Larry Calcagno and Dante Pavone - A Curious Resemblance
In preparation for this post, which was originally conceived to present the results of Black Art Auction's offer of Beauford's portrait of Larry Calcagno during its inaugural sale on May 16, I stumbled across a serendipitous side-by-side presentation of the portraits of Calcagno and Dante Pavone on the Entrée to Black Paris Facebook page (shown below):
Portrait of a Young Man (Larry Calcagno)
(1953) Oil on canvas
31.75 x 25.5 inches
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Dante Pavone as Christ
(1948) Pastel on paper
23.25 x 19.75 inches
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Knoxville Museum of Art,
2016 purchase with funds provided by the KMA Collectors Circle with additional gifts from Barbara Apking, June and Rob Heller, Donna Kerr, Alexandra Rosen and Donald Cooney, Ted Smith and David Butler, Mimi and Milton Turner, John Cotham, Jan and Pete Crawford, Cathy and Mark Hill, Florence and Russell Johnston, John Z. C. Thomas, Donna and Terry Wertz, Jayne and Myron Ely, Sarah Stowers, Robin and Joe Ben Turner, and Jacqueline Wilson
I was struck by the similarity of the proportions of the eyes (left eye slightly larger than the right) and the hand gesture in these works, and was inspired to ask two colleagues to comment on this curious resemblance.
Rachel Cohen, Professor of Practice in the Arts at the University of Chicago and author of A Chance Meeting, commented as follows:
"I saw this pastel, Dante Pavone as Christ, in Knoxville this past February, and was struck by the intensity the artist evidently felt in making it – the colors are almost lurid, and the hand is almost medieval in the way it holds the Christ-like gesture. Standing with the work, and thinking about what I know of Beauford Delaney’s relationship with Dante Pavone, I had an intimation of how religious feeling and erotic feeling were near to each other for the artist.
"It is then extremely interesting to see the shadow of that same gesture in the oil Portrait of a Young Man (Larry Calcagno). The hand in the oil has opened and become more like an ordinary gesture, or one that might be characteristic of Calcagno, but also – in the way the fingers overlap, and the way the small finger bends – seems distinctly to remember the earlier hand. I haven’t seen this painting, but in the photo, the hand looks tender to me, and like the kind of gesture one might make in sculpting, or in touching someone else’s face with tenderness. The significance, and tenderness, of Delaney’s relationship with Calcagno has been well written about in this blog and in David Leeming’s biography, Amazing Grace: A Life of Beauford Delaney
. To my mind, the presence of the gesture here, reinforces my hesitant thought about the way erotic and religious feelings were overlaid for Delaney. 
"The eyes in the two portraits also bear a similarity. It is not unusual for painters to paint two very different eyes – this creates expressiveness and avoids common problems of amateur painting (if eyes are too similar in a painting they may seem rote and lifeless or demonic, and if their positions are too closely aligned, they seem to follow the viewer around the room). But it is interesting here that the two pairs of eyes are different in a similar way, the two eyes to the viewer’s left are almost identical in shape, and the two eyes on the right have a larger circle of iris. I find it hard to say what the effect of this is by studying reproductions, but I notice that if I cover the eyes in turn, the overall quality of expressiveness goes away and the expression changes in the remaining eye.
"The last thing I would say is that I feel heartened by the sequence. The pastel of Dante Pavone in 1948 makes me worry a little for Delaney, that the object of his passionate feeling holds him at bay with something that might approach indifference. But the 1953 painting seems very open – the light of the earth and the light of the heavens more mingled, less harsh – and I feel glad that he felt this beneficence in his Paris years."
Stephen Wicks, Barbara W. and Bernard E. Bernstein Curator at the Knoxville Museum of Art, had the following to say:
"... these are two of the rare instances in which the artist includes this sort of gesture. While Dante’s blessing gesture makes sense given that Delaney has depicted him “as Christ,” I have always been interested in the artist’s choice to use the subject’s left hand rather than the traditional right hand in earlier portraits of Christ. I also find it interesting as a possible farewell gesture given that by the time the Calcagno painting was created in 1953 Beauford perhaps had learned of his friend’s decision to leave Paris for America the following year. Since Leeming casts Calcagno as a social/personal “replacement” for Pavone, whom Delaney left behind when he set off for Paris in 1953, perhaps it seems not so surprising that he used this blessing/farewell gesture (also with the left hand) in his depiction of Calcagno."
