In 1913 -1914 Dimitrije Mitrinović was studying art history in Munich, then one of the centres of the art world. Inspired by Kandinsky’s work and writing, he formed a friendship with the artist and his partner, Gabriele Münter.
Kandinsky and Mitrinović were both convinced of the need for radical change in the world, and felt that this should be led and achieved by the best minds in Europe, and particularly by artists whom they saw as prophets capable of seeing an alternative order. In order to spread their ideas, they set out to publish a Yearbook with articles on cultural and political subjects, as a follow-up to Der Blaue Reiter Almanach (The Blue Rider Almanac) produced by Kandinsky in 1912.
Kandinsky and Mitrinović made contact with Frederik van Eeden (1860 -1932), a Dutch psychiatrist, writer and founder of an intentional community, Walden, and the German philosopher Erich Gutkind (1877 – 1965). Gutkind and van Eeden shared their belief in change being initiated by the intellectual elite, then spreading to wider society. They called for the creation of a “Blutbund” (Blood Band, or Union), bringing together leading figures to effect change. Mitrinović worked furiously to get both the Blutbund and Yearbook off the ground, rattling off letters to politicians, writers, philosophers, philosophers, writers, social critics, political thinkers and leaders across the arts from across Europe and further afield. Amongst those he approached were H.G. Wells, Walter Schücking, Édouard Schuré, Dr. Rudolf Eucken, Ezra Pound, Ivan Meštrović and Stanisław Przybyszewski.
This draft letter to Erich Gutkind is just one of many from this period that survive in the Mitrinović archive here at Bradford. Written in German, Serbo-Croat, French, Russian and English, fortunately some were also later translated by Mitrinović’s circle. To me, Mitrinović’s large, rapid scrawl seems to embody his enthusiasm, conviction and the tremendous energy that he put into the Blutbund and Yearbook project. Although Mitrinović himself was not well known, the fact that he was willing to contact such distinguished men, pitching his vision for the future of Europe and humanity, shows great confidence and perhaps also that sense of great importance and urgency that he attached to his work. This particular letter has a rather nice postscript in which Mitrinović apologies for his imperfect German, but hopes that Gutkind will appreciate what we might call any ‘happy accidents’ that might have crept in.
Sadly for Mitrinović, the First World War put paid to the Blutbund. Nationalist feelings ran high, with the group splitting along broadly German/ non-German lines. A group founded on the idea of creating a fairer, more peaceful world was undone by war. The Yearbook was never produced, despite Mitrinović seeking out contributors again in 1916.
Part of what I find fascinating about Dimitrije Mitrinović is his complete refusal to let any setback crush his optimism. Within days of arriving in England as a penniless refugee, he was writing one of his Blutbund letters, urging Peter Kropotkin, the prominent anarchist to support the movement. After the First World War, and doubtless in light of the collapse of the Blutbund, Mitrinović changed tack. Instead of the new world order starting with an elite working to influence the world around them, he would start with more ordinary people who were willing to develop themselves on intellectual and emotional levels. Many in the group he gathered around himself from the 1920s onwards were deeply influenced by his ideas and some would remain devoted to him for the rest of their lives.