Living History “Open-Air Museum” Farms and Self-Discovery: The European Background

Making Lefse the Old-Fashioned Way
Norsk Folkemuseum, Oslo

Inspired by the architectural restoration at Bygdøy and Kristiana art scene, Swedish folklorist and museum administer Artur Hazelius (1833-1901), a native of Dalecarlia in the west-central Swedish heartland, established Skansen, the first country’s outdoor museum in Stockholm in 1891. Hazelius further envisioned centers of cultural vibrancy where artisans and workers in period costume would inhabit the historic structures and demonstrate traditional skills. He had received acclaim throughout Europe for his dioramas on Scandinavian folk art and vernacular life at the Paris Universal Exposition in 1878. The popularity of these approaches at Skansen and places that followed in Denmark, France, and across the continent reflects the widespread concern regarding threats to agrarian culture and its association with a new national consciousness. After Scottish ethnographer Isabel Grant (1887-1983) toured historical parks in Sweden and Norway in the 1920s, she established the first open-air museum in Great Britain—Scotland’s Highland Folk Museum in 1935 on the Isle of Iona, which was relocated four years later to Laggan, Badenoch in the central Highlands.

Brinton wrote enthusiastically about the remarkable ethnographic contributions of Hazelius and others who had founded Skansen and Bygdøy, and told American audiences how the Europeans had “transported bodily” medieval structures from remote countryside locations to similar public settings. “Rooms were re-erected and furnished precisely as they were in bygone days,” he marveled, “and the incidental decorative and domestic arts, such as wood-carving, iron work, pottery, and weaving, found place in the broad scheme. The color notes of which were contributed by the bright red, clear green, dauntless yellow, or discreet white and black of native dress.” Brinton noted the cultural value in handicrafts and rural custom and judged open air museums to be a “great movement toward self-discovery” that involved fine art. The efforts of Brinton and others on both sides of the Atlantic also revived traditional festivals and folk music and led to the organization of cultural-historical societies and professional study.

Hallingdal “Harvest House” Threshing Barn (c. 1800)
Norsk Folkemuseum, Oslo

In the spirit of this unusually creative epoch, rural landscapist and architect Gustaf Ankarcrona (1869-1933) established a home and ensemble of restored farm buildings between 1980 and 1911 in Tällberg, a lakeside farming village in Dalecarlia. The area became a vibrant summer enclave for prominent Swedish artists, writers, and musicians. Anders Zorn undertook a similar project from 1914 until his death in 1920 by moving forty historic structures to his hometown of Mora north of Stockholm. The complex later formed the nucleus of the community’s Gammelgarden (“Old Farm”) Heritage Museum. Its fourteenth-century threshing barn is the oldest structure of its kind in the country and one of Europe’s oldest wooden buildings.

A dozen miles southwest of Kristiana in the rural community of Bærum, artist Erik Werenskiold (1855-1938) established the Fleskum Farm art colony after he and his wife, Maggie, acquired the property in 1885. Although only active in the late 1880s, Fleskum became an influential center for artists like Werenskiold, Harriet Backer (1845-1932), and Frits Thaulow (1847-1906) who had all studied in Germany and in France. Exposure to German Realism and the Barbizon experience influenced their return home to paint en plein air Scandinavian landscapes and scenes of peasant life. They introduced Norwegian art to a fresh naturalism and atmospheric “mood painting” that ventured beyond objective reality by imparting artists’ personal feelings. Notable Fleskum works include Backer’s Farm Interior, Skotta in Bærum (1887) and Thaulow’s harvest scene, The Field at Froen (c. 1889).

Swedish Symbolist poet Erik Axel Karlfeldt (1864-1931), raised on a small Dalecarlian farm near the village of Karlbo (origin of his self-designated surname), served as librarian at the Academy of Agriculture from 1903-1912 and published six volumes of poetry between 1895 and 1927. His lyrical verse relates the ancient harmony of peasant life with the earth and rhythm of the seasons. Often speaking through his country gentleman alter-ego Fridolin, Karlfelt’s poems range from exhilarating to somber and flavored with numerous idiomatic allusions that challenge translation about harvest, planting, and other field labors.

…Fridolin dances free, — / Your son, and a brave lad he;
He can talk in the peasant style with a churl, / And in Latin to men of degree.
His scythe goes sharp through the harvest’s gold, / He is proud of the store that his granaries hold,
Toward the moon’s red saucepan he tosses his girl / Like a man of your stalwart mould.