By the way, Black Art Auction estimated that Portrait of a Young Man (Larry Calcagno) would sell for $25,000 - $35,000. It sold for $40,000.
Beauford on Pinterest
Beauford's work is well represented on Pinterest!
(1964-65) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Photo from Bill Hodges Gallery Web site
While those wanting to honor him may have inadvertently included images of non-authenticated works, the majority of the images I've seen on these pages present works that have been authenticated by the Beauford Delaney estate or other expert authorities on his oeuvre.
Some boards present photos of Beauford in addition to images of his works. Some include an occasional image of a work attributed to another artist.
The following links will take you to a few of the many sites that celebrate Beauford:
Clarence Mayo - 60 images
Art Lover - 106 images
Helen Cargile - 150 images
Nathan A - 94 images
FGE Food & Nutrition Team Consulting - 228 images
Enjoy!
Beauford's Portrait of Larry Calcagno for Sale
Black Art Auction is the only auction house in the world that is solely dedicated to the sale of African-American fine art. Located in Indianapolis, Indiana, it will hold its inaugural sale on May 16.
Among the 153 works available for acquisition is Beauford's 1953 portrait of Larry Calcagno.
(1953) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
This painting was shown in the Beauford Delaney: From New York to Paris traveling exhibition mounted by the Minneapolis Institute of Arts in 2004.
Beauford and Calcagno became friends in Paris in 1953, the year that Beauford painted this portrait. The two men developed a deep and residing friendship that is poignantly expressed in letters they exchanged for almost twenty years.
In one of these letters, Beauford's comments about changing times might just have easily been written today, given the upheaval in the world due to the COVID-19 pandemic:
"These days are so full of change - mondial and personal.... [O]ne tries to keep in contact with the veriations [sic] and constant looking back[,] looking into the future[,] and utilizing every possible in the unique marvel of the present."
Portrait of a Young Man (Larry Calcagno) has been assigned Lot Number 29. Its estimated value is $25,000-35,000.
To learn more about the work, click HERE.
Rachel's Musings: Three Articles about Beauford
Rachel Cohen is the author of A Chance Meeting, a book in which she examines Beauford's relationship with James Baldwin and also describes Beauford's encounter with W. E. B. Du Bois. She was one of the invited speakers at the recent University of Tennessee Knoxville symposium on Beauford and James Baldwin entitled "In A Speculative Light."
When she was a professor at Sarah Lawrence College, Cohen granted Les Amis de Beauford Delaney an exclusive interview:
Rachel Cohen's Tribute to Beauford
Cohen has recently published three articles in which she examines one or more aspects of Beauford's work.
In "'Here is a man who could do whatever interested him in paint’ – on the paintings of Beauford Delaney," she discusses Through the Unusual Door, the Knoxville Museum of art exhibition that opened this February.
Exhibition room for Through the Unusual Door
© Les Amis de Beauford Delaney
In "Beauford Delaney Close Looking," she marvels over the 1965 green and yellow abstract held by the Art Institute of Chicago.
Untitled
(1965) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire
Court Appointed Administrator
Image courtesy of the Art Institute of Chicago
And in "Delaney and Morisot Ochre: This Week in Self-Portraits," she comments on the use of ochre pigment in Beauford's work and the work of Berthe Morisot.
Self-Portrait
(1962) oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery, LLC, New York , NY
Each article is rich with photos and observations. Enjoy them!
When she was a professor at Sarah Lawrence College, Cohen granted Les Amis de Beauford Delaney an exclusive interview:
Rachel Cohen's Tribute to Beauford
Cohen has recently published three articles in which she examines one or more aspects of Beauford's work.
