It's Not What You Think!
David Leeming indicates in his biography Amazing Grace
that Beauford was rarely painted nudes because of his shyness. This makes the remembrance below, provided by Burt Reinfrank, even more interesting!
It was a beautiful, sunny autumn afternoon when I knocked on Beauford’s studio door. I heard the echo of Beauford’s voice back in the studio saying “I’m coming.” I could hear him shuffling to the door. It opened and Beauford, with hand outstretched, said “Come in.” I did and, as I looked down the narrow corridor, with white sheets hanging on both sides, into the studio, I saw a naked young man standing facing me full frontal reaching for his pants saying “It's not what you think, it's not what you think!” I hadn’t thought anything at that point, and Beauford was unperturbed.
As it happened, the young man (American) had recently been a guest of Jimmy Baldwin at his house in St. Paul de Vence, as had Beauford at the same time. While there, Beauford had started but not finished a nude portrait of him, which was now on an easel where Beauford was continuing to work on it.
My entrance had interrupted this sitting so we all sat down to a tea Beauford made for us. The young man (about 30) was from the western U.S. and lived on a property where the boundaries of three states came together. He regaled us with stories of that region.
That was the only time I saw this young man (circa 1965). But recently, in 2010, I saw a photograph of a group of Delaney paintings in a store room, one of which was a portrait of a nude man. I wonder if it is the finished version of “It’s not what you think”?
that Beauford was rarely painted nudes because of his shyness. This makes the remembrance below, provided by Burt Reinfrank, even more interesting!*******************
It was a beautiful, sunny autumn afternoon when I knocked on Beauford’s studio door. I heard the echo of Beauford’s voice back in the studio saying “I’m coming.” I could hear him shuffling to the door. It opened and Beauford, with hand outstretched, said “Come in.” I did and, as I looked down the narrow corridor, with white sheets hanging on both sides, into the studio, I saw a naked young man standing facing me full frontal reaching for his pants saying “It's not what you think, it's not what you think!” I hadn’t thought anything at that point, and Beauford was unperturbed.
As it happened, the young man (American) had recently been a guest of Jimmy Baldwin at his house in St. Paul de Vence, as had Beauford at the same time. While there, Beauford had started but not finished a nude portrait of him, which was now on an easel where Beauford was continuing to work on it.
Beauford's Paint Box
© Discover Paris!
My entrance had interrupted this sitting so we all sat down to a tea Beauford made for us. The young man (about 30) was from the western U.S. and lived on a property where the boundaries of three states came together. He regaled us with stories of that region.
That was the only time I saw this young man (circa 1965). But recently, in 2010, I saw a photograph of a group of Delaney paintings in a store room, one of which was a portrait of a nude man. I wonder if it is the finished version of “It’s not what you think”?
A Redhead in His Bed
Burt Reinfrank kindly sent the following anecdote about Beauford in his later years, when he was living at the studio on rue Vercingétorix. He indicated that this is a story that is told by others as well as himself.
It was a fall Saturday morning. Signs of a colder winter to come were in the air. Beauford’s health and his mental state had been slowly failing. The question was how much longer could he continue to live on his own? I had signed him up for a local version of Meals on Wheels, which worked for a while. But he had started to drink again. Some of his friends said squatters were trying to move into his studio.
I approached his door with a certain apprehension. At my knock I heard Beauford’s shuffle. The door opened and Beauford led me into his studio. On the small table by the arm chair were a couple of partly filled glasses of red wine and an almost empty wine bottle. The bed, with its traditional top cover of a white sheet, was made up but as I looked harder it seemed there was something in it and at the head, sticking out from the top of the sheet, a mass of long red hair. I thought “Good God. Beauford has a redheaded women in his bed.”
Beauford said nothing, and as I surveyed the scene the head from which the hair came slowly worked its way out of the bed. It was not a woman but a younger man along in his 30s who introduced himself as "Michael" and immediately went into the kitchen and made us all a coffee. Apparently he’d moved in with Beauford a short time before. He prepared Beauford’s food and they were obviously drinking a lot of red wine.
This was certainly one of the “squatters” I had heard mentioned in a negative way, but I thought this was what Beauford needed considering the condition he was in. Apart from the wine, the “squatter” got the food, prepared it, kept Beauford company, etc.
For some time, each time I visited I would give Beauford some cash which was a part of a payment for a painting I had bought from him. I now started giving the cash directly to Michael to pay for the food etc. he bought for the two of them. I trusted him and it worked well as long as it lasted.
Some said squatters might be stealing Beauford’s work. I asked Michael what he saw and he said no one had been by the studio except a young woman who came in, picked up a painting and left. She and Beauford seemed to know each other as they kissed both on her coming and going. I couldn’t think of anyone that Beauford knew who was young enough to meet that young lady’s description. To me, who she was still remains a mystery.
After Michael’s departure some weeks later Beauford’s health continued to decline.
********************
Beauford at his rue Vercingétorix studio, 1972
It was a fall Saturday morning. Signs of a colder winter to come were in the air. Beauford’s health and his mental state had been slowly failing. The question was how much longer could he continue to live on his own? I had signed him up for a local version of Meals on Wheels, which worked for a while. But he had started to drink again. Some of his friends said squatters were trying to move into his studio.
I approached his door with a certain apprehension. At my knock I heard Beauford’s shuffle. The door opened and Beauford led me into his studio. On the small table by the arm chair were a couple of partly filled glasses of red wine and an almost empty wine bottle. The bed, with its traditional top cover of a white sheet, was made up but as I looked harder it seemed there was something in it and at the head, sticking out from the top of the sheet, a mass of long red hair. I thought “Good God. Beauford has a redheaded women in his bed.”
Beauford said nothing, and as I surveyed the scene the head from which the hair came slowly worked its way out of the bed. It was not a woman but a younger man along in his 30s who introduced himself as "Michael" and immediately went into the kitchen and made us all a coffee. Apparently he’d moved in with Beauford a short time before. He prepared Beauford’s food and they were obviously drinking a lot of red wine.
This was certainly one of the “squatters” I had heard mentioned in a negative way, but I thought this was what Beauford needed considering the condition he was in. Apart from the wine, the “squatter” got the food, prepared it, kept Beauford company, etc.
For some time, each time I visited I would give Beauford some cash which was a part of a payment for a painting I had bought from him. I now started giving the cash directly to Michael to pay for the food etc. he bought for the two of them. I trusted him and it worked well as long as it lasted.
Some said squatters might be stealing Beauford’s work. I asked Michael what he saw and he said no one had been by the studio except a young woman who came in, picked up a painting and left. She and Beauford seemed to know each other as they kissed both on her coming and going. I couldn’t think of anyone that Beauford knew who was young enough to meet that young lady’s description. To me, who she was still remains a mystery.
After Michael’s departure some weeks later Beauford’s health continued to decline.
Celebrating Beauford! – The Reception
We left Thiais Cemetery at about 5:20 PM to go to the George C. Marshall Center. Though traffic was again a major challenge, we managed to get back into town about ten minutes before the reception was due to begin. We were greeted graciously by the staff of the U.S. Embassy’s public affairs department at the gate to the Hôtel Talleyrand on rue Saint-Florentin in the 1st arrondissement, and led up the grand staircase into the State Office, where refreshment awaited us. There was a true sense of love and camaraderie in the air as people mingled, renewed old acquaintances, and made new ones.
Both film and photography captured this magical “second act” of the day’s event, which unfolded as the setting sun illuminated the Dome Church and the Eiffel Tower that were visible from the State Office and the adjacent Grand Reception Room.
Approximately fifty persons gathered for the culmination of the celebration of Beauford’s life and art that evening. A beautiful program with photos of Beauford outlined the order of events.
I welcomed everyone, and then presented the U.S. Mission’s new Cultural Attaché, Rafik Mansour. Mr. Mansour spoke eloquently about the African-American presence in Paris, and how Beauford was a perfect example of this presence.
Ammon Hall-Moore sang “God Bless the Child,” followed by personal tributes from Velma Bury and Richard Gibson. ferricia-fatia (vocals) and Sabine Boyer (flute) then performed a moving rendition of “Freedom Day.”
I then presented “Beauford Delaney: From Paris to Beyond” – giving an overview of Beauford’s life that concentrated on his favorite haunts and his studios in Paris, and providing an introduction to his art. Finally, I described the events leading up to the installation of Beauford’s tombstone, and briefly discussed what projects Les Amis de Beauford Delaney might undertake in the future.
Though we were due to vacate the premises at 9 PM, everyone (including the Embassy staff) was having such a good time that we continued to commune in the State Office for another half-hour or so.
As the last few persons descended the Grand Staircase to leave the Hôtel Talleyrand, I could finally embrace the fact that Les Amis de Beauford Delaney has accomplished its mission.
To see more photos of the Celebrating Beauford! reception, click here.
For a video that presents some of the guests at the reception, as well as excerpts of the presentations, click here. Special thanks to Joe Langley for providing Les Amis with this film clip!
Once again, I wholeheartedly thank everyone who helped us to achieve our goal. Les Amis de Beauford Delaney will carry on with its efforts to raise awareness of Beauford’s life and art, and is counting on your continued support!
Invitees enjoying the cocktail
© Discover Paris!
Both film and photography captured this magical “second act” of the day’s event, which unfolded as the setting sun illuminated the Dome Church and the Eiffel Tower that were visible from the State Office and the adjacent Grand Reception Room.
Approximately fifty persons gathered for the culmination of the celebration of Beauford’s life and art that evening. A beautiful program with photos of Beauford outlined the order of events.
Program cover
I welcomed everyone, and then presented the U.S. Mission’s new Cultural Attaché, Rafik Mansour. Mr. Mansour spoke eloquently about the African-American presence in Paris, and how Beauford was a perfect example of this presence.
Cultural Attaché Rafik Mansour
© Discover Paris!
Ammon Hall-Moore sang “God Bless the Child,” followed by personal tributes from Velma Bury and Richard Gibson. ferricia-fatia (vocals) and Sabine Boyer (flute) then performed a moving rendition of “Freedom Day.”
Ammon Hall-Moore
© Discover Paris!
Richard Gibson
© Discover Paris!
I then presented “Beauford Delaney: From Paris to Beyond” – giving an overview of Beauford’s life that concentrated on his favorite haunts and his studios in Paris, and providing an introduction to his art. Finally, I described the events leading up to the installation of Beauford’s tombstone, and briefly discussed what projects Les Amis de Beauford Delaney might undertake in the future.
Though we were due to vacate the premises at 9 PM, everyone (including the Embassy staff) was having such a good time that we continued to commune in the State Office for another half-hour or so.
After the presentation
© Discover Paris!
As the last few persons descended the Grand Staircase to leave the Hôtel Talleyrand, I could finally embrace the fact that Les Amis de Beauford Delaney has accomplished its mission.
To see more photos of the Celebrating Beauford! reception, click here.
For a video that presents some of the guests at the reception, as well as excerpts of the presentations, click here. Special thanks to Joe Langley for providing Les Amis with this film clip!
