The hallway is brown, the mirror at the end belonged to Richard Brown (father of John R
. Brown, grandpa of Bryan J. Brown) and the poster on the wall is of famed Kansas civil rights activist John Brown of Harpers Ferry fame.
Richard Brown would break out in a smile were he to see his mirror gracing the Institutes’ hallway. Grandpa went to his great reward back in ‘94. He was a man who spent much time in the Word of God, and knew it cover to cover.
Nothing made Richard Brown happier than a good discussion of some topic in the Bible. He looked forward to the second coming as the Hope for all mankind. Grandpa was not much of a churchgoer, but he loved the Lord and lived his faith.
Grandpa thought his son and grandson were doing the right thing in standing up for Life and calling the government to account for allowing the wholesale slaughter of the same.
Grandpa Brown was a poor farmer most of his life, and never had much of anything worth all that much. The antique mirror that now hangs in the Institute was attached to the nicest furniture he ever owned — and that was not all that rich of a unit.
I do not think that Grandpa woud have ever taken the direct action that I took. Or the action that his firstborn, John, has taken. (Dad has been an outspoken Christian activist for decades, and has risked arrest, and even been arrested, for the cause.)
Grandpa Brown’s way was less confrontational. Not that there is anything wrong with that. Grandpa’s life struck me as a fulfillment of this admonition from the Old Testament:
Micah 6:8 (New International Version)
And what does the LORD require of you?
To act justly and to love mercy
and to walk humbly with your God.
How different John Brown of Massachusetts! Grandpa named his firstborn after this hero of the abolitionist cause, but we Fort Wayne Browns are no kin to the culture warrior called Osawatomie Brown in Kansas. (Our roots instead come out of Maryland.)
I (Bryan) presented the picture of J
ohn Brown that hangs in the Institutes’ hallway to my father, John Brown (aka the principal behind the Donegal Corridor, LLC) while I served the State of Kansas as Deputy Attorney General. Dad and I visited John Brown’s homestead in Kansas at the same time that I was being pilloried in the Kansas media for my pro-life activism. As, it could be said, an abortion-abolitionist.
This postscript to this posting contains some history on the above John Brown picture, which is a replica of the 10 foot tall mural that graces the wall of the Kansas statehouse. The picture and its painter are a slice of pure, prairie Americana. Note the interplay between art and philosophy, even if it was philosophy that was reactionary and a rejection of European thought. Note also the interplay between government and ideological art. The push for nationalist art in the first half of the twentieth century gave way to a bias for modern, antitraditional – and I dare say degenerate – art in the last half of the twentieth century.
Thus Curry stands as a departure gate into post-modernity. Could this Topeka mural of Brown be considered as prophetic as it was historic?

Postscript
Source: The Kansas State Historical Society
John Steuart Currywas born on November 14, 1897, in the small northeastern Kansas town of Dunavent. The eldest of five children in a farming family, his inclination toward art began at a young age. Curry’s biographer and friend, Lawrence E. Schmeckebier, once wrote that as a youth on his father’s farm Curry was interested in drawing everything:
. . . horses and fighting animals, railroad engines and trains, pictures of battles from the Revolutionary War, hosts of everyday things about him. He kept a scrapbookfilled with newspaper and magazine clippings of cowboy and Indian scenes, illustrations by such westerners as Remington and Dunton, also hundreds of his own pencil sketches of guns and revolvers.
In 1928, Curry finally received national fame with the purchase of his painting “Baptism in Kansas” by the wealthy patron and New York art museum owner Gertrude Vanderbilt Whitney. Curry was then introduced to two other artists who shared his love for the Midwest, Grant Wood of Iowa and Thomas Hart Bentonof Missouri. Curry’s “Baptism in Kansas” in 1928, Benton’s “Boomtown” in 1928, and especially Wood’s “American Gothic” in 1930, all seem to encapture the unique experience of American rural life. These Regionalists attempted to create a distinct style of art that promoted idealism and rejected the duplication of popular European trends. In 1946 Thomas Hart Benton wrote, “We agreed that unless American Art came back to dealing with things about which American artists knew something it would accomplish nothing.” They painted images promoting a new American identity that included subjects of family, religion, and nature.
The growth of the Regionalist art movement can best be understood in the context of the rising nationalism and isolationism that occurred in the U.S. between the two world wars. Separation from European trends and a focus on American identity were concepts permeating American culture throughout the 1920s and 1930s.
Through the Works Progress Administration Federal Art Project, the federal government commissioned Regionalist artists to complete murals on public buildings that promoted the Protestant work ethic and family values.
The first exposure of the Kansas public to Curry’s artwork came in 1930-31, when a traveling exhibition of his paintings was sent from New York to the Mulvane Museum in Topeka. The showing produced harsh reactions from Kansas viewers and critics. Many claimed that Curry focused only on the negative aspectsof Kansas life. They labeled the paintings “The Tornado,” “Holy Rollers,” and “Mnt” as depicting miserable weather, religious fanaticism, and lynch mobs.
In 1937, artist John Steuart Curry was asked to return to Kansas to cover the interior walls of the Topeka capitol with scenes from the state’s history.
As Curry finished “The Tragic Prelude” and “Kansas Pastorale,” murals adorning the east and west second-floor corridors of the capital building, tensions flared between Curry and the public over his use of fanatical abolitionist John Brown as a focal point.
End of quote from http://www.kshs.org/cool2/curry.htm
Fanatical, funny word, fanatical. One man’s fanaticism is another man’s only reasonable response. Some say living for Christ is fanaticism. Others live for football, hunting or the stock market with the same degree of fanaticism and call it quite normal.
Richard Brown was meek, mild and harmless, and most who knew him considered his life one live in obedience to the Lord.
John Brown was outspoken, wild and a man of great action and even violence. Most who knew him considered his life one lived in obedience to the Lord.
They could be bookends in many ways. Both are brought to mind in the Institute’s hallway.
Lord help us find the right balance between extremes in all we do and say. And help us to revere and preserve our heritage.