In "'Here is a man who could do whatever interested him in paint’ – on the paintings of Beauford Delaney," she discusses Through the Unusual Door, the Knoxville Museum of art exhibition that opened this February.
© Les Amis de Beauford Delaney
In "Beauford Delaney Close Looking," she marvels over the 1965 green and yellow abstract held by the Art Institute of Chicago.
(1965) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire
Court Appointed Administrator
Image courtesy of the Art Institute of Chicago
And in "Delaney and Morisot Ochre: This Week in Self-Portraits," she comments on the use of ochre pigment in Beauford's work and the work of Berthe Morisot.
(1962) oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery, LLC, New York , NY
Each article is rich with photos and observations. Enjoy them!
Vincent Livelli Remembers Beauford
I was recently contacted by Peter Stebbins, President of the Lily and Earle M. Pilgrim Art Foundation, who shared information about a connection between Beauford and Barbadian-American artist, Earle Montrose Pilgrim. Stebbins learned of this connection through an online oral history that Vincent Livelli provided for the Greenwich Village Society for Historic Preservation. He personally interviewed Livelli and connected me with Annie Basulto, Lead Preservationist of The Vincent Livelli Preservation Project.
Basulto, in turn, asked Livelli several questions on behalf of Les Amis, and recorded Livelli's responses.
Stebbins shared additional information gleaned from Historietas, a published collection of stories about Vincent Livelli's life.
Vincent Livelli passport photo (~1948)
Courtesy of Vincent Livelli Preservation Project
From all of the above, I've created an account of what Livelli remembers about interacting with Beauford in New York and in France.
Vincent Livelli was born to Italian immigrants in Brooklyn in 1920. He moved with his family to Greenwich Village when he was three months old and spent his entire life there. Exposure to lead during his youth caused a severe hearing impairment, yet he went on to master four languages in addition to English as well as develop an appreciation for Afro-Cuban music and become an accomplished dancer. He eventually became a cruise ship director and traveled the world for twenty years.
Livelli met Beauford in the Village in ~1946. He considers Beauford to have been a very close friend. At various points in his writing, he described Beauford as being "like a little Buddha" and "just precious," and said Beauford was "distinguished in comportment" with "a religious quality" and a "proper demeanor." He also described Beauford as "a wise owl who wore his hair like Nat King Cole." In his recorded audio statement, he said Beauford was the "sweetest, noblest gentleman I have ever met."
Livelli visited Beauford at his Greene Street studio many times. He mentioned broken windows, the lack of sufficient heat, and no hot water, and said that Beauford was always bundled up, always wearing a robe of some kind. He described the studio as being lit by candles and said that Beauford once sang "Amazing Grace" to him at the studio to "keep the cold at bay." He compared Beauford to Proust, saying that both men "wore wool scarves and, spoke profoundly and were reclusive but open to conversation."
Portrait of Beauford Delaney
(ca. 1950)
Possibly by Gjon Mili
Beauford inspired Livelli, who recalls sitting on a Washington Square Park bench with Beauford and asking him if he didn't worry because he had no money, a cold apartment, no job... Beauford responded that he only worried when he didn't feel well and Livelli thought that was a wonderful philosophy to live by.
Washington Square, looking north
(1936) Berenice Abbott
Image source: Wikimedia Commons
Image in the public domain
In recalling Beauford's contributions to the Washington Square Outdoor Show, Livelli said that Beauford and two other artists, Earle Pilgrim and Charlie Thomas, sold paintings at the park and in the surrounding neighborhood in 1946 and 1947. He also recalled seeing Beauford's paintings in a gallery on 57th Street.
Livelli provided interesting anecdotes about Beauford and Dante Pavone (Beauford's unrequited love) in Historietas, saying that they both dressed as "monks" because Beauford wore a skullcap and Dante wore a cassock instead of a suit. He described how Beauford and Dante did not walk together in public. Instead, Beauford would wait for Dante, sitting on a bench near Livelli and Anatole Boyard's West 4th Street apartment where they would sometimes rendezvous. He also recalled that Beauford would sometimes wait for Dante beneath the Garibaldi statue near his Greene Street studio.