As intermediary between Karlfeldt’s formal “Latin” schooling and threatened “peasant style” talk, Fridolin combines botanical science and religious stories with farmstead lore and echoes from Scandinavia’s pagan past. Karlfeldt’s Fridolin’s visor (Fridolin’s Songs, 1898) expresses hope for cultural understandings informed by the rich legacy of rural wisdom in the wake of unprecedented modernization and depopulation of the countryside. In the collection’s “Song After Harvest,” Fridolin’s “murmuring” is “filled with memory. “Song of Parting” invokes the image of a grain sieve to symbolize the prospect of an approaching storm’s separation of family from surroundings as if the approaching new century threatened a cherished old order.

Karlfeldt continued these musings in Fridolins lustgård (Fridolin’s Garden, 1901) with lines that soar with hope and sometimes fall to despair in the same poem. Finally, “In Fridolin’s Footsteps,” a selection from Flora och Bellona (1918), Karlfeldt laments his longtime imaginary companion’s “ravaged garden” and “forgotten song.” Fridolin speaks no more. The “mourning music” and “ghost of joy” presage Karlfeldt’s personal struggles over family relationships and war on the continent. For his remarkable corpus of poetry and prose, Karlfeldt was posthumously awarded the Nobel Prize for Literature in 1935.

Swallowtail Butterfly on Thistle
National Colonial Farm; Accokeek, Maryland

Van Gogh’s Landscapes—Agrarian Beauty and Life’s Renewal

In Memory of Micala Hicks Siler (1978-2020)
Devoted Wife and Mother, Humanitarian, West Point Graduate and Soldier

“Van Gogh & European Landscapes” Exhibit Entry (March-September 2022)
Dayton Art Institute; Dayton, Ohio

This day dawned for us in Dayton, Ohio, while on a cross-country road trip to the East Coast and where we enjoyed the fellowship of longtime friends from the Siler and Hicks families who visited Palouse Colony Farm in 2018. Micala served as founding director of A Family for Every Orphan which has found caring homes for children in need inside their countries of origin in eastern Europe, Africa, and Asia. Since we are exploring sites of interest along the way during our trip, a chance viewing of the Dayton Art Institute’s website this week reported on a special exhibit of masterful paintings by prominent 19th century European landscapists. It included works from Vincent van Gogh’s acclaimed Wheatfield series—the great artist’s last creations. Although I had read about his remarkable life, I had never seen one of van Gogh’s landscapes in person so took advantage of our stay to do so.

Although Vincent van Gogh (1853-1890) never met famed “painter of peasants” Jean Millet (1814-1875), he was familiar with the artist since working enthusiastically as a young man in his uncles’ print-dealer firm at The Hague. In 1875 van Gogh attended an 1875 Paris exhibition of Millet’s larger works which greatly impressed him. Van Gogh also studied religious prints by socially conscious Gustave Doré (1832-1883) and agrarian works by Jules Breton (1827-1906) like The Blessing of the Wheat and The Gleaner. He came to speak of Millet and Breton in the same breath as kindred spirits whose art he called “the voice of the wheat,” and found the form of a sheaf an “enchanting symbol” of the infinite.

A profound intellectual and prolific correspondent despite mental and physical ailments, van Gogh read Zola, Dickens, and the classics, studied Delacroix and Rembrandt, and acquired engravings by Millet and other artists. Soon after deciding to become an artist in 1880, he read Alfred Sensier’s influential biography, Le Vie et L’Oeuvre de Jean-François Millet. The young artist found revelatory meaning in its portrayal of Millet akin to his own search for meaning through a consilience of faith and art in the natural world. In van Gogh’s Noon: Rest from Work, after Millet (1890), poet Allen Braden viewed the revolutionary artist’s depiction of Ruth and Boaz “serene in their exhaustion” and a kind of noble statement “…on the balance / between art and whatever is perfectly ordinary.”

Jean-François Millet, The Gleaners (1857)
Oil on canvas, 33 x 44 inches
Musée d’Orsay, Paris; Wikimedia Commons

Through his older contemporaries’ romanticized depictions of peasant endeavor, van Gogh saw the primal values of stoic faith, dignified simplicity, and honorable toil. His supremely passionate landscapes and portraits are devoid of complicated narratives. Rather, van Gogh chose commoners and the commonplace to show forth the everyday glories of faces, fields, and flowers in ways never before expressed. These views he enveloped in exaggerated colors from light lemon to orange, Prussian blue, Veronese green, and other seasonal shades of that anticipated Modernism. Few Impressionists apart from Camille Pissarro (1830-1903), however, had painted peasants, and his “Independent” version represented serious regard for the sufferings of the poor which he understood to foreshadow the emerging era’s granulation of the individual.

