same year he began spending summers in New Canaan, Connecticut. Brinley was another founding member of the Knockers Club and in 1923 became the second president of the Silvermine Guild of Artists. He was married to the writer and artist Katharine Gordon Sanger, who was known professionally as Gordon Brinley.
In 1910 Brinley showed in the Exhibition of Independent Artists, organized by Robert Henri, and also at the MacDowell Club; he also had his first one-man show that year, at the Madison Gallery. He attended the first meeting of the American Painters and Sculptors group, soon to be incorporated as the Association of American Painters and Sculptors, which mounted the Armory Show in 1913. He served on the reception and publicity committees for the domestic section of that exhibition. Although he was consistently aligned with the more radical artistic movements of his generation, Brinley was essentially conservative in his work as a painter of landscapes.
In 1910 Brinley showed in the Exhibition of Independent Artists, organized by Robert Henri, and also at the MacDowell Club; he also had his first one-man show that year, at the Madison Gallery. He attended the first meeting of the American Painters and Sculptors group, soon to be incorporated as the Association of American Painters and Sculptors, which mounted the Armory Show in 1913. He served on the reception and publicity committees for the domestic section of that exhibition. Although he was consistently aligned with the more radical artistic movements of his generation, Brinley was essentially conservative in his work as a painter of landscapes.