Dante Pavone as Christ
(1948) Pastel on paper
23 ¼ x 19 ¾ inches
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Knoxville Museum of Art, purchase with funds provided by the KMA Collectors Circle with additional gifts from Barbara Apking, June and Rob Heller, Donna Kerr, Alexandra Rosen and Donald Cooney, Ted Smith and David Butler, Mimi and Milton Turner, John Cotham, Jan and Pete Crawford, Cathy and Mark Hill, Florence and Russell Johnston, John Z. C. Thomas, Donna and Terry Wertz, Jayne and Myron Ely, Sarah Stowers, Robin and Joe Ben Turner, and Jacqueline Wilson
Garibaldi Statue by Giovanni Turini
Photo by Another Believer
CC-BY-SA 3.0
Livelli mentions that Henry Miller, the Ascoli family, and Anatole Broyard supported Beauford financially during Beauford's New York years.
As a lover of drums and drumming, Livelli was pleased to learn that Beauford enjoyed listening to drum music and played the drum. He said that Beauford liked and collected African drums and recounts that he gave Beauford a nail-studded Japanese drum "to add to his modest collection." He also gave Beauford a drum that he brought back from a trip to India.
Livelli shared a story about meeting Beauford and James Baldwin in Cannes. He said Beauford offered to paint his portrait but that he was unable to accept the offer. He speculated what that painting might be worth today and said it would be cherished over his fireplace.
Basulto, in turn, asked Livelli several questions on behalf of Les Amis, and recorded Livelli's responses.
Stebbins shared additional information gleaned from Historietas, a published collection of stories about Vincent Livelli's life.
Courtesy of Vincent Livelli Preservation Project
From all of the above, I've created an account of what Livelli remembers about interacting with Beauford in New York and in France.
Vincent Livelli was born to Italian immigrants in Brooklyn in 1920. He moved with his family to Greenwich Village when he was three months old and spent his entire life there. Exposure to lead during his youth caused a severe hearing impairment, yet he went on to master four languages in addition to English as well as develop an appreciation for Afro-Cuban music and become an accomplished dancer. He eventually became a cruise ship director and traveled the world for twenty years.
Livelli met Beauford in the Village in ~1946. He considers Beauford to have been a very close friend. At various points in his writing, he described Beauford as being "like a little Buddha" and "just precious," and said Beauford was "distinguished in comportment" with "a religious quality" and a "proper demeanor." He also described Beauford as "a wise owl who wore his hair like Nat King Cole." In his recorded audio statement, he said Beauford was the "sweetest, noblest gentleman I have ever met."
Livelli visited Beauford at his Greene Street studio many times. He mentioned broken windows, the lack of sufficient heat, and no hot water, and said that Beauford was always bundled up, always wearing a robe of some kind. He described the studio as being lit by candles and said that Beauford once sang "Amazing Grace" to him at the studio to "keep the cold at bay." He compared Beauford to Proust, saying that both men "wore wool scarves and, spoke profoundly and were reclusive but open to conversation."
(ca. 1950)
Possibly by Gjon Mili
Beauford inspired Livelli, who recalls sitting on a Washington Square Park bench with Beauford and asking him if he didn't worry because he had no money, a cold apartment, no job... Beauford responded that he only worried when he didn't feel well and Livelli thought that was a wonderful philosophy to live by.
(1936) Berenice Abbott
Image source: Wikimedia Commons
Image in the public domain
In recalling Beauford's contributions to the Washington Square Outdoor Show, Livelli said that Beauford and two other artists, Earle Pilgrim and Charlie Thomas, sold paintings at the park and in the surrounding neighborhood in 1946 and 1947. He also recalled seeing Beauford's paintings in a gallery on 57th Street.