Pissarro found the self-reliant ways of rural cooperatives to offer the most practical means of cultivating humanity. This relationship is seen in the laboring souls depicted with hopeful, well-tended terrains of blue greens, russets, and pale yellows of in his masterpieces The Harvest (1882) and The Gleaners (1889). Summer, from the Four Seasons series (1872-1873) painted for the dining room of his patron Achille Arosa, shows three approaching peasants in the center of the canvas who are dwarfed by a prodigious field of dappled bundles and standing grain beneath an immense blue sky. In contrast to traditional allegorical themes, Pissarro’s painting is without religious or other cultural symbolism in testimony to exquisite vernacular beauty.

Pissarro met van Gogh in Paris in 1887 and encouraged him to brighten his somber palette. Amidst the Provençal mistral winds in June 1888, van Gogh passionately painted a group of at least nine “Harvest” paintings which provided opportunity to experiment with technique and color. He worked quickly in the vicinity of Arles, often reveling in the heat of day, “just like the harvester, …intent only on the reaping,” and blended striking hues of gold, copper, and bronze with yellow, red, and brown. In a letter to his brother and abiding benefactor Theo the following June, van Gogh expressed special interest in the patchwork of green and yellow grain fields surrounding the town.

Vincent van Gogh, Wheat Field with a Reaper (1889)
Oil on canvas, 28 ⅖ x 36 ½ inches
Van Gogh Museum, Amsterdam; Wikimedia Commons

While still in Provence the following July, van Gogh painted the lush expressionistic masterpiece Wheat Field with a Reaper that gleams with a swirling sea of grain in impastoed layers of yellow-orange with white highlights seen in many of his later Saint-Rémy paintings. A benevolent sun stands against a sky of aquamarine and seems to radiate from the canvas. The view is from the upper story of the building where van Gogh had sought recovery from depression and obsession, and shows the field’s gray-white boundary wall but without any sense of confinement. The painting was one among his final Harvest (Wheat Fields) ensemble of a dozen double-square, horizontal works that joined numerous other previously completed agrarian scenes including the masterpiece of harmonic yellows, creams, and greens featured in the Dayton exhibit, Field with Wheat Stacks.

The impassioned visionary wrote of its “vague figure toiling away… in broad daylight with a sun flooding everything with a light of pure gold,” as a modernist expression of “sacred realism” with calm, religious hope in the face of death. In describing another of his 1889 paintings, Evening: The End of Day, van Gogh made explicit reference to the influence of Millet’s Return from the Fields coupled with Breton’s verse “Return to the Fields” (which had been dedicated to Millet): “…The peasant twice browned / By the twilight and suntan / Forehead bathed in the pale light / Makes his way home, his labor done.”

The harmonious interweaving of van Gogh’s “ideal” religious faith and “real life” agrarian experience represented the mature spirituality the troubled artist had long been seeking. Art and religion—the lodestars of his life, converged in the fields beneath before him. Struggling to contain such revelation amidst the mundanity of daily affairs, he also realized its significance to art. Van Gogh’s embrace of a divinized nature celebrating spiritually aesthetic force swelled beyond his pastor father’s severe Protestant didacticism to embrace both humanity and the natural wonder of crops and trees and sky. He perceived the mission of preacher and painter alike to express the creative force evident in the humble truths of Christ’s parables and the expressive powers of form and color. Such grace pervades nature and everyday community experience without need for miracles, material possessions, or complicated doctrine.

Millet had become his “father” and “eternal master,” van Gogh had written to Theo in 1884, and had offered insight into his own motivation: “Painting peasant life is a serious business, and I for one would blame myself if I didn’t try to make pictures that could give rise to serious reflections in those who think seriously about art and life.” Van Gogh likened his sketches and studies to the sowing of seeds by a farmer but, “I long for harvest time” he explained to his brother, and labored over final works on canvas with knife and brush.

Van Gogh’s association of grain and sheaves with life suggested humanity’s vulnerability and resiliency. The passionate reds and golds of his art are composed in balanced synthesis with the greenery and browns of verdant earth. He complemented these colors by mysterious orange and blue tones of the cosmos—a palette strikingly seen in his The Resurrection of Lazarus (1890). Despite the susceptibility of grain to ruin from fire and wind, or harvest with scythe and sickle, the fields serenely endured as tangible evidence of incomparable beauty, fecundity, and energy of the divine order.