Once again, I wholeheartedly thank everyone who helped us to achieve our goal. Les Amis de Beauford Delaney will carry on with its efforts to raise awareness of Beauford’s life and art, and is counting on your continued support!
Celebrating Beauford! – The Gravesite Ceremony
On October 14, 2010, a group of seventeen persons began gathering at place de la Concorde at around 2 PM for our trek out to Thiais Cemetery for the gravesite ceremony to inaugurate Beauford’s tombstone. We boarded a minibus and left at roughly 2:45 PM. Due to the transit strike, our musicians were barely able to make it to place de la Concorde by car in time. Once they arrived, however, they followed our bus – and did a great job of keeping up despite the heavy traffic!
We arrived at the cemetery in good time, and found Beauford’s division (Division 86) freshly manicured for the ceremony. The weather was picture perfect on this brisk autumn day – it was as though Beauford himself had ordered the light that shone on his gravesite and all of us who gathered there to honor him.
There were additional guests who were waiting for us at the gravesite. There was embracing among those who had not seen each other for a while, and everyone took a few moments to look at the tombstone. Then, we began the ceremony.
Gathering around the tombstone
I welcomed everyone, and then invited The Reverend Doctor Scott Herr from the American Church to come forward. I was particularly pleased that Scott could participate because Beauford’s funeral was held at the American Church, and because he is personally acquainted with the pastor who presided over Beauford’s funeral – Reverend Scott Campbell.
Scott (Herr) said a few words and read a couple of Beauford’s favorite scriptures – Psalm 23 and 1 Corinthians 13. Then, three personal friends of Beauford – Velma Bury, Colin Gravois, and Richard Gibson – gave personal tributes to him.
Reverend Scott Herr reciting scripture
Velma Bury addresses the gathering
Colin Gravois speaks about Beauford
Richard Gibson recounts stories about Beauford
Singer ferricia-fatia then poured a libation in honor of Beauford, and sang a beautiful rendition of “Come Sunday” with Sabine Boyer accompanying her on the flute.
Sabine Boyer and ferricia-fatia
Finally, I briefly recounted how my first interview with Beauford’s personal friend Burt Reinfrank made me understand that Beauford was not only a man of this world, but also one who experienced life on a higher, cosmic plane. I then laid an arrangement of yellow roses on the tombstone. (According to the David Leeming biography Amazing Grace, Beauford loved roses.)
Monique Y. Wells with yellow roses
The ceremony ended with Scott reciting Richard A. Long’s poem “Ascending,” which was written in Beauford’s honor, and saying a final prayer. Participants took another few minutes to admire the tombstone, and we then regained the bus and car and set out for the Marshall Center in Paris.
Reverend Scott Herr reciting “Ascending” and giving the final prayer
To see more photos of the Celebrating Beauford! gravesite ceremony, click here.
Next week: the reception!
We arrived at the cemetery in good time, and found Beauford’s division (Division 86) freshly manicured for the ceremony. The weather was picture perfect on this brisk autumn day – it was as though Beauford himself had ordered the light that shone on his gravesite and all of us who gathered there to honor him.
There were additional guests who were waiting for us at the gravesite. There was embracing among those who had not seen each other for a while, and everyone took a few moments to look at the tombstone. Then, we began the ceremony.
© Discover Paris!
I welcomed everyone, and then invited The Reverend Doctor Scott Herr from the American Church to come forward. I was particularly pleased that Scott could participate because Beauford’s funeral was held at the American Church, and because he is personally acquainted with the pastor who presided over Beauford’s funeral – Reverend Scott Campbell.
Scott (Herr) said a few words and read a couple of Beauford’s favorite scriptures – Psalm 23 and 1 Corinthians 13. Then, three personal friends of Beauford – Velma Bury, Colin Gravois, and Richard Gibson – gave personal tributes to him.
© Discover Paris!
© Discover Paris!
© Discover Paris!
© Discover Paris!
Singer ferricia-fatia then poured a libation in honor of Beauford, and sang a beautiful rendition of “Come Sunday” with Sabine Boyer accompanying her on the flute.
© Discover Paris!
Finally, I briefly recounted how my first interview with Beauford’s personal friend Burt Reinfrank made me understand that Beauford was not only a man of this world, but also one who experienced life on a higher, cosmic plane. I then laid an arrangement of yellow roses on the tombstone. (According to the David Leeming biography Amazing Grace
, Beauford loved roses.)
© Discover Paris!
The ceremony ended with Scott reciting Richard A. Long’s poem “Ascending,” which was written in Beauford’s honor, and saying a final prayer. Participants took another few minutes to admire the tombstone, and we then regained the bus and car and set out for the Marshall Center in Paris.
© Discover Paris!
Back to the minibus
© Discover Paris!
To see more photos of the Celebrating Beauford! gravesite ceremony, click here.
Next week: the reception!
Celebrating Beauford at the Hotel Talleyrand
On Thursday, we celebrate Beauford at a gravesite ceremony at Thiais Cemetery, followed by an evening reception at the George C. Marshall Center in the Hôtel Talleyrand in Paris.
As you can imagine, I am very busy with last minute arrangements! But I wanted to share with you some photos of the venue:
We'll be in the State Room and the Grand Reception Room, and will have a view of place de la Concorde.
Be sure to visit the blog next week to read the full report!
As you can imagine, I am very busy with last minute arrangements! But I wanted to share with you some photos of the venue:
Entrance - rue Saint-Florentin
© Discover Paris!
Grand Staircase
© Discover Paris!
© Discover Paris!
Ceiling above Grand Staircase
© Discover Paris!
State Office
© Discover Paris!
Grand Reception Room
© Discover Paris!
We'll be in the State Room and the Grand Reception Room, and will have a view of place de la Concorde.
Be sure to visit the blog next week to read the full report!
Beauford's Last Studio - Rue Vercingétorix
On Thursday, October 14th, Les Amis de Beauford Delaney will celebrate Beauford with a commemorative ceremony at his newly laid tombstone at Thiais Cemetery, followed by a reception co-sponsored by the American Embassy at the George C. Marshall Center in Paris. If you have received an invitation, but have not yet sent your RSVP to the Embassy, please do so as soon as possible. The final guest list must be submitted 72 hours prior to the event!
Beauford's last studio was located at 53, rue Vercingétorix, 75014 Paris. He moved there in 1961, after being released from a psychiatric clinic in Nogent-sur-Marne. Solange du Closel and her husband, who were avid supporters of Beauford, purchased the atelier in their name and reserved it for Beauford's use once he was able to live on his own again.
In Beauford's biography Amazing Grace, author David Leeming describes the atelier as "a large room with a huge window admitting south light," and mentions that "there was also the luxury of a 'shower bath.'" Beauford covered everything with white sheets, as he had done in previous studios, to provide his preferred atmosphere for painting.
Fifty-three rue Vercingétorix no longer exists. The photo below presents the neighborhood's current appearance, with the trees standing in the approximate location of Beauford's building:
View of the upper story at 53, rue Vercingétorix
There are many amusing anecdotes about Beauford and his life at the Vercingétorix studio. In Amazing Grace, Leeming recounts a story about Beauford's refrigerator. He says that Beauford bought it with money that he received from a Fairfield Foundation grant for $3500 in 1964, and that he used it as a storage cabinet!
Burt Reinfrank has shared several anecdotes for this blog, some of which have already been published here. Ed Clark shared one, which I published in last week's posting entitled "Ed Clark Remembers Beauford." I will publish additional anecdotes from Burt and others over the next several weeks.
*******
Beauford's last studio was located at 53, rue Vercingétorix, 75014 Paris. He moved there in 1961, after being released from a psychiatric clinic in Nogent-sur-Marne. Solange du Closel and her husband, who were avid supporters of Beauford, purchased the atelier in their name and reserved it for Beauford's use once he was able to live on his own again.
In Beauford's biography Amazing Grace
, author David Leeming describes the atelier as "a large room with a huge window admitting south light," and mentions that "there was also the luxury of a 'shower bath.'" Beauford covered everything with white sheets, as he had done in previous studios, to provide his preferred atmosphere for painting.Fifty-three rue Vercingétorix no longer exists. The photo below presents the neighborhood's current appearance, with the trees standing in the approximate location of Beauford's building:
Rue Vercingétorix
© Discover Paris!
By the early to mid 1970s, Beauford's neighborhood had become so run down that the city began demolishing it. Beauford's biography indicates that Madame du Closel interceded with friends in the government to allow Beauford to stay in his apartment as long as possible. His building was torn down some time after he was hospitalized at Sainte-Anne's in 1975.
Henry Miller's 1972 visit with Beauford at rue Vercingétorix was filmed, and rare footage of the exterior and interior of Beauford's lodgings can be seen in the video entitled Henry Miller Odyssey. (Unfortunately, the pertinent segments of the video are not of very good quality.) I snapped some photos of my television screen during the segment:
Beauford and Henry Miller strolling toward Beauford's building
Beauford likely walked past the Notre Dame du Travail church (pictured to the right of the trees above) at Number 59 at least once a day during his stay in the neighborhood. He may also have frequented the Moulin de la Vierge bakery pictured below (now a classified historical site), which is still operating up the street at Number 105.
Boulangerie Le Moulin de la Vierge
© Discover Paris!
By the early to mid 1970s, Beauford's neighborhood had become so run down that the city began demolishing it. Beauford's biography indicates that Madame du Closel interceded with friends in the government to allow Beauford to stay in his apartment as long as possible. His building was torn down some time after he was hospitalized at Sainte-Anne's in 1975.
Henry Miller's 1972 visit with Beauford at rue Vercingétorix was filmed, and rare footage of the exterior and interior of Beauford's lodgings can be seen in the video entitled Henry Miller Odyssey. (Unfortunately, the pertinent segments of the video are not of very good quality.) I snapped some photos of my television screen during the segment:
Henry Miller and Beauford
Buildings at Number 53, rue Vercingétorix
In the video, Henry Miller is shown walking around the apartment and talking about his memory of Beauford painting his portrait when they knew each other in New York. He gestures toward Beauford's stunning portrait of Marian Anderson that is hanging on the wall in the scene below. In one scene of the film, Beauford tells Miller that he can take anything in the apartment that he wants.
Henry Miller in Beauford's studio
There are many amusing anecdotes about Beauford and his life at the Vercingétorix studio. In Amazing Grace, Leeming recounts a story about Beauford's refrigerator. He says that Beauford bought it with money that he received from a Fairfield Foundation grant for $3500 in 1964, and that he used it as a storage cabinet!
Burt Reinfrank has shared several anecdotes for this blog, some of which have already been published here. Ed Clark shared one, which I published in last week's posting entitled "Ed Clark Remembers Beauford." I will publish additional anecdotes from Burt and others over the next several weeks.
Ed Clark Remembers Beauford
Ed Clark is one of the few living artists who expatriated to Paris in the years after World War II. He was a great friend of Beauford, and was pleased to accord me an interview about him.
Clark arrived in Paris in 1952, the year before Beauford settled there. He sailed on the SS Liberté (as Beauford did in 1953), and described the treatment that he received as a passenger traveling third class as being better than he could have ever imagined—great food and wine, waiters dressed in coat and tie, shoe-shine service, movies...