Livelli provided interesting anecdotes about Beauford and Dante Pavone (Beauford's unrequited love) in Historietas, saying that they both dressed as "monks" because Beauford wore a skullcap and Dante wore a cassock instead of a suit. He described how Beauford and Dante did not walk together in public. Instead, Beauford would wait for Dante, sitting on a bench near Livelli and Anatole Boyard's West 4th Street apartment where they would sometimes rendezvous. He also recalled that Beauford would sometimes wait for Dante beneath the Garibaldi statue near his Greene Street studio.
(1948) Pastel on paper
23 ¼ x 19 ¾ inches
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Knoxville Museum of Art, purchase with funds provided by the KMA Collectors Circle with additional gifts from Barbara Apking, June and Rob Heller, Donna Kerr, Alexandra Rosen and Donald Cooney, Ted Smith and David Butler, Mimi and Milton Turner, John Cotham, Jan and Pete Crawford, Cathy and Mark Hill, Florence and Russell Johnston, John Z. C. Thomas, Donna and Terry Wertz, Jayne and Myron Ely, Sarah Stowers, Robin and Joe Ben Turner, and Jacqueline Wilson
Photo by Another Believer
CC-BY-SA 3.0
Livelli mentions that Henry Miller, the Ascoli family, and Anatole Broyard supported Beauford financially during Beauford's New York years.
As a lover of drums and drumming, Livelli was pleased to learn that Beauford enjoyed listening to drum music and played the drum. He said that Beauford liked and collected African drums and recounts that he gave Beauford a nail-studded Japanese drum "to add to his modest collection." He also gave Beauford a drum that he brought back from a trip to India.
Livelli shared a story about meeting Beauford and James Baldwin in Cannes. He said Beauford offered to paint his portrait but that he was unable to accept the offer. He speculated what that painting might be worth today and said it would be cherished over his fireplace.
Beauford's Palette
Several months ago, I wrote a post about Beauford at the Luxembourg Garden.
I thought of it as I passed the garden the other day, while my husband and I were out for our 1-hour allotment of exercise during the COVID-19 pandemic. The garden's grillwork fence allows for a virtually unobstructed view of the landscape, which is even more stunning in the absence of people.
The flower beds were MAGNIFICENT! The colors were so vibrant and beautifully transposed that I immediately thought of Beauford's palette.
I'm sure he would have appreciated these colors and can easily imagine what he would have done with them on canvas.
Yellow tulips
© Entrée to Black Paris
He would have been beside himself had he seen these gorgeous red tulips.
Red tulips
© Entrée to Black Paris
Red tulips - "zoom lens view"
© Entrée to Black Paris
And though I'm sure he would have admired Le Faune dansant, I think he would have enjoyed the surrounding tulips more!
Le Faune Dansant and tulip bed
© Entrée to Black Paris
Stay safe and stay home!
I thought of it as I passed the garden the other day, while my husband and I were out for our 1-hour allotment of exercise during the COVID-19 pandemic. The garden's grillwork fence allows for a virtually unobstructed view of the landscape, which is even more stunning in the absence of people.
The flower beds were MAGNIFICENT! The colors were so vibrant and beautifully transposed that I immediately thought of Beauford's palette.
I'm sure he would have appreciated these colors and can easily imagine what he would have done with them on canvas.
© Entrée to Black Paris
He would have been beside himself had he seen these gorgeous red tulips.
© Entrée to Black Paris
© Entrée to Black Paris
And though I'm sure he would have admired Le Faune dansant, I think he would have enjoyed the surrounding tulips more!
© Entrée to Black Paris
Stay safe and stay home!
Beauford (Not) on View
Three major museums are showing a Beauford Delaney work in temporary exhibitions this spring. Unfortunately, all the exhibitions are closed at present due to the COVID-19 pandemic.
A vibrant work from Beauford's New York years is on display at the Pennsylvania Academy of the Fine Art as part of Awakened in You: The Collection of Dr. Constance E. Clayton. The exhibition showcases works from the museum's March 2019 acquisition of more than seventy artworks by African American artists from the collection of American educator and arts advocate Constance E. Clayton.
Untitled (abstract)
(1945) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Awakened in You opened on February 20, 2020 and is scheduled to run through July 12, 2020.