Vincent van Gogh, Field with Wheat Stacks (1890)
Oil on canvas, 28 ⅖ x 36 ½ inches
Fondation Beyeler, Riehen/Basel, Switzerland

Van Gogh expressed these beliefs to his sister, Wilhelmina, from Saint-Rémy in the summer of 1889: “What else can one do, when we think of all the things we do not know the reason for, than go look at a field of wheat? The history of those plants is our own; for aren’t we, who live on bread, to a considerable extent like wheat, at least aren’t we forced to submit to growing like a plant without the power to move, by which I mean in whatever your imagination impels us, and to being reaped, when we are ripe, like the same wheat?” The comment foreshadowed the artist’s increasing vexation and demise in the face of his own troubled soul’s harvest. The reaper as death fulfilled the sower’s purpose in the grand mysterious cycle of life and death seen in van Gogh’s beatified landscape where the finite and infinite coalesce.

The farmer motif is a profound and vital expression of life’s purpose, with figures cast differently from the plodding toilers in Millet’s paintings. Van Gogh’s harvesters are proud and purposeful workers whose faces shine with the luminous golden light that surrounds them and the grain. Reapers go forth blending into the contoured fields, gathering wheat and clutching sheaves as if holy ritual to feed heart and soul. Farmers, fields, and firmament are seen in throbbing, vital wholeness. Some of his magnificent harvest compositions like soothing imperial yellow and lavender Sheaves of Wheat and one in the magnificent Dayton exhibit, Field with Wheat Stacks (July 1890), present arrangements of nodding bundles and piles of stalks as if tender family portraits.

The softer palette of van Gogh’s later works was influenced by his high regard for the paintings of Impressionist leader Claude Monet (1840-1926). In popular discourse such works have been considered objects of enjoyment more than understanding, but plein air landscapes by Monet and Pissarro are more than passive depictions of location and light. Impressionistic views often show “fields of vision” selected for particular forms like sheaves, rows, and stacks of powerful meaning for artist and viewer.        

Arles
Harvest at La Crau with Montmajour (June 1888) — VGM, Amsterdam
Haystacks in Provence (June 1888) — K-MM, Otterlo
Summer Evening in Arles (June 1888) — Kunstmuseum Winterthur, Switzerland
Wheat Field (June 1888) — Private Collection
Wheat Field with the Alpilles Foothills (June 1888) — VGM, Amsterdam
Arles: View from the Wheat Fields (June 1888) — Musée Rodin, Paris
Wheat Field with Stacks (June 1888) — Private Collection
Wheat Field with Sheaves (June 1888) — Honolulu Museum of Art
Harvest in Provence (June 1888) — Israel Museum, Jerusalem
The Sower (at Sunset) (June 1888) — K-MM, Otterlo

Saint-Rémy
Wheat Field with Reaper and Sun (June 1889) — K-MM, Otterlo
Wheat Field with Cypresses (June 1889) — MMA, New York
Evening Landscape with Rising Moon (July 1889) — VGM, Amsterdam
Wheat Field with Cypresses (September 1889) — National Gallery, London
Wheat Fields with Reaper at Sunrise (September 1889) — VGM, Amsterdam
Peasant Woman Binding Sheaves (September 1889) — VGM, Amsterdam
Reaper with Sickle (September 1889) — VGM, Amsterdam
The Reaper, after Millet (September 1889) — Private Collection
The Thresher, after Millet (September 1889) — VGM, Amsterdam
The Sheaf-Binder, after Millet (September 1889) — VGM, Amsterdam
Wheat Field with Cypresses (September 1889) — Private Collection
Wheat Field Behind Hospital (December 1889) — VMFA, Richmond
Noon: Rest from Work (January 1890) — Musée d’Orsay, Paris

Auvers-Sur-Oise
Wheat Fields with Reaper, Auvers (June 1888) — Toledo Museum of Art
Wheat Fields near Auvers (June 1890) — Belvedere Gallery, Vienna
Peasant Woman Against Wheat (June 1890) — Private Collection
Wheat Field under Clouded Sky (July 1890) — VGM, Amsterdam
Wheat Fields at Auvers under Clouded Sky (July 1890) — Carnegie Museum, Pittsburgh
Wheat Field with Crows (July 1890) — VGM, Amsterdam
Field with Wheat Stacks (July 1890) — FB, Riehen/Basel
Wheat Field with Cornflowers (July 1890) — FB, Riehen/Basel
The Fields (July 1890) — Private Collection
Wheat Fields with Auvers in Background (July 1890) — Private Collection
Sheaves of Wheat (July 1890) — Dallas Museum of Art 