Upon arrival in Paris, Clark settled in the Hôtel des Ecoles on rue Delambre. By the time Beauford arrived and moved into this hotel, Clark had moved across the street to number 22. They first met at the Ecole de la Grande Chaumière, an art school in the neighborhood. Many Americans on the GI Bill studied at this school, and Clark was one of them.
Now, with the passage of time and the advantage of hindsight, Clark considers that Beauford was a genius. He particularly admires Beauford’s self-portrait at the Art Institute of Chicago, stating that the painting “lights up the room.” He recalls a sketch that Beauford did of him during the 50s that he dismissed at the time, but now describes as “powerful.”
Clark recalled minute details about Beauford’s personal habits, such as the fact that he loved spirituals, liked cognac, and did not eat pork. He described Beauford as someone who sketched and painted all the time, noting that he worked quickly. He also described Beauford as a great conversationalist, and said that he shared sage advice with friends and acquaintances.
Though Clark moved from Paris to New York in 1956, he would visit Beauford on subsequent trips to the French capital. He recounted a story about the concierge of the building at 53, rue Vercingétorix, where Beauford has his last studio. At that time, concierges were truly gatekeepers of apartment buildings. Anyone wanting access into the building had to pass by them. Clark mentioned that Beauford’s concierge once asked him whether Beauford was the President of the U.S. or some other important person, given the number of famous people who visited him there.
On that particular occasion, Beauford was entertaining four “important people.” Clark sat with them while they chatted with Beauford. When they left to go to dinner, Beauford beckoned to Clark and began to pull humble provisions from his cabinets—sardines, bread, wine… As they sat down to break bread together, Beauford said, “That’s how one helps another.”
Clark arrived in Paris in 1952, the year before Beauford settled there. He sailed on the SS Liberté (as Beauford did in 1953), and described the treatment that he received as a passenger traveling third class as being better than he could have ever imagined—great food and wine, waiters dressed in coat and tie, shoe-shine service, movies...
Upon arrival in Paris, Clark settled in the Hôtel des Ecoles on rue Delambre. By the time Beauford arrived and moved into this hotel, Clark had moved across the street to number 22. They first met at the Ecole de la Grande Chaumière, an art school in the neighborhood. Many Americans on the GI Bill studied at this school, and Clark was one of them.
Académie de la Grande Chaumière
© Discover Paris!
Plaque from the Académie de la Grande Chaumière
© Discover Paris!
Though twenty-five years younger than Beauford, Clark considered himself a mentor of sorts for Beauford during the first years of their friendship. He did not think much of Beauford’s art at the time because he was focused on classic, faithful reproductions of persons and objects. He considered Beauford’s work to be that of an “outsider”—someone whose style was avant-garde, and therefore undesirable. (He apparently did not know that Beauford had drawn beautiful, “classic” portraits during his Boston and New York years.) He also felt that he was qualified to advise Beauford because he had a one man show at a “blue chip” gallery in Paris (1955) at a time when Beauford had not yet enjoyed having his work shown in Paris.
Now, with the passage of time and the advantage of hindsight, Clark considers that Beauford was a genius. He particularly admires Beauford’s self-portrait at the Art Institute of Chicago, stating that the painting “lights up the room.” He recalls a sketch that Beauford did of him during the 50s that he dismissed at the time, but now describes as “powerful.”
Ed Clark and Beauford Delaney at the Noir 3 USA exhibition
American Center of Paris 1969
Photo courtesy of Ed Clark
Clark recalled minute details about Beauford’s personal habits, such as the fact that he loved spirituals, liked cognac, and did not eat pork. He described Beauford as someone who sketched and painted all the time, noting that he worked quickly. He also described Beauford as a great conversationalist, and said that he shared sage advice with friends and acquaintances.
Though Clark moved from Paris to New York in 1956, he would visit Beauford on subsequent trips to the French capital. He recounted a story about the concierge of the building at 53, rue Vercingétorix, where Beauford has his last studio. At that time, concierges were truly gatekeepers of apartment buildings. Anyone wanting access into the building had to pass by them. Clark mentioned that Beauford’s concierge once asked him whether Beauford was the President of the U.S. or some other important person, given the number of famous people who visited him there.
On that particular occasion, Beauford was entertaining four “important people.” Clark sat with them while they chatted with Beauford. When they left to go to dinner, Beauford beckoned to Clark and began to pull humble provisions from his cabinets—sardines, bread, wine… As they sat down to break bread together, Beauford said, “That’s how one helps another.”
Henry Miller's 1972 Tribute to Beauford
I am pleased to announce that the Henry Miller lithograph that was donated to Les Amis de Beauford Delaney in support of our fundraising efforts has been sold by Dorothy's Gallery! Proceeds will offset the cost of the commemorative ceremony at Beauford's gravesite and the reception to be held afterward at the George C. Marshall Center in Paris. Many thanks to Dorothy Polley, who agreed to sell the work on our behalf!
For the first retrospective exposition that Darthea Speyer mounted for Beauford, she invited several of his friends to write a tribute to him. Following are excerpts from the tribute that Henry Miller wrote about his good friend. It is dated September 26, 1972. The original document is now held at the Smithsonian in the Archives of American Art.
******
For the first retrospective exposition that Darthea Speyer mounted for Beauford, she invited several of his friends to write a tribute to him. Following are excerpts from the tribute that Henry Miller wrote about his good friend. It is dated September 26, 1972. The original document is now held at the Smithsonian in the Archives of American Art.
First Paragraph of Henry Miller's Letter of Tribute to Beauford
September 26, 1972
Courtesy of the Smithsonian Archives of American Art
“I think of Beauford Delaney first as a wonderful, amazing and unique human being, a near saint or better than saint, an indidvidual [sic] who has known nothing but adversity, met it squarely, and rendered it null, not through success but by sheer pluck and indomitable fortitude. If he had never painted a picture worth looking at twice he would still be an artist of the first water. He has lived his whole life with but one thought in mind—to paint. Unlike more well-known painters, he has given an ungodly number of his paintings as gifts. He has made many, many friends throughout his career, and he never ceases to make new ones. He is not just a friend, he is the friend, the one who gives his all. Poor though he has been, he has never given the impression of being miserable. He has always given more than he received—that is to say, himself…
“How he has survived these fifteen or twenty years in Paris no one really knows. His hovel in the rue Vercingetorix has become something of a shrine. One opens the door to his tiny quarters and is immediately bathed in light. His paintings glow with bright, vivid colors, rainbow colors. Many of them are portraits, portraits of friends and celebrities, portraits of nobodies. Should you happen to admire one of them he is almost certain to offer it to you as a gift. He never worries about losing a masterpiece. He doesn’t think in terms of masterpieces. For every one that comes off his wall he has a dozen others to replace them…
“I sincerely hope this retrospective exhibition will be not only a comprehensive one but an inspiring one. If it is not a success (financially) Beauford will be none the worse. He lives not on dollars or francs but on faith, and it is a faith that abides. God bless him now and forever!”
Dorothy's Gallery Supports Beauford
Dorothy’s Gallery has graciously offered to sell the Henry Miller lithograph entitled Sarasota on behalf of Les Amis de Beauford Delaney.
Dorothy Polley, owner of Dorothy’s Gallery, is a long-time American expatriate from Norwalk, Connecticut. She launched the gallery at 27, rue Keller in the 11th arrondissement, Paris in 2006. Having already demonstrated her support for Les Amis by contributing to the gravesite fund in the gallery’s name, she was pleased to take this additional step to help the association preserve Beauford’s memory.
Henry Miller and Beauford Delaney were great friends. They first met in New York, when Beauford lived on Greene Street. He and Miller corresponded regularly, both before and after Beauford moved to Paris. Beauford often wrote of how his work was progressing and his emotional state of being, while Miller wrote to encourage Beauford and admonish him (at least once) for giving away works that Miller thought would one day be in great demand. Miller sent Beauford money when times were hard, and visited him whenever he came to Paris. When Beauford was admitted to the Nogent sur Marne clinic for psychiatric therapy in 1962, Miller was denied entry to see his friend, but did speak with Beauford’s physician, Dr. Ferdière. He continued to communicate with Ferdière regarding Beauford’s condition for the next few years. When Beauford died, a message from Miller about his friend was read at the service.
In honor of the Delaney-Miller friendship, Miller’s son, Henry Tony Miller, donated the print to the cause. Sarasota is number 11/100 of the US edition of the painting. It is printed on Arches paper and measures 25.5 x 20 inches.
Proceeds from the sale will be used to defray costs for the commemorative ceremony and reception that Les Amis is organizing to inaugurate Beauford’s tombstone. We now have a tentative date for this event: October 14, 2010. Stay tuned for details, which will be forthcoming shortly!
Dorothy’s Gallery
27, rue Keller
75011 Paris
Telephone: 33 (0)1 43 57 08 51
Internet: http://dorothysgallery.com/art
E-mail: dorothysgallery@gmail.com
Hours: Sunday and Tuesday – 4 PM to 7 PM
Wednesday through Saturday – 1 PM to 7 PM
Closed Mondays.
Appointments possible.
Dorothy Polley, owner of Dorothy’s Gallery, is a long-time American expatriate from Norwalk, Connecticut. She launched the gallery at 27, rue Keller in the 11th arrondissement, Paris in 2006. Having already demonstrated her support for Les Amis by contributing to the gravesite fund in the gallery’s name, she was pleased to take this additional step to help the association preserve Beauford’s memory.
Dorothy’s Gallery
© Discover Paris!
Henry Miller and Beauford Delaney were great friends. They first met in New York, when Beauford lived on Greene Street. He and Miller corresponded regularly, both before and after Beauford moved to Paris. Beauford often wrote of how his work was progressing and his emotional state of being, while Miller wrote to encourage Beauford and admonish him (at least once) for giving away works that Miller thought would one day be in great demand. Miller sent Beauford money when times were hard, and visited him whenever he came to Paris. When Beauford was admitted to the Nogent sur Marne clinic for psychiatric therapy in 1962, Miller was denied entry to see his friend, but did speak with Beauford’s physician, Dr. Ferdière. He continued to communicate with Ferdière regarding Beauford’s condition for the next few years. When Beauford died, a message from Miller about his friend was read at the service.
In honor of the Delaney-Miller friendship, Miller’s son, Henry Tony Miller, donated the print to the cause. Sarasota is number 11/100 of the US edition of the painting. It is printed on Arches paper and measures 25.5 x 20 inches.
Dorothy Polley and Sarasota
© Discover Paris!
Sarasota
Henry Miller
Photo courtesy of Henry Tony Miller
Dorothy’s Gallery will hold a vernissage (open house) on Friday, September 17th from to . Sarasota Paris
Dorothy’s Gallery
27, rue Keller
75011 Paris
Telephone: 33 (0)1 43 57 08 51
Internet: http://dorothysgallery.com/art
E-mail: dorothysgallery@gmail.com
Hours: Sunday and Tuesday – 4 PM to 7 PM
Wednesday through Saturday – 1 PM to 7 PM
Closed Mondays.