The Phillips Collection has included an untitled Beauford Delaney abstract in Riffs and Relations: African American Artists and the European Modernist Tradition , an exhibition that opened on February 29 and is scheduled to run through May 24. In a Washington Post article dated March 12, 2020, Phillip Kennicott describes this work as "a burst of yellow, orange and red, with subtle blue tones in the interstices of a vibrant field of brush work." (No photo of the work is displayed in the article or on the Phillips Collection Web site.)
Black Refractions: Highlights from The Studio Museum in Harlem is a major traveling exhibition comprised of over one hundred works by nearly eighty artists from the 1920s to the present. One of these works is Beauford's Portrait of a Young Musician.
Portrait of a Young Musician
(1970) Acrylic on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Studio Museum in Harlem; Gift of Ms. Ogust Delaney Stewart, Knoxville, TN 2004.2.27
Photo: Marc Bernier
The Studio Museum in Harlem and the American Federation of Arts have partnered to take this exhibition to six venues across the U.S. Currently it is hung at the Smith College Museum of Art in Northampton, Massachusetts, the only venue in the northeastern quadrant of the U.S. to host the show. It is scheduled to close on April 17 and to open at the Frye Art Museum in Seattle on May 9.
For the latest information on these exhibitions, visit the following Web sites:
Awakened in You: The Collection of Dr. Constance E. Clayton
Riffs and Relations: African American Artists and the European Modernist Tradition
Black Refractions: Highlights from The Studio Museum in Harlem
A vibrant work from Beauford's New York years is on display at the Pennsylvania Academy of the Fine Art as part of Awakened in You: The Collection of Dr. Constance E. Clayton. The exhibition showcases works from the museum's March 2019 acquisition of more than seventy artworks by African American artists from the collection of American educator and arts advocate Constance E. Clayton.
(1945) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire
Court Appointed Administrator
Image courtesy of Michael Rosenfeld Gallery LLC, New York, NY
Awakened in You opened on February 20, 2020 and is scheduled to run through July 12, 2020.
The Phillips Collection has included an untitled Beauford Delaney abstract in Riffs and Relations: African American Artists and the European Modernist Tradition , an exhibition that opened on February 29 and is scheduled to run through May 24. In a Washington Post article dated March 12, 2020, Phillip Kennicott describes this work as "a burst of yellow, orange and red, with subtle blue tones in the interstices of a vibrant field of brush work." (No photo of the work is displayed in the article or on the Phillips Collection Web site.)
Black Refractions: Highlights from The Studio Museum in Harlem is a major traveling exhibition comprised of over one hundred works by nearly eighty artists from the 1920s to the present. One of these works is Beauford's Portrait of a Young Musician.
(1970) Acrylic on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Studio Museum in Harlem; Gift of Ms. Ogust Delaney Stewart, Knoxville, TN 2004.2.27
Photo: Marc Bernier
The Studio Museum in Harlem and the American Federation of Arts have partnered to take this exhibition to six venues across the U.S. Currently it is hung at the Smith College Museum of Art in Northampton, Massachusetts, the only venue in the northeastern quadrant of the U.S. to host the show. It is scheduled to close on April 17 and to open at the Frye Art Museum in Seattle on May 9.
For the latest information on these exhibitions, visit the following Web sites:
Awakened in You: The Collection of Dr. Constance E. Clayton
Riffs and Relations: African American Artists and the European Modernist Tradition
Black Refractions: Highlights from The Studio Museum in Harlem
Beauford - Exhibitions Online
More and more museums are expanding opportunities to see works and even exhibitions online in the face of COVID-19. Today I want to remind you of one exhibition of Beauford’s work that was originally conceived for online viewing and share news of another that is being shared with the world via Facebook!
Beauford Delaney: A Study in Portraiture is an outstanding online study of Beauford's portraiture created by Maija Brennan, a senior at Smith College.
Maija curated the exhibition during her 2019 summer internship in Paris with the Wells International Foundation. She chose to examine a selection of portraits - including several self-portraits - from Beauford's Boston, New York, and Paris years. She included scholarly commentary for each segment of the exhibition and on each work presented. She also created a timeline of Beauford's life to put the entire presentation into context.