Van Gogh Wheat Field Series Paintings, 1888-1890
FB: Fondation Beyeler, Riehen/Basel, Switzerland
K-MM: Kröller-Müller Museum, Otterlo, The Netherlands
MMA: Metropolitan Museum of Art, New York

“Modern US Wheat Has Roots in Ukraine” - My Interview With NPR's The World

I (Richard) was recently contacted by Bianca Hillier from National Public Radio’s PRI The World national radio program. Given the current food crisis stemming from the conflict in Ukraine, she asked to interview me regarding our work with heritage grains that have ancestral ties to that region. Our conversation ended up lasting over forty-five minutes as we covered a range of related topics, including our recent charitable work in Ukraine. For time’s sake, she could not include our full discussion in the show’s finalized segment (which you can listen to here). However, I wanted to share more of my comments from our conversation here in case it would be of further interest to any of our readers.

As further background, The World is public radio’s longest-running daily global news program. Their goal is to engage domestic US audiences with international affairs through human-centered journalism that consistently connects the global to the local and builds empathy for people around the world. 

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Interview with Dr. Richard Scheuerman; Richland, Washington
Bianca Hillier, The World; Broadcast June 20, 2022

The US is a major exporter of wheat around the world. But according to experts, most modern US wheat can be traced back to Turkey Red Wheat, which Mennonites brought from present-day Ukraine in the late 1800s. The World's Bianca Hillier reports.

NPR: Tell us a little about your background and where you live.
Richard Scheuerman: My wife, Lois, and I reside here in the Tri-Cities of Washington State which is located in a region of remarkable agricultural bounty known as the Columbia Plateau. We were raised in the rolling hills of Eastern Washington’s scenic Palouse Country where our family farm was located between the rural communities of Endicott and St. John. Among the earliest immigrants to the area were Germans from southwestern Russia who had settled in the Volga region under Empress Catherine the Great in the late 1700s, while others established farming colonies in the Ukraine’s Black Sea region in the early 1800s under Catherine’s grandson, Tsar Alexander I. My great-grandparents immigrated from Russia to Kansas in 1888 and continued on to the Palouse in 1891. They first resided in what our elders called the “Palouse Colony” which was a small agrarian commune along the Palouse River where today we operate Palouse Colony Farm.

We raise non-hybridized landrace “heritage” grains for artisan baking and craft brewing used at places like Ethos Bakery and Stone Mill in Richland and The Grain Shed in Spokane. We began the work of identifying and propagating “Palouse Heritage” varieties in 2014 with Stephen Jones, Steve Lyon, and Kevin Murphy of Washington State University and Alex McGregor of the McGregor Company, and established demonstration plots at our farm and at the Franklin County Museum in Pasco. The community of Connell in central Franklin County was first called “Palouse Junction” for its strategic location as an important Northern Pacific Railroad grain terminal. Numerous Germans from Russia and Ukraine settled in that vicinity as well, and the area figures prominently in author Zane Grey’s 1919 best-seller The Desert of Wheat in which Turkey Red might well be called a principal character.

NPR: How did you come to be interested in Russian and Ukrainian agriculture?
Richard: When you’re raised in rural communities many of your nearest neighbors and best friends are elders in their 80s and 90s! I came to enjoy visiting with first generation immigrants who told captivating stories about life in the Old Country—riding camels, encounters with the peaceful nomadic peoples of the steppes, raids by roving bandits, and the beauty and bounty of the native grasslands which their ancestors transformed into one of the world’s breadbaskets. I gathered many of their tales and later published them as books of history and short stories in works like Hardship to Homeland and Harvest Heritage.

In the wake of the Soviet Union’s collapse in the late 1980s, I traveled to Russia and Ukraine over a dozen times to assist in establishing a series of student and faculty exchanges between schools of higher education there and in the US. During those years I also visited the ancestral villages of my ancestors and arranged with various archives to duplicate about 10,000 pages of original source material related to various aspects of Volga German and Black Sea settlement. Having been raised on a farm where my elders shared many stories of Old Country rural traditions I had special interest in their accounts of farm life.