Appointments possible.
Herb Gentry Serigraph Once Again Up for Auction
Hello everyone,
You may remember that during our fundraising drive for Beauford's tombstone, we received a remarkable donation from Mary Anne Rose and the Herbert Gentry estate – a beautiful serigraph entitled Simply Green. ArtNet, an organization in Manhattan that describes itself as "the place to buy, sell and research fine art online," put the work up for auction. But it did not sell.
My contact at ArtNet contacted me last month to say that the auction house was willing to try again, and that they would arrange things as quickly as possible. Today, I received a message indicating that the serigraph is once again available for sale. Bidding is now open!
Mary Anne Rose provides the following description of the print:
Proceeds from the sale will be applied to the cost of the commemorative ceremony and reception that Les Amis is planning for Beauford to "inaugurate" his new tombstone.
You may remember that during our fundraising drive for Beauford's tombstone, we received a remarkable donation from Mary Anne Rose and the Herbert Gentry estate – a beautiful serigraph entitled Simply Green. ArtNet, an organization in Manhattan that describes itself as "the place to buy, sell and research fine art online," put the work up for auction. But it did not sell.
My contact at ArtNet contacted me last month to say that the auction house was willing to try again, and that they would arrange things as quickly as possible. Today, I received a message indicating that the serigraph is once again available for sale. Bidding is now open!
Always Green
Herbert Gentry
Serigraph (2000)
Mary Anne Rose provides the following description of the print:
Always Green was done at the period the artist was working on his final three editions published by GR N’Namdi Gallery in conjunction with his book Herbert Gentry: The Man The Magic The Master. Always Green is among the artist’s final works. This serigraph was printed in 2000 at Lime Grafik in Malmo, Sweden.Always Green will be available for bidding until Tuesday, September 21, 2010 at 2.56 PM Eastern Time. The opening bid is $1500. There is no reserve price. Please click here to visit the ArtNet site and place your bid.
Always Green is about regeneration. In the work of Herbert Gentry, the Green man refers to different aspects of fertility, as well as spiritual growth and transformation. Gentry saw his art as direct contact with the unconscious, and as an artist, he neither consciously determined a work's subjective import nor final appearance. Thus, his works trace states of being and change. The Green Man theme relates to larger paintings like Spiritually Green (1978) and He Seeth All (1962) and On All Sides (1990). Gentry realized his figurative imagery through process and each work evolved out of spontaneous and direct gesture.
Proceeds from the sale will be applied to the cost of the commemorative ceremony and reception that Les Amis is planning for Beauford to "inaugurate" his new tombstone.
Beauford's Tombstone is in Place!
Tombstone Inscription
© Discover Paris!
Less than a year after founding Les Amis de Beauford Delaney, I am extremely pleased to announce that Beauford’s tombstone is in place! The inscription reads:
Beauford Delaney
Peintre • Painter
30 December 1901 - 26 March 1979
Born: Knoxville, Tennessee USA
Died: Paris, France
"I am home"
As a reminder, Les Amis was founded in November 2009 with the intent to accomplish the following:
1) Placement and maintenance of a tombstone for the grave of painter Beauford Delaney, who is buried at the Parisian Cemetery of Thiais.With your generosity and moral support, we have accomplished these goals in less than one year! We have the money to renew Beauford’s concession at Thiais Cemetery (to be paid in 2011); we have participated in three commemorative and educational events in his honor thus far in 2010 (hosted by the American Embassy, Paris Soirées, and the G. R. N’Namdi Gallery), and we have been successful in getting articles and blog postings published about Beauford.
2) Payment of the renewal fees for his grave.
3) Organization of commemorative or educational events in his honor.
4) Inform the press and the media of his life and accomplishments.
Most importantly, we have succeeded in placing a simple, yet elegant tombstone at Beauford’s burial place.
Beauford’s Unmarked Grave – July 2009
© Discover Paris!
Preparation of the Gravesite – Summer 2010
© Discover Paris!
Tombstone – August 2010
© Discover Paris!
Les Amis de Beauford Delaney will hold a commemorative ceremony at Beauford’s gravesite to “inaugurate” the stone and to honor Beauford’s memory. The U.S. Ambassador has indicated his willingness to host a reception following the ceremony. Les Amis and the Ambassador’s staff are currently looking at possible dates for the two events. In the interim, planning for the commemoration is already underway.
Please continue to follow this blog for updates on the ceremony and reception.
Beauford's Ocean Voyage to Paris
Fifty-seven years ago today, Beauford set sail for France on the SS Liberté.
I googled the ship’s name and was pleasantly surprised to find lots of interesting information about it! I also found photos that depict the accommodations that Beauford (and fellow artist Herb Gentry) experienced aboard ship.
The Liberté was first christened as the SS Europa. It was a German ocean liner that made transatlantic voyages in five days. Captured by the Americans during World War II, the ship was given to France as part of the reparations that the defeated German nation was forced to pay.
The Europa was repainted in French colors and towed to Le Havre for refitting. It was renovated as a luxury passenger-liner, and was destined to replace France’s pride and joy, the SS Normandie, which was a casualty of the war. The refitting suffered two great setbacks. First, a violent storm wrenched the ship from its berth, causing it to collide with a partially submerged vessel in the harbor. This caused the Europa to sink. It was refloated several months later, towed to Saint Nazaire, and refurbished. A dock fire almost destroyed the ship there in 1949.
Once the fire was extinguished, work on the ship resumed at a feverish pace. Under the auspices of France’s Compagnie Générale Transatlantique (CGT), the newly renamed SS Liberté finally set sail on its maiden voyage to New York City in 1950.
The vessel was quite luxurious, and was the pride of France’s passenger fleet for many years.
African Americans reportedly preferred sailing on French liners because they were better treated aboard these ships than on the rival Cunard British liners and on U.S. ships. Sarah Vaughn and W. E. B. and Shirley DuBois are among many African Americans who made the transatlantic voyage to Europe on the Liberté.
Click here to watch a home video made by passengers on the Liberté (exact date of film unknown).
The Liberté was taken out of service in 1961, with its farewell voyage departing New York and docking in Le Havre. In January 1962, it sailed for Italy, where it was scrapped.
Beauford on the deck of the SS Liberté
Photo from David Leeming’s Amazing Grace
I googled the ship’s name and was pleasantly surprised to find lots of interesting information about it! I also found photos that depict the accommodations that Beauford (and fellow artist Herb Gentry) experienced aboard ship.
The Liberté was first christened as the SS Europa. It was a German ocean liner that made transatlantic voyages in five days. Captured by the Americans during World War II, the ship was given to France as part of the reparations that the defeated German nation was forced to pay.
The Europa was repainted in French colors and towed to Le Havre for refitting. It was renovated as a luxury passenger-liner, and was destined to replace France’s pride and joy, the SS Normandie, which was a casualty of the war. The refitting suffered two great setbacks. First, a violent storm wrenched the ship from its berth, causing it to collide with a partially submerged vessel in the harbor. This caused the Europa to sink. It was refloated several months later, towed to Saint Nazaire, and refurbished. A dock fire almost destroyed the ship there in 1949.
Once the fire was extinguished, work on the ship resumed at a feverish pace. Under the auspices of France’s Compagnie Générale Transatlantique (CGT), the newly renamed SS Liberté finally set sail on its maiden voyage to New York City in 1950.
Maiden voyage of SS Liberté to NYC
Photo from www.monstersofthesea.com
The vessel was quite luxurious, and was the pride of France’s passenger fleet for many years.
SS Liberté Embarkation Room
Photo from www.monstersofthesea.com
SS Liberté Grand Salon
Photo from www.monstersofthesea.com
Theater on the SS Liberté
Photo from www.cruiselinehistory.com
African Americans reportedly preferred sailing on French liners because they were better treated aboard these ships than on the rival Cunard British liners and on U.S. ships. Sarah Vaughn and W. E. B. and Shirley DuBois are among many African Americans who made the transatlantic voyage to Europe on the Liberté.
Sarah Vaughn on deck on the SS Liberté
Photo from www.cruiselinehistory.com
W. E. B. and Shirley DuBois on board the SS Liberté
Photo from www.cruiselinehistory.com
Click here to watch a home video made by passengers on the Liberté (exact date of film unknown).
The Liberté was taken out of service in 1961, with its farewell voyage departing New York and docking in Le Havre. In January 1962, it sailed for Italy, where it was scrapped.
Beauford: The Georgia O'Keeffe Portraits
Portrait of Beauford Delaney
Georgia O'Keeffe
(1943) Pastel on paper
Curtis Galleries, Minneapolis, MN
The Georgia O'Keeffe portraits of Beauford are the most beautiful portrayals of him that I have ever seen. The one shown above is part of the private collection of Curtis Galleries in Minneapolis, Minnesota. There is a second portrait at the National Portrait Gallery at the Smithsonian, and a third at the Philadelphia Museum of Art.
The Smithsonian work, a portrait in profile, is rendered with colors and textures similar to the portrait shown above. The Smithsonian describes the portrait as "reverent", indicating that it "honors Beauford Delaney's magnanimity, perseverance, and courage in the face of difficulty." The Web site image is accompanied by a brief audio commentary that I found to be compelling.
The Philadelphia Museum of Art (PMA) owns a charcoal on paper portrait of Beauford by O'Keeffe.
Georgia O'Keeffe
(c 1940) Charcoal on paper
(c 1940) Charcoal on paper
Philadelphia Museum of Art
This portrait also dates from the 1940s.
PMA's curatorial department of Prints, Drawings, and Photographs generously provide me with the information in their file on the O'Keeffe charcoal portrait, as follows:
The portrait hung in the PMA exposition called Georgia O'Keeffe and Alfred Stieglitz (Feb 7 - May 23, 1999), and in its Beauford Delaney in Context: Selections from the Permanent Collection exposition (Oct 21, 2005 - Jan 3, 2006). Prior to its acquisition by the PMA, the drawing was included in an exhibition at the Whitney Museum of American Art (Oct 8 – Nov 29, 1970) which also travelled to the Art Institute of Chicago (Jan 6-Feb 7, 1971) and the San Francisco Museum of Modern Art ( Mar 15-Apr 30, 1971).
PMA cited the publication Georgia O'Keeffe, Some Memories of Drawings (1988), edited by Doris Bry, in which O'Keeffe wrote:
I first met Beauford Delaney when he was posing for Mary Callery. I found that he was a painter and posed for others because he had no heat in his studio and needed to keep warm. He seemed a very special sort of person so I began drawing him too.The gallery label for the 1999 Georgia O'Keeffe and Alfred Stieglitz exhibit stated the following:
I don’t remember where I worked on him- maybe at Mary’s – maybe in my own place. But I made several drawings and a couple of pastels of him.
Beauford Delaney was one of only two individuals Georgia O'Keeffe depicted in her career (the other was Alfred Stieglitz's niece, Dorothy Schubart) and that she drew five portraits of him in the early 1940s. A regular at Stieglitz's New York gallery, An American Place, Delaney was particularly impressed by O'Keeffe's work, which he described as "alive and quite amazing." O'Keeffe, in turn, deeply respected Delaney's painting and wrote a tribute to him in the catalogue for his 1973 solo exhibition at Darthea Speyer's gallery in Paris.
For the exposition that Darthea Speyer organized for Beauford in Paris in 1973, Speyer published O'Keeffe's statement along with others from James Jones, James Baldwin, and Henry Miller. O'Keeffe had the following to say:
I knew Beauford Delaney some twenty-six or twenty-eight years ago. He was a very special person—impossible to define. I think of him often as a special experience and always with a feeling that it is fine to know he is living—somewhere—still being his special self—what I do not exactly know, but he is a special kind of thought.
I find that O'Keeffe's exquisite portraits of Beauford are the ultimate expression of this "special kind of thought."
"Soul Brother" or The Haynes Restaurant Portrait
Below is another remembrance of Burt Reinfrank about Beauford. This one concerns a Delaney portrait at Haynes’ Restaurant.
We heard there was a Delaney painting hanging in Haynes Restaurant. I telephoned to confirm this and was told that the painting was a Delaney self-portrait. I knew that Haynes and Beauford had known one another, so I was curious to see it. I made a dinner reservation for 8 pm on March 9, 2001.
That evening, we found the Delaney portrait hanging on the wall of the dining room above the banquettes. It was well lit from above. Upon seeing the painting, I said to the young man and woman who greeted us and showed us to a table that if this was the restaurant’s Delaney portrait, it was not a self-portrait.
The personnel of the restaurant were aware that the painting had a certain value. They said that some months before, a woman from Atlanta had come by to see the painting. As she was organizing a Delaney exhibition, she asked if it might be loaned or sold. Her request was denied.
While not a Beauford self-portrait, the Haynes painting seemed familiar nonetheless. To investigate further, I looked over photographs that I had taken in Beauford’s studio years before. In a photo from January 1968, I saw the portrait from Haynes restaurant on the wall behind Beauford, who was seated on his bed. I remember the portrait had hung for some weeks on the studio wall, during which time Beauford made a few changes. These are visible in the photograph of the finished painting that I took at Haynes’ Restaurant in 2001.
Over the years that I visited Beauford in his studio, I saw many portraits hanging on the wall. They were waiting to be worked on further, to be signed off as sold, or given away. I heard recently that the Haynes’ Delaney had “Soul Brother” written on the back of the canvas. As I never saw the back of the painting at Beauford’s studio or at Haynes Restaurant, I cannot comment on this.
Haynes’ was the longest standing African-American-owned restaurant in Paris. For many years, Leroy Haynes regaled his customers with great Southern cuisine and his larger-than-life persona at 3, rue Clauzel in the 9th arrondissement. After his death in 1986, his widow Maria continued the tradition. Haynes’ Restaurant permanently closed its doors in 2009.
Haynes' Restaurant
© Discover Paris!
********************
We heard there was a Delaney painting hanging in Haynes Restaurant. I telephoned to confirm this and was told that the painting was a Delaney self-portrait. I knew that Haynes and Beauford had known one another, so I was curious to see it. I made a dinner reservation for 8 pm on March 9, 2001.
That evening, we found the Delaney portrait hanging on the wall of the dining room above the banquettes. It was well lit from above. Upon seeing the painting, I said to the young man and woman who greeted us and showed us to a table that if this was the restaurant’s Delaney portrait, it was not a self-portrait.
“Man with Cigarette” portrait at Haynes Restaurant
© 2001 Burton Reinfrank
The personnel of the restaurant were aware that the painting had a certain value. They said that some months before, a woman from Atlanta had come by to see the painting. As she was organizing a Delaney exhibition, she asked if it might be loaned or sold. Her request was denied.
While not a Beauford self-portrait, the Haynes painting seemed familiar nonetheless. To investigate further, I looked over photographs that I had taken in Beauford’s studio years before. In a photo from January 1968, I saw the portrait from Haynes restaurant on the wall behind Beauford, who was seated on his bed. I remember the portrait had hung for some weeks on the studio wall, during which time Beauford made a few changes. These are visible in the photograph of the finished painting that I took at Haynes’ Restaurant in 2001.
Beauford and “Man with Cigarette” portrait
© 1968 Burton Reinfrank
Over the years that I visited Beauford in his studio, I saw many portraits hanging on the wall. They were waiting to be worked on further, to be signed off as sold, or given away. I heard recently that the Haynes’ Delaney had “Soul Brother” written on the back of the canvas. As I never saw the back of the painting at Beauford’s studio or at Haynes Restaurant, I cannot comment on this.
Beauford and the Reinfrank Portrait
Burt Reinfrank was a close personal friend of Beauford. When I started this blog, Burt graciously consented to contribute remembrances of events and encounters with Beauford from time to time. I am pleased to share one of these below.
I had never thought of having a portrait done of myself. But in September 1966, when I saw the portrait Beauford was working on at his easel (a portrait of James Speyer, Curator of Twentieth-Century Art at the Art Institute of Chicago, and brother of Darthea Speyer), I asked Beauford if he would paint one of me of the same size He said he would, but stipulated, “You’ll have to bring me the canvas.” (Beauford was using a “60 F,” or “60 Figure,” canvas for the Speyer painting. “60 F” was an indication of the size and shape of the canvas, which measures 130 x 97 cm, or roughly 51 x 38 inches).
The following Saturday when I came by Beauford’s studio, Speyer’s portrait was still on the easel, but the color of the background and that of Speyer’s sweater had been reversed. When I mentioned this, Beauford said that when Speyer saw what he had done, he asked Beauford to reverse the colors. Beauford obliged him. Speyer soon left France for Chicago with the finished portrait, which he hung in the entry of home there (see Art in America, July-August 1967, page 40.)
A winter morning some months later, I arrived at Beauford’s studio with a 60 Figure white canvas, which Beauford immediately put on his easel. He sat me in a chair, picked up a piece of charcoal, sat down behind the canvas, and started to draw and talk. I realized immediately that I should have had a tape recorder with me. He talked about everything: his ancestral mix, his family, life experiences—some pleasant, some the opposite—but all with his understanding of their deeper meaning.
After one and one-half hours, Beauford stopped and said, “Come and have a look.” The drawing was superb! I thought to myself, “This is so good that I want to keep it as a drawing.” I said this to Beauford, who nodded but seemed to want to start painting immediately. I had my camera with me, so I took several shots of the drawing before I left. When I returned a week later, the drawing had disappeared under paint. The only remembrance I have of it is a photograph that I took just after completion (see photo below).
Although Beauford saw me from time to time while he was working on the portrait, the only time I ever posed for it was during the sitting for the original charcoal drawing. I told Beauford at the start of the project that I was not looking for a likeness, but rather, a “great portrait.”
The finished painting first went on public view in a retrospective of Beauford’s work at the American Cultural Center in an evening dedicated to Beauford on March 21, 1969. It was next shown in the exhibition “Twin Cities Collects” from September 2000 to January 2001 at the Walker Art Center in Minneapolis, Minnesota. The portrait appeared again on exhibition as part of the Delaney retrospective, “Beauford Delaney: From New York to Paris,” which began at the Minneapolis Institute of Arts in November 2004, traveled to the Knoxville Museum of Art and the Greenville County Museum of Art in 2005, and ended at the Philadelphia Museum of Art in January 2006.
********************
I had never thought of having a portrait done of myself. But in September 1966, when I saw the portrait Beauford was working on at his easel (a portrait of James Speyer, Curator of Twentieth-Century Art at the Art Institute of Chicago, and brother of Darthea Speyer), I asked Beauford if he would paint one of me of the same size He said he would, but stipulated, “You’ll have to bring me the canvas.” (Beauford was using a “60 F,” or “60 Figure,” canvas for the Speyer painting. “60 F” was an indication of the size and shape of the canvas, which measures 130 x 97 cm, or roughly 51 x 38 inches).
The following Saturday when I came by Beauford’s studio, Speyer’s portrait was still on the easel, but the color of the background and that of Speyer’s sweater had been reversed. When I mentioned this, Beauford said that when Speyer saw what he had done, he asked Beauford to reverse the colors. Beauford obliged him. Speyer soon left France for Chicago with the finished portrait, which he hung in the entry of home there (see Art in America, July-August 1967, page 40.)
James Speyer
1966, Oil on canvas
Collection of Anstiss and Ronald Kruek, Chicago
From the catalog Beauford Delaney: The Color Yellow (2002)
A winter morning some months later, I arrived at Beauford’s studio with a 60 Figure white canvas, which Beauford immediately put on his easel. He sat me in a chair, picked up a piece of charcoal, sat down behind the canvas, and started to draw and talk. I realized immediately that I should have had a tape recorder with me. He talked about everything: his ancestral mix, his family, life experiences—some pleasant, some the opposite—but all with his understanding of their deeper meaning.
After one and one-half hours, Beauford stopped and said, “Come and have a look.” The drawing was superb! I thought to myself, “This is so good that I want to keep it as a drawing.” I said this to Beauford, who nodded but seemed to want to start painting immediately. I had my camera with me, so I took several shots of the drawing before I left. When I returned a week later, the drawing had disappeared under paint. The only remembrance I have of it is a photograph that I took just after completion (see photo below).
Photo of Beauford Delaney drawing of Burton Reinfrank
© Burton Reinfrank
Although Beauford saw me from time to time while he was working on the portrait, the only time I ever posed for it was during the sitting for the original charcoal drawing. I told Beauford at the start of the project that I was not looking for a likeness, but rather, a “great portrait.”
Burton Reinfrank
1968, Oil on canvas
Image courtesy of Burton Reinfrank
The finished painting first went on public view in a retrospective of Beauford’s work at the American Cultural Center in an evening dedicated to Beauford on March 21, 1969. It was next shown in the exhibition “Twin Cities Collects” from September 2000 to January 2001 at the Walker Art Center in Minneapolis, Minnesota. The portrait appeared again on exhibition as part of the Delaney retrospective, “Beauford Delaney: From New York to Paris,” which began at the Minneapolis Institute of Arts in November 2004, traveled to the Knoxville Museum of Art and the Greenville County Museum of Art in 2005, and ended at the Philadelphia Museum of Art in January 2006.
Photo of the Reinfrank Portrait at the
Minneapolis Institute of Arts Exhibit
Minneapolis Institute of Arts Exhibit
© 2005 Robert Meier
Anatomy of an Art Exposition - Part 2
Last week, I brought you Sue Canterbury’s story of how she came to know Beauford’s work and decided to create the 2004-2005 one-show Beauford Delaney: From New York to Paris. This week’s posting brings you many of the behind-the-scenes details of the Minneapolis Institute of Arts (MIA) show.
Les Amis: How much space was devoted to the show?
Sue Canterbury: It was originally intended for a smaller gallery but, as luck would have it, the large special exhibition galleries became available due to alterations in the museum’s exhibition schedule (about a year before the show) and Delaney became the main event at the MIA in the fall of 2004.
Les Amis: How was it decided which paintings would be included in the show?