NPR: How have grains from southeastern Europe influenced American agriculture and culinary history?
Richard: Well it’s not much of an exaggeration to say that before pioneering Midwestern immigrant farmers started raising “Turkey Red” bread wheat in the 1870s that there was no bread such as we know it today made in America. Of course folks were baking breads since early colonial times, but it was made from soft white and red “Lammas” wheats from the British Isles and western Europe that is better suited to flatbreads, scones, biscuits, pancakes, and the like. Production of many of these varieties like White “Virginia May” Lammas, which we have worked to revive and was used to make Northwest Indian frybread, were devastated in the 1770s by Hessian fly infestations. So our early “Founding Farmer” families like Washington, Jefferson, John and Abigail Adams—Abigail supervised most of the farm work—and others devoted considerable attention to acquiring new grain varieties.

Among those they introduced by the 1790s was semihard Red Mediterranean, and Red Fife in the 1840s to Canada which was actually a bread grain from the western Ukraine district of Galicia. But it was not until German Mennonites from the Ukraine settled in central Kansas in the 1870s that one of their leaders, Bernard Warkentin, began raising Turkey Red. It was a hard red bread grain native to the Crimea, and its seeds began an agricultural and culinary revolution in the US in figurative and literal terms.   

NPR: How was Turkey Red different from other grains raised in the US?
Richard: Turkey Red was America’s first true hard red bread wheat. That is, the kernels possess gluten proteins with a cross-hatch molecular structure that traps gases produced by yeast that makes bread dough rise. Not only that but the nutritionally dense inner endosperm and fiber make for an incredibly delicious loaf that has a naturally sweet, nutty flavor. Many farm families safeguarded their Turkey Red for personal use and sold other modern varieties they raised. Turkey Red was hard on early milling equipment, but once folks found out how wonderful the bread tasted they wanted more. And concurrent with production of Turkey Red was the advent of improved hammer-milling technology that produced a better quality of flour. Of the many modern varieties of bread grains raised throughout North America, virtually all can trace their lineage back to the Turkey Red native to Ukraine.

Americans tend to like their bread lighter in color than other places where people routinely dine on whole grain brown breads, and Americans tend to prefer clear brews when various styles throughout the world are cloudy. A premium is paid today for hybridized hard white bread wheats but in extremely rare cases Mother Nature does create a naturally occurring hard white wheat so you can have a high fiber, light colored loaf. Over a century ago a USDA grain explorer was traipsing across Persia—present Iraq, and found a grain vendor in a bazaar who was said to have wheat from the Garden of Eden. I suspect the American politely smiled while gathering his sample and routinely sent it back home with others he had gathered. But the lab analysis later reported the variety was a rare hard white landrace, so we have been increasing this Amber Eden for the past couple years and bakers praise its quality.

NPR: What are your thoughts about the situation in Ukraine today?
Richard: The news of the war is deeply disturbing and I hope Americans will stand in solidarity with the people of Ukraine for freedom’s cause. During our Revolutionary War notable help came from abroad in terms of material aid as well as the heroic service of foreigners. French commander Marquis de Lafayette and the Prussian general Baron von Steuben stood shoulder to shoulder with General Washington during the years of our struggle for independence. Perhaps lesser known but of special significance was the remarkable service of Polish officer Thaddeus Kosciuszko who helped win victory for the Continentals at the Battle of Saratoga which is considered the turning point of the war. He later returned to Europe and fought against autocratic rule in his native land as well as in Ukraine.

My special interest has been in joining with others to promote the work of A Family for Every Orphan (AFFEO) to provide safe havens for Ukraine’s most vulnerable children. AFFEO also provides food for those in need through its Operation Harvest Hope bakeries in Ukraine. Until the tragic outbreak of the war, no nation on earth had done more to reduce orphanhood than Ukraine through a remarkable collaborative of churches, government child protection agencies, and social service organizations. I hope work continues for these vital efforts in the land that has given so much to provision others throughout the world. 

Goodness, Grain, and Humankind— Thoughts Concerning Ukraine and Our Nation’s Founders

Cabrini Brothers Plaster Bas-Relief (c. 1910)
After Emmanuel Leutze, Washington Crossing the Delaware (1851)
Endicott-St. John Middle School; Endicott, Washington

How happy to think to our self when conscious of our deeds, that we started from a principle of rectitude, from conviction of the goodness of the thing [freedom] itself, from motive of the good that will come to humankind.
—Thaddeus Kosciuszko to General O. H. Williams; February 11, 1783

Day after day throughout all twelve years in the stately three-story brick school in rural hometown Endicott, notable figures from America’s past stared down at us from each classroom in the form of substantial bas-relief sculptures. Bearing the incised manufacturer name “Caproni Brothers” of Boston, these substantial plaster works resembled carved marble and spoke to the value placed on public education and art by members of our farming community who built the school in 1911. The three largest Caproni masterpieces hung against a wall of the third floor auditorium and included the famous scene Washington Crossing the Delaware which was painted some seventy years after the event by German-American artist Emanuel Gottlieb Leutze (1816-1868). The painter had returned for a time to his homeland and sought to support the wave of democratic revolts against European monarchies in the late 1840s. Leutze painted several other American Revolutionary War views including Mrs. Schuyler Burning Her Wheat Fields (1852) which is now held by the Los Angeles County Art Museum.