Sue Canterbury: I'm the person who made the selection. While the "From New York to Paris" transition was the heart of the show, I felt it was necessary to “bookend” the works I had rediscovered between what had preceded and followed them so people would be able to witness the stylistic developments and transitions in Beauford’s art. With the early Paris works restored to his history, it no longer seemed as if one was dealing with two artists but with an artist whose late abstracted figurative works of New York were not that far removed from the early, fully abstract works that would follow once he was in Paris.
Les Amis: What is the process for requesting loans of paintings (and perhaps documents or other items) for a show?
Sue Canterbury: Loans generally need to be place at least a year out from a show. Sometimes the odd thing can be slipped in later, but as the catalogue has to be written and edited far in advance, loans need to be in place as soon as possible. Dealers (Michael Rosenfeld, Patrick Albano, etc.), as well as Sylvain Briet, were helpful in passing on loan requests to private collectors.
Les Amis: How were the persons who wrote essays for the catalog selected?
Sue Canterbury: Ann Gibson had already written about Beauford on a couple occasions. I liked her work and was interested in her covering the New York figurative years. I was interested in having Michael Plante cover the late Paris years. I wanted to cover Delaney's transitional works of 1953-1960 as that period was key to the inquiry I wanted to make. I wanted to involve Sylvain Briet on the project because he and Philippe had uncovered and amassed an incredible amount of information. After Philippe’s untimely death, Sylvain had continued to compile what I consider the most thorough chronology of Beauford's life, work, exhibition history, etc.
Les Amis: Who decided what would be on the cover of the catalog?
Sue Canterbury: I'm guilty! That's a detail of a very special painting. It is the painting that was given to the Institute by Jacques and Solange du Closel. Until proven otherwise, it is the first known fully abstract expressionist work from Paris. It is also one of three paintings he did on 'canvas' made from the raincoat that Billy and Irene Rose gave him before he sailed from New York. Unfortunately, I don't know where the other two are or even if they still exist.
Les Amis: How is mounting a retrospective different than mounting a group exhibit?
Sue Canterbury: Well, it allows you to concentrate on one artist and one story. I should mention however, that Beauford Delaney: From New York to Paris was not a retrospective. I didn't cover the Knoxville or Boston years. Again, my interest was in the lost works of early Paris. I just added New York at the front, and post-1960 works at the end to give people a clear picture of his stylistic development.
Les Amis: What, if anything, was different about mounting the Delaney one-man show compared to other expositions that you have worked on?
Sue Canterbury: Because Delaney died only in 1979, there were still many people present who had known him. It gave immediacy to the project that is generally lacking when working on art or artists or much earlier periods or centuries. Thus, I was hearing all about Delaney directly from individuals who had known him well and cared deeply for him. The project took me on quite the ride. In New York, I visited with the artist Paul Jenkins, who called up Al Hirschfeld and asked if he had time to meet me. There I was the next day discussing Beauford and the exhibition. Or, there’s the time I arrived in Paris on a courier trip and, in hopes of finding Sylvain Briet had attempted to contact him prior to leaving Minneapolis. I had left my contact info of where I would be in Paris not knowing if he would get the message. The day I arrived I received a call from Sylvain in my Paris hotel room, with him asking me if I could catch a train to Normandy the next day to come and meet him. And, off I went.
Les Amis: Who decided which partner museums the show would travel to?
Sue Canterbury: Complex. I called several museums that I felt might be interested and sent out exhibition proposals. Knoxville, as his hometown, seemed a no-brainer. Greenville County Museum in South Carolina, on the other hand, hadn't been in my plans but they wanted the show AND they had the fantastic Washington Square work that I wanted to borrow. Philadelphia had a history with Beauford. He had been there and had painted portraits of individuals there. Of course, Richard Gibson was also from Philly. Additionally, Philadelphia is always keen to get good exhibitions and materials on African-American artists.
Les Amis: How was it decided how long the show would be exhibited at each museum?
Sue Canterbury: The duration of exhibitions is pretty standard. Most museums will run their shows on a 10- or 12-week schedule. Due to the recent economic downturn, however, some museums have been prolonging the length of their shows when possible.
Les Amis: Was there much need for collaboration among these museums regarding presentation of the works, etc., or were they simply packed up and shipped from one place to the next?
Sue Canterbury: There can be collaboration. It depends on the situation. Generally, label text copy (what you read on the label next to the painting), and didactic panel copy (a large panel of text that gives the visitor an overview of the works in that gallery) are provided as part of the rental contract in a traveling show and are sent to the next venue for each institution to produce according to their own practices or protocols. The venues generally try to follow the intellectual concept (respect for which is also part of the rental contract), but a hang also is heavily influenced by the space and architectural demands of each museum’s exhibition galleries.
The one thing that was consistent at all four venues was the special pedestal that housed the raincoat painting. It allowed people to look at the back of the work so they could see the double-stitched seam and the top-stitched pocket, etc.
Les Amis: How was the show financed?
Sue Canterbury: While museums set budgets, they're always desperate for alternate funding sources. In my case, The MIA applied for grants from the Henry Luce Foundation and the Judith Rothschild Foundation. (The Rothschild Foundation stipulates that any artist project they fund depends on the artist having died after 1978. Beauford just made it...1979.)
Les Amis: Are expositions expected to make money for the institutions exhibiting them?
Sue Canterbury: That is a dream to which most museums aspire but rarely see fulfilled. Generally, exhibitions don't make a profit or even break even. An institution generally hopes simply to defray expenses with tickets at the door, etc. In this exhibition's case, the Luce and Rothschild grants took a big bite out the projected budget expenses. Also, the rental fees paid by each of the travel venues were very helpful.
Les Amis: Was Beauford’s show profitable?
Sue Canterbury: Ultimately not, in the financial sense. Minneapolis will never have the amazing number of visitors that one sees at the Orsay, the Met, or the National Gallery. Its numbers are thought good if they are in the range of 60,000. Anything above that is pretty outstanding. Delaney pulled in about 22,000 visitors. However, when I realized that 22,000 people paid to see a show about an artist they had never heard of before, I actually felt rather good about the final count. (I still have people comment to me about the Delaney exhibition having been their favorite—and they aren’t even aware thatI was the curator of the exhibition. That makes me feel good. Also, the exhibition was awarded best exhibition of the year by a local magazine.)
On another level, the exhibition built an important bridge to the local African-American community. On yet another, very meaningful level, we also received the raincoat painting as a gift from the Du Closel's in appreciation of our doing the show on Beauford. People love that painting and the story. Another measure of success, I should add, is that the catalogue sold out completely. It's out of print. I recall that Philadelphia had to ask for additional catalogues beyond the number allotted in their contract.
ArtsMIA Web page for Beauford’s show
Les Amis: How much space was devoted to the show?
Sue Canterbury: It was originally intended for a smaller gallery but, as luck would have it, the large special exhibition galleries became available due to alterations in the museum’s exhibition schedule (about a year before the show) and Delaney became the main event at the MIA in the fall of 2004.
Les Amis: How was it decided which paintings would be included in the show?
Sue Canterbury: I'm the person who made the selection. While the "From New York to Paris" transition was the heart of the show, I felt it was necessary to “bookend” the works I had rediscovered between what had preceded and followed them so people would be able to witness the stylistic developments and transitions in Beauford’s art. With the early Paris works restored to his history, it no longer seemed as if one was dealing with two artists but with an artist whose late abstracted figurative works of New York were not that far removed from the early, fully abstract works that would follow once he was in Paris.
Les Amis: What is the process for requesting loans of paintings (and perhaps documents or other items) for a show?
Sue Canterbury: Loans generally need to be place at least a year out from a show. Sometimes the odd thing can be slipped in later, but as the catalogue has to be written and edited far in advance, loans need to be in place as soon as possible. Dealers (Michael Rosenfeld, Patrick Albano, etc.), as well as Sylvain Briet, were helpful in passing on loan requests to private collectors.
Les Amis: How were the persons who wrote essays for the catalog selected?
Sue Canterbury: Ann Gibson had already written about Beauford on a couple occasions. I liked her work and was interested in her covering the New York figurative years. I was interested in having Michael Plante cover the late Paris years. I wanted to cover Delaney's transitional works of 1953-1960 as that period was key to the inquiry I wanted to make. I wanted to involve Sylvain Briet on the project because he and Philippe had uncovered and amassed an incredible amount of information. After Philippe’s untimely death, Sylvain had continued to compile what I consider the most thorough chronology of Beauford's life, work, exhibition history, etc.
Les Amis: Who decided what would be on the cover of the catalog?
Sue Canterbury: I'm guilty! That's a detail of a very special painting. It is the painting that was given to the Institute by Jacques and Solange du Closel. Until proven otherwise, it is the first known fully abstract expressionist work from Paris. It is also one of three paintings he did on 'canvas' made from the raincoat that Billy and Irene Rose gave him before he sailed from New York. Unfortunately, I don't know where the other two are or even if they still exist.
ArtsMIA Catalog Cover
Les Amis: How is mounting a retrospective different than mounting a group exhibit?
Sue Canterbury: Well, it allows you to concentrate on one artist and one story. I should mention however, that Beauford Delaney: From New York to Paris was not a retrospective. I didn't cover the Knoxville or Boston years. Again, my interest was in the lost works of early Paris. I just added New York at the front, and post-1960 works at the end to give people a clear picture of his stylistic development.
Les Amis: What, if anything, was different about mounting the Delaney one-man show compared to other expositions that you have worked on?
Sue Canterbury: Because Delaney died only in 1979, there were still many people present who had known him. It gave immediacy to the project that is generally lacking when working on art or artists or much earlier periods or centuries. Thus, I was hearing all about Delaney directly from individuals who had known him well and cared deeply for him. The project took me on quite the ride. In New York, I visited with the artist Paul Jenkins, who called up Al Hirschfeld and asked if he had time to meet me. There I was the next day discussing Beauford and the exhibition. Or, there’s the time I arrived in Paris on a courier trip and, in hopes of finding Sylvain Briet had attempted to contact him prior to leaving Minneapolis. I had left my contact info of where I would be in Paris not knowing if he would get the message. The day I arrived I received a call from Sylvain in my Paris hotel room, with him asking me if I could catch a train to Normandy the next day to come and meet him. And, off I went.
Les Amis: Who decided which partner museums the show would travel to?
Sue Canterbury: Complex. I called several museums that I felt might be interested and sent out exhibition proposals. Knoxville, as his hometown, seemed a no-brainer. Greenville County Museum in South Carolina, on the other hand, hadn't been in my plans but they wanted the show AND they had the fantastic Washington Square work that I wanted to borrow. Philadelphia had a history with Beauford. He had been there and had painted portraits of individuals there. Of course, Richard Gibson was also from Philly. Additionally, Philadelphia is always keen to get good exhibitions and materials on African-American artists.
Les Amis: How was it decided how long the show would be exhibited at each museum?
Sue Canterbury: The duration of exhibitions is pretty standard. Most museums will run their shows on a 10- or 12-week schedule. Due to the recent economic downturn, however, some museums have been prolonging the length of their shows when possible.
Les Amis: Was there much need for collaboration among these museums regarding presentation of the works, etc., or were they simply packed up and shipped from one place to the next?