Notable battles that changed the course of world history were famously fought on fields of grain including Caesar’s defeat of Pompei in 48 BC on Greece’s Thessalian Plain at Pharsalos (Farsala—birthplace of Achilles), and English King Henry’s victory over the French at the Battle of Agincourt (1415) during the Hundred Years’ War. That large military engagements took place across vast rural areas is unsurprising and came to be associated with heroic sacrifice and symbolic harvests of souls. The Schuyler Wheatfield scene is especially notable for depicting an incident associated with the 1777 Battle of Saratoga that is considered the turning point of the Revolutionary War.

We learn in school about the nation’s Founders—men and women like Washington and Jefferson, John and Abigail Adams, James and Dolly Madison, Benjamin Franklin, and others who pledged their “sacred fortunes” to procure a free if imperfect nation based on democratic values. As part of this effort begun nearly 250 years ago other influential names are also familiar—army heroes Marquis de Lafayette of France, and stern Baron von Steuben of Prussia who became General Washington’s Chief of Staff and helped bolster patriot forces amidst the baleful conditions of Valley Forge. Another formidable if lesser-known foreign officer in freedom’s cause was cavalry general Thaddeus Kosciuszko (ko-choose-ko) who played a leading role in the Continental victory at Saratoga.

Emmanuel Leutz, Mrs. Schuyler Burning Her Wheat Fields (1852)
Los Angeles County Museum of Art

Painting at the distance of many decades, Leutze took liberties for his masterpieces of patriotic romanticism and the dramatic view of harried Catherine Schuyler, wife of Continental General Philip Schuyler and in-laws of Alexander Hamilton, combines elements of fact and legend. She is shown clad in red, white, and blue setting fire to a field of wheat on the family’s Hudson River estate presumably in September of 1777 to prevent its harvest by British troops approaching in the distance. The subsequent defeat of British General Burgoyne at the nearby Barber Wheatfield during the Battle of Saratoga in early October is considered the turning point of the American cause. The painting is remarkable not only for its depiction of a female figure in heroic wartime action, but she is shown being assisted by an African-American boy who carries a metal lamp.

Kosciuszko was a Polish nobleman and idealist, whose own privileged position in life contrasted with the democratic values he came to champion in peacetime and war. Commissioned a brigadier general by the Continental Congress and later made a member of the American Philosophical Society through Benjamin Franklin’s support, Kosciuszko nevertheless returned to Europe and helped lead the fight against autocracy in Poland as well as Russia’s invasion of Ukraine in the 1790s. Russia with far superior forces under Catherine the Great eventually prevailed against the Polish-Lithuanian Commonwealth and the Ottoman Turks in order to gain strategic access to the warm water Black Sea ports. Russia emerged victorious in 1792, and two years later Empress Catherine herself initiated the founding of Odessa which soon became Russia’s third largest city. Russia’s roots in Ukraine stretch back much further as Kyiv is considered Russia’s founding capital and flourished in a cultural Golden Age from the 10th to 12th centuries until its devastation in 1240 by the invading Mongols.

To secure her vast newly acquired southlands from such foreign threats, Catherine instituted one of the largest and most diverse settlement campaigns in European history. Substantial numbers of Armenians, Greeks, Italians, and other ethnic groups were directed to Ukraine to live among native Crimean Tatars and Turkic peoples. Beginning in the 1760s Catherine arranged for the relocation of 27,000 peasants from her native Germany to the lower Volga region, and some 50,000 followed until the 1830s to establish Black Sea colonies throughout Ukraine. Many came in the aftermath of Napoleon’s ill-fated invasion of Russia in 1812 that inspired Tolstoy’s novel War and Peace. A century later the prolific Black Sea German colonists needed more land to farm and faced increasing cultural threats from ascendent Slavic influences. Some chose to relocate as their ancestors had done, and many found new homes in America’s fertile farming districts—the Chesapeake Peninsula’s red loam country of Maryland and Delaware, southeastern New York’s “black dirt” area, the vast Midwest’s Great Plains, Pacific Northwest’s Columbia Plateau, and Canada’s prairie provinces. Black Sea German Mennonites brought Crimean “Turkey” Red wheat seed to Kansas in the 1870s which revolutionized American grain production and breadmaking.

Massey-Siemens Family Black Sea German Samovar
(c. 1890)
Palouse Heritage Collection

Those who appreciate this heritage have important reasons to be grateful their ancestors emigrated. European borders closed in 1914 with the outbreak of World War I, the Communist Revolution and three-year Russian Civil War followed until 1921, and Stalin’s brutal war on religion and campaign of collectivization led to Ukraine’s catastrophic Holodomor that claimed some eight million lives in the 1920’s and 30’s. Hitler’s invasion of the USSR caused the death of 27 million people during World War II. (American World War II casualties were about one million.) No wonder Timothy Snyder’s excellent 2010 chronicle of this era and place carries the disturbing title Bloodlands.

 Eastern European immigrants and survivors came, and substantially remained, because Americans both new and old found fidelity in the ideas expressed in Kosciuszko’s 1783 letter about “deeds,” “principle,” “conviction,” and “goodness.” These terms may be variously debated today, but they did not have vague meanings to those who wrote or heard them. And while they have been lived out in ways that excluded many since the nation’s founding, they have provided a framework for freedom, security, and economic prosperity unknown on a national scale in previous history. Such core ideas are threatened today because of extremism on both sides of a political continuum that values personal benefit and perceived “rightness” above the common good—an inversion of American First Principles.

To be sure, Jefferson’s expression “pursuit of happiness” is eighteenth-century code talk for private enterprise which forms the basis of modern economic development. But in the same breath he writes of “promoting the general welfare” since he, Kosciuszko, and the Founders understood liberty to be the use of freedom to promote national wellbeing, versus licentiousness as use of freedom for selfish power and gain. The peoples of Ukraine, Russia, and Belarus faced a momentous decision in 1991 when in the wake of the USSR’s collapse they voted to declare independence. Much has been written about the litany of events and political vacillations that have ensued since then. May the cause of Kosciuszko yet prevail on both sides of the Atlantic, and peace and prosperity return to the people of Ukraine’s fertile Black Earth grainlands.

Amber Eden Grain and a Memorable Harvest

On a collecting trip to a popular Persian grain market over a century ago, near the location of ancient Sumer in present Iraq, a USDA official found a vendor of an exceptional bread wheat said by locals to have come from the Garden of Eden. The American likely thought it an entertaining story with little significance. But the grain was tested soon after it arrived here in the US and found to be something indeed spectacular—a hard white landrace (pre-hybridized heritage) wheat. Virtually all wheat flours used for breadmaking come from hard red grain which is healthy when milled as whole grain to preserve the nutrient-dense germ and bran as well as interior endosperm. For this reason whole grain breads tend to be dark compared to white breads typically made from those made from flour that has been sifted to remove much of the kernel.

The existence of this exceedingly rare hard white “Eden” grain offered the prospect of whole grain nutrition in a light-colored loaf! And after considerable searching facilitated by friends at WSU’s Bread Lab in Mt. Vernon, our Palouse Colony-Ethos Stone Mill team was able to procure a sample from a European seedbank. After several years of patient increase, we were pleased to harvest a sufficient crop of this remarkable grain this summer that we will soon be marketed as flour.

Harvesting Hard White Amber Eden Wheat
Palouse Colony Farm (August 2021)

The Bible and other ancient literatures open with divine creation of the world and living things including seed-bearing plants. Genesis 1:11-12 states, “And God said, ‘Let the earth sprout vegetation, plants yielding seed, and fruit trees….’ And it was so. The earth brought forth vegetation, plants yielding seed according to their own kinds…. And God saw that it was good.” The concept of Creator as First Agrarian offers two related guiding principles for humanity’s sacred relationship to the land: (1) The earth and its bounty is to be treated respectfully (e.g., Psalm 24:1); and (2) people are to cultivate it responsibly (Genesis 2:15). Grains, grapes, and olives—the so-called Mediterranean triad—dominated the Hebrew diet (Deuteronomy 7:12-13, II Chronicles 31:5-6) and provided a wide range of flavorful, nutritious foods made from flour, wine, and oil. So heavy was their reliance on bread that the Hebrew term for it, lehem, is synonymous with food in general (Genesis 28:20, Ruth 1:6, Psalm 132:15).