Sue Canterbury: There can be collaboration. It depends on the situation. Generally, label text copy (what you read on the label next to the painting), and didactic panel copy (a large panel of text that gives the visitor an overview of the works in that gallery) are provided as part of the rental contract in a traveling show and are sent to the next venue for each institution to produce according to their own practices or protocols. The venues generally try to follow the intellectual concept (respect for which is also part of the rental contract), but a hang also is heavily influenced by the space and architectural demands of each museum’s exhibition galleries.
The one thing that was consistent at all four venues was the special pedestal that housed the raincoat painting. It allowed people to look at the back of the work so they could see the double-stitched seam and the top-stitched pocket, etc.
Pedestal for raincoat painting
Display at Knoxville Museum of Art
Photo courtesy of Sue Canterbury
Untitled (raincoat painting) by Beauford Delaney
(1954) Oil on raincoat fragment
Photo courtesy of Sue Canterbury
Untitled (raincoat painting - rear) by Beauford Delaney
(1954) Oil on raincoat fragment
Photo courtesy of Sue Canterbury
Les Amis: How was the show financed?
Sue Canterbury: While museums set budgets, they're always desperate for alternate funding sources. In my case, The MIA applied for grants from the Henry Luce Foundation and the Judith Rothschild Foundation. (The Rothschild Foundation stipulates that any artist project they fund depends on the artist having died after 1978. Beauford just made it...1979.)
Les Amis: Are expositions expected to make money for the institutions exhibiting them?
Sue Canterbury: That is a dream to which most museums aspire but rarely see fulfilled. Generally, exhibitions don't make a profit or even break even. An institution generally hopes simply to defray expenses with tickets at the door, etc. In this exhibition's case, the Luce and Rothschild grants took a big bite out the projected budget expenses. Also, the rental fees paid by each of the travel venues were very helpful.
Les Amis: Was Beauford’s show profitable?
Sue Canterbury: Ultimately not, in the financial sense. Minneapolis will never have the amazing number of visitors that one sees at the Orsay, the Met, or the National Gallery. Its numbers are thought good if they are in the range of 60,000. Anything above that is pretty outstanding. Delaney pulled in about 22,000 visitors. However, when I realized that 22,000 people paid to see a show about an artist they had never heard of before, I actually felt rather good about the final count. (I still have people comment to me about the Delaney exhibition having been their favorite—and they aren’t even aware thatI was the curator of the exhibition. That makes me feel good. Also, the exhibition was awarded best exhibition of the year by a local magazine.)
On another level, the exhibition built an important bridge to the local African-American community. On yet another, very meaningful level, we also received the raincoat painting as a gift from the Du Closel's in appreciation of our doing the show on Beauford. People love that painting and the story. Another measure of success, I should add, is that the catalogue sold out completely. It's out of print. I recall that Philadelphia had to ask for additional catalogues beyond the number allotted in their contract.
Anatomy of an Art Exposition - Part 1
Sue Canterbury was the curator of the magnificent exhibit entitled Beauford Delaney: From New York to Paris that originated at the Minneapolis Institute of Arts (November 21, 2004 – February 20, 2005) and was subsequently presented by the Knoxville Museum of Art (April 8 – June 25, 2005), the Greenville County Museum of Art (August 3 – October 2, 2005), and the Philadelphia Museum of Art (November 12, 2005 – January 28, 2006).
As a novice to the art world, I was curious to learn how this latest one-man exposition of Beauford’s work was conceived of and put together. Sue graciously explained this to me, beginning with how she discovered Beauford’s work:
Sue chose to do the Delaney exposition because of her rapidly growing passion for Beauford’s work. It was her responsibility to 1) craft the concept; 2) locate the objects in order to develop an object checklist for the exhibition; 3) find new information through research of old catalogues, books, magazines, etc) and, in the case of Beauford by talking to people who actually had known him, etc.; and 4) arrange for the conservation of several objects. An example is the Richard Gibson portrait, the conservation of which was performed by a London conservator. Many works were in need of cleaning or required framing. Two works were in extremely rough shape and needed major intervention. Sue feels very gratified that these works were saved for posterity.
The budget for the exhibition was very slim and, consequently, a great deal of Sue’s research had to be piggy-backed onto courier trips to New York, London, and Paris. (An institution that borrows paintings from another institution for an exhibition pays for a courier to accompany the work to its facility.). Sue would often tack on a few extra days to extend the time available for research, interviews, and visits with collectors.
Next week: The behind-the-scenes details of the Minneapolis Institute of Arts (MIA) show.
ArtsMIA Web page for Beauford’s show
As a novice to the art world, I was curious to learn how this latest one-man exposition of Beauford’s work was conceived of and put together. Sue graciously explained this to me, beginning with how she discovered Beauford’s work:
I arrived at the Minneapolis Institute of Arts in the summer of 1998. Sometime during my first year, I met Burt and Patricia Reinfrank. If I recall correctly how things unfolded, they had contacted my boss and I (my boss having arrived about 9 months before I ) with an interest in lending Jazz Quartet (1945) by Delaney for display in our permanent galleries. (It's worth noting that before meeting them, I had never heard of Beauford Delaney.)
Jazz Quartet
Beauford Delaney
(1946) Oil on canvas
Courtesy of Burt and Patricia Reinfrank
As I learned more through them, Burt floated the idea of an exhibition. I was intrigued by the idea for the following reasons: 1) Delaney was an artist with an interesting body of work but of whom I had never heard; 2) I was particularly engaged by what I saw as his (then) two bodies work--the New York figurative and the ca. 1960 and after abstract expressionist works. I felt as though I was viewing the work of two different artists. Where was the stylistic bridge between the New York and Paris works? The link was absent in all the literature I had seen thus far.
That last bit (#2) was what particularly intrigued me. I always have to find a hook to any project I choose to undertake. The quest to uncover new connections is what drives my passion about something. I'm not interested in covering material already treated by other exhibitions.Sue went on to say that while curators can sometimes be assigned projects, they much prefer to choose their own. It is the curator's job to make a compelling case for a proposed project to colleagues and the museum director. Once a presentation of the proposal is made, and if the project is approved, then the framework of budgets and schedules can be put in place so all phases will come together in a timely manner.
Sue chose to do the Delaney exposition because of her rapidly growing passion for Beauford’s work. It was her responsibility to 1) craft the concept; 2) locate the objects in order to develop an object checklist for the exhibition; 3) find new information through research of old catalogues, books, magazines, etc) and, in the case of Beauford by talking to people who actually had known him, etc.; and 4) arrange for the conservation of several objects. An example is the Richard Gibson portrait, the conservation of which was performed by a London conservator. Many works were in need of cleaning or required framing. Two works were in extremely rough shape and needed major intervention. Sue feels very gratified that these works were saved for posterity.
The budget for the exhibition was very slim and, consequently, a great deal of Sue’s research had to be piggy-backed onto courier trips to New York, London, and Paris. (An institution that borrows paintings from another institution for an exhibition pays for a courier to accompany the work to its facility.). Sue would often tack on a few extra days to extend the time available for research, interviews, and visits with collectors.
Next week: The behind-the-scenes details of the Minneapolis Institute of Arts (MIA) show.
Roy Freeman Remembers Beauford
Roy Freeman is an artist, writer, and caregiver for autistic adults. The son of artists Don and Lydia Cooley Freeman, he left home at the age of sixteen to "seek his fortune" in the world—he dabbled in painting, music, and dance in San Francisco, lived with the Mazatec Indians in Mexico, and had many additional life experiences prior to settling down in Switzerland to study nature at the age of nineteen. He became a geophysicist, and worked in academia for many years before leaving this field to pursue his current activities.
Both of Roy's parents knew Beauford well, and Roy remembers how frequently they spoke of him. In quickly perusing some of Don Freeman's correspondence, Roy found several mentions of Beauford. He told me that Don and Lydia visited Beauford in Paris in 1970-1971, but that he has found no written anecdotes about the trip.
Roy had his own encounter with Beauford in Paris at the age of 19, which he describes as follows:
Roy graciously shared with me his knowledge of his father's relationship with Beauford in a recent interview. Below are a number of excerpts from this wonderful exchange.
Les Amis: Your father, Don Freeman, knew Beauford Delaney. Was this because they were both artists and met in conjunction with the WPA (Works Progress Administration) project? Or did they meet under other circumstances?
Roy Freeman: I am not sure how Don and Beauford met. The lived very close to one another in New York and knew each other as artists with the WPA project in the late 1920s and 30s. Don and Lydia befriended people who were real individuals - particularly those perhaps less well understood by others.
Les Amis: Did your mother, Lydia Cooley Freeman, know Beauford as well?
Roy Freeman: Lydia knew Beauford as well as Don, they were all together in New York art scene in the 1930s and 40s.
Les Amis: Did they socialize with Beauford, or only meet in the context of work?
Roy Freeman: They definitely socialized with Beauford, knew him personally, and visited him often—especially when they lived near each other (see Don's NEWSSTAND articles!)
Les Amis: Why did your parents consider Beauford to be so special?
Roy Freeman: Most of all because of Beauford's gentleness and vulnerability. He lived genuinely and was true to who he was. This was certainly excruciating for him at times; he had a very difficult life as you know.
Les Amis: Why do you consider him to be so?
Roy Freeman: For me it was Beauford's authenticity. He remained true to himself, and maintained his kindness of heart, despite all he had been through. His gentleness and his openness were immense and real. Unfortunately, this is a rarity in the world...almost a miracle.
Les Amis: Do you know Beauford’s art?
Roy Freeman: I do not know his earlier work too well. I knew the abstract work he was painting when we saw him in Paris.
Les Amis: Is there a particular style of his that you prefer (figurative versus abstract works, portraits)?
Roy Freeman: I do not know his whole opus well enough. I also have no preference—his figurative work is as amazing as his abstract work. I myself am quite at home in the abstract work. At the time I saw him in Paris, it was really strong. When he offered us a painting of his, I took a purely abstract, yellow-green-orange painting which had no figuration at all. It was radically full of springtime and life!
Les Amis: Did your family own any of Beauford’s work? If so, please describe the pieces.
Roy Freeman: In the artwork from my parents that I have, I do not know of anything from Beauford.
Les Amis: Any final thoughts?
Roy Freeman: It was a gift to have known Beauford, even if it was just in these short contacts. Along with the artist spirits of my father and mother, the meeting with Beauford has given me a tolerance and openness to accepting life and people as how they are. I try to give back what these people, with all their problems, have given me: a spirit to live who you are in this world that does not always accept you. And somehow, miraculously, perhaps with the help of an even greater spirit, remaining true to having an open heart to yourself and others. Thank you, Beauford!
Both of Roy's parents knew Beauford well, and Roy remembers how frequently they spoke of him. In quickly perusing some of Don Freeman's correspondence, Roy found several mentions of Beauford. He told me that Don and Lydia visited Beauford in Paris in 1970-1971, but that he has found no written anecdotes about the trip.
Roy had his own encounter with Beauford in Paris at the age of 19, which he describes as follows:
Of course the real meeting with Beauford was when I was in Paris in 1969 with my wife at the time. We called him up at the suggestion of Don and Lydia, and Beauford immediately invited us over. He was living in a small apartment, which functioned also as his artist studio. At the time I had very long hair and we were really surfing hippies. I was nervous at how Beauford would take us in. To my deep relief, Beauford accepted us just as we were. He was an incredibly gentle, open human being. I realized at once that I was in the world of a real artist. I could hardly believe the welcome and being with this wonderful man. He showed us around his apartment and showed the paintings he was doing at the time—very abstract. Before we left, I gave him a copy of a small book I had published privately—Mountains Converse—and he offered us one of his paintings. I could hardly believe his openness and generosity, but it was indeed genuine and real. I will never forget this meeting!
Solliès Toucas
(Beauford's gift to Roy Freeman)
Oil on canvas
Image courtesy of Roy Freeman
Roy graciously shared with me his knowledge of his father's relationship with Beauford in a recent interview. Below are a number of excerpts from this wonderful exchange.
Les Amis: Your father, Don Freeman, knew Beauford Delaney. Was this because they were both artists and met in conjunction with the WPA (Works Progress Administration) project? Or did they meet under other circumstances?
Roy Freeman: I am not sure how Don and Beauford met. The lived very close to one another in New York and knew each other as artists with the WPA project in the late 1920s and 30s. Don and Lydia befriended people who were real individuals - particularly those perhaps less well understood by others.
Opening image of Beauford in Don Freeman's Newsstand #1
Image courtesy of Roy Freeman
Les Amis: Did your mother, Lydia Cooley Freeman, know Beauford as well?
Roy Freeman: Lydia knew Beauford as well as Don, they were all together in New York art scene in the 1930s and 40s.
Les Amis: Did they socialize with Beauford, or only meet in the context of work?
Roy Freeman: They definitely socialized with Beauford, knew him personally, and visited him often—especially when they lived near each other (see Don's NEWSSTAND articles!)
Les Amis: Why did your parents consider Beauford to be so special?
Roy Freeman: Most of all because of Beauford's gentleness and vulnerability. He lived genuinely and was true to who he was. This was certainly excruciating for him at times; he had a very difficult life as you know.
First page of Don’s article on Beauford in Newsstand #5
Image courtesy of Roy Freeman
Les Amis: Why do you consider him to be so?
Roy Freeman: For me it was Beauford's authenticity. He remained true to himself, and maintained his kindness of heart, despite all he had been through. His gentleness and his openness were immense and real. Unfortunately, this is a rarity in the world...almost a miracle.
Les Amis: Do you know Beauford’s art?
Roy Freeman: I do not know his earlier work too well. I knew the abstract work he was painting when we saw him in Paris.
Les Amis: Is there a particular style of his that you prefer (figurative versus abstract works, portraits)?
Roy Freeman: I do not know his whole opus well enough. I also have no preference—his figurative work is as amazing as his abstract work. I myself am quite at home in the abstract work. At the time I saw him in Paris, it was really strong. When he offered us a painting of his, I took a purely abstract, yellow-green-orange painting which had no figuration at all. It was radically full of springtime and life!
Second page of Don’s article on Beauford in Newsstand #5
Image courtesy of Roy Freeman
Les Amis: Did your family own any of Beauford’s work? If so, please describe the pieces.
Roy Freeman: In the artwork from my parents that I have, I do not know of anything from Beauford.
Les Amis: Any final thoughts?
Roy Freeman: It was a gift to have known Beauford, even if it was just in these short contacts. Along with the artist spirits of my father and mother, the meeting with Beauford has given me a tolerance and openness to accepting life and people as how they are. I try to give back what these people, with all their problems, have given me: a spirit to live who you are in this world that does not always accept you. And somehow, miraculously, perhaps with the help of an even greater spirit, remaining true to having an open heart to yourself and others. Thank you, Beauford!
Beauford's Works at Christie's Paris -- The Auction
Christie's Paris
© Discover Paris!
The auction of the Darthea Speyer collection at Christie's Paris took place on Wednesday, 7 July 2010. Six Delaney paintings were among the 432 works sold.
I was fortunate enough to be able to see Beauford's works at Christie's before the auction. The photo below shows the portraits as they were displayed in the Salon Matignon IV.
Beauford's Portraits at Christie's Paris
© Discover Paris!
The two abstractions were harder to photograph due to their placement in the hallway outside Salon Matignon IV, where there was terrible glare as well as unavoidable reflections.
Untitled
(not dated) Pastel on paper
© Discover Paris!
Untitled (dedicated to Darthea Speyer)
(1961) Ink, inkwash, and aquarelle on paper
© Discover Paris!The ink, inkwash, and aquarelle painting is dated 1961, not 1981 as reported in the catalog. In last week's posting, I noted that either a mistake had been made in the catalog's notation (Beauford died in 1979), or he was unaware of the year when he created the painting (he had suffered a severe mental crisis several weeks prior to painting it). The former is true - the label text posted next to the painting at Christie's had been corrected by hand.
Signature for Untitled (dedicated to Darthea Speyer)
(1961) Ink, inkwash, and aquarelle on paper
© Discover Paris!
Label for Untitled (dedicated to Darthea Speyer)
(1961) Ink, inkwash, and aquarelle on paper
© Discover Paris!
In last week's posting and in the one called Beauford at Galerie Darthea Speyer, I reported that the Beauford Delaney paintings held by Galerie Darthea Speyer would be donated to the Smithsonian. I now have clarification on this issue - Mme Emmanuelle Gelzer-Remy, a former employee of the gallery, has informed me that only the gallery's documents related to Beauford have been donated to the Smithsonian Institution Archives. The paintings were held by Christie's, until today's sale.
Salle James Christie (auction room) at Christie's Paris
© Discover Paris!
As for the auction itself, Beauford's works went very quickly. It was apparent that people were prepared to bid on them ahead of time, because most of the bids came in by phone or Internet. Beauford's untitled pastel commanded the greatest price – 10,000 euros / ~$12,500. His portrait of Jean Genet sold for 8,500 euros / ~$10,625. The ink, ink wash, and aquarelle went for 7,000 euros / ~$8,750, and the other portraits sold for 6500 euros to 7500 euros (~$8125 to $9375). The sale of all six pieces took only ten minutes!
Beauford's Works at Christie's Paris
In July, Christie's Paris is auctioning an incredible selection of art works and personal items owned by Darthea Speyer. The Darthea Speyer Gallery closed its doors permanently at the beginning of this year, and the Christie's auction is part of the total liquidation of the gallery's collection.
Among the collection are six paintings by Beauford. See pages 38-39 of Christie's e-catalog for a listing of these works. Two of them are abstractions and the remaining four are portraits. The price range for the abstractions is $2700 to $5300, while the range for the portraits is $11,000 to $20,000. The portrait of Vassili Pikoula (see below)—displayed at the American Cultural Center in 1961, the Darthea Speyer Gallery in 1973 and 1992, the Studio Museum in Harlem in 1978, and the First American Triennal at Maubeuge in 1993—is the most expensive of the portraits available for purchase.
The astute observer will notice that there is an anomaly in the catalog listing for Entry 262, a vividly colored ink, ink wash, and aquarelle abstraction. The dedication indicated for this painting—"Beauford Delaney Mallorca 1981 for miss Darthea Speyer"—is dated two years after Beauford's death! In fact, Beauford visited Majorca in the summer of 1961, the year that he suffered a severe mental breakdown while on his way to Greece. He was to have enjoyed an artistic "sabbatical" there, which had been arranged by Darthea Speyer. After several days of hospitalization, Speyer arranged for Beauford to return to France. His dear friends Charley and Gita Boggs then took him to Spain to help him recover from that breakdown. Either the person who provided the information for the Entry 262 misread Beauford's dedication, or Beauford himself was not aware of what year it was when he created this painting.
When I spoke with a representative of the Speyer Gallery in January of this year, I was told that the gallery would donate its collection of Delaneys to the Smithsonian Institute. At the time of this writing, I do not know if some of these Delaneys were in fact donated so that the paintings on auction at Christie's represent the remainder of the Speyer collection, or if none of the Delaneys were donated to the Smithsonian.
The Christie's auction will be held on July 7, 2010 at 2 PM. The entire Speyer collection will be on public display on the following dates:
Saturday, July 3 – 10 AM to 6 PM
Monday, July 5 – 10 AM to 6 PM
Tuesday, July 6 – 10 AM to 6 PM
Wednesday, July 7 – 10 AM to 12 Noon
For those living in Paris, or visiting during the first week of July, this represents a rare opportunity to see Beauford's works in person—an occasion not to be missed!
Christie's
9, avenue Matignon
75008 Paris
Tel: 33(0)1 40 76 85 85
Beauford and Darthea
Invitation card for 1973 exhibit at Galerie Darthea Speyer
Courtesy of Galerie Darthea Speyer
Among the collection are six paintings by Beauford. See pages 38-39 of Christie's e-catalog for a listing of these works. Two of them are abstractions and the remaining four are portraits. The price range for the abstractions is $2700 to $5300, while the range for the portraits is $11,000 to $20,000. The portrait of Vassili Pikoula (see below)—displayed at the American Cultural Center in 1961, the Darthea Speyer Gallery in 1973 and 1992, the Studio Museum in Harlem in 1978, and the First American Triennal at Maubeuge in 1993—is the most expensive of the portraits available for purchase.
Courtesy of Galerie Darthea Speyer
The astute observer will notice that there is an anomaly in the catalog listing for Entry 262, a vividly colored ink, ink wash, and aquarelle abstraction. The dedication indicated for this painting—"Beauford Delaney Mallorca 1981 for miss Darthea Speyer"—is dated two years after Beauford's death! In fact, Beauford visited Majorca in the summer of 1961, the year that he suffered a severe mental breakdown while on his way to Greece. He was to have enjoyed an artistic "sabbatical" there, which had been arranged by Darthea Speyer. After several days of hospitalization, Speyer arranged for Beauford to return to France. His dear friends Charley and Gita Boggs then took him to Spain to help him recover from that breakdown. Either the person who provided the information for the Entry 262 misread Beauford's dedication, or Beauford himself was not aware of what year it was when he created this painting.
When I spoke with a representative of the Speyer Gallery in January of this year, I was told that the gallery would donate its collection of Delaneys to the Smithsonian Institute. At the time of this writing, I do not know if some of these Delaneys were in fact donated so that the paintings on auction at Christie's represent the remainder of the Speyer collection, or if none of the Delaneys were donated to the Smithsonian.
The Christie's auction will be held on July 7, 2010 at 2 PM. The entire Speyer collection will be on public display on the following dates:
Saturday, July 3 – 10 AM to 6 PM
Monday, July 5 – 10 AM to 6 PM
Tuesday, July 6 – 10 AM to 6 PM
Wednesday, July 7 – 10 AM to 12 Noon
For those living in Paris, or visiting during the first week of July, this represents a rare opportunity to see Beauford's works in person—an occasion not to be missed!
Christie's
9, avenue Matignon
75008 Paris
Tel: 33(0)1 40 76 85 85