Beauford Delaney: A Study in Portraiture is available for viewing indefinitely. Click HERE to read more about the process behind the creation of the exhibition.
A few weeks ago, I wrote about Through the Unusual Door, the live exhibition that the Knoxville Museum of Art (KMA) mounted to explore the relationship between Beauford and James Baldwin.
Signage at Through the Unusual Door
Image by Les Amis de Beauford Delaney
Fortunately, the opening and a host of additional events honoring Beauford and Baldwin took place during the month of February, before COVID-19 became a pandemic. Hundreds of people came to see the exhibition throughout February and early March. But on March 16th, KMA announced that it would close until further notice. On the following day, it posted the following announcement on its Facebook page:
Almost every day since then, the museum has published a post about some aspect of Beauford's or Baldwin's life path that includes one or more photographs or images of Beauford's art. All posts are being "liked" and shared.
This is a marvelous way to have the exhibition unfold!
KMA now expects to remained closed to the public until at least July 1. On April 3, I received the following information from Stephen Wicks, Barbara W. and Bernard E. Bernstein Curator at the museum:
"During this dark period we are trying everything we can to stay connected with the public and continue to celebrate the creative collaboration of Beauford Delaney and James Baldwin in this time of social isolation. With that in mind, we are hoping to release the exhibition catalog as a free e-book available on the museum’s website, the publisher UTPress’s website, and any lender’s website that would also like to feature the e-catalog."
Through the Unusual Door catalog cover
The print version of the catalog is superb, so news of the possibility of a free electronic version being released is more than welcome.
I hope you're staying close to home and will take the time to enjoy a virtual visit to both exhibitions. They will bring you joy!
Beauford Delaney: A Study in Portraiture is an outstanding online study of Beauford's portraiture created by Maija Brennan, a senior at Smith College.
Maija curated the exhibition during her 2019 summer internship in Paris with the Wells International Foundation. She chose to examine a selection of portraits - including several self-portraits - from Beauford's Boston, New York, and Paris years. She included scholarly commentary for each segment of the exhibition and on each work presented. She also created a timeline of Beauford's life to put the entire presentation into context.
Beauford Delaney: A Study in Portraiture is available for viewing indefinitely. Click HERE to read more about the process behind the creation of the exhibition.
A few weeks ago, I wrote about Through the Unusual Door, the live exhibition that the Knoxville Museum of Art (KMA) mounted to explore the relationship between Beauford and James Baldwin.
Image by Les Amis de Beauford Delaney
Fortunately, the opening and a host of additional events honoring Beauford and Baldwin took place during the month of February, before COVID-19 became a pandemic. Hundreds of people came to see the exhibition throughout February and early March. But on March 16th, KMA announced that it would close until further notice. On the following day, it posted the following announcement on its Facebook page:
WE ARE BRINGING OUR NEWEST EXHIBITION TO YOU! Beauford Delaney and James Baldwin: Through the Unusual Door.
While you are at home please follow along with us every morning as we share this amazing story. We hope this brings a little brightness in this unsure time.
And so it begins... The story of Beauford Delaney born in Knoxville, Tennessee on December 30th, 1901 to Delia Johnson Delaney and the Reverend John Samuel Delaney, 815 East Vine Avenue. He was eighth of ten children. @VisitKnoxville #BringingBeaufordHome
Almost every day since then, the museum has published a post about some aspect of Beauford's or Baldwin's life path that includes one or more photographs or images of Beauford's art. All posts are being "liked" and shared.
This is a marvelous way to have the exhibition unfold!
KMA now expects to remained closed to the public until at least July 1. On April 3, I received the following information from Stephen Wicks, Barbara W. and Bernard E. Bernstein Curator at the museum:
"During this dark period we are trying everything we can to stay connected with the public and continue to celebrate the creative collaboration of Beauford Delaney and James Baldwin in this time of social isolation. With that in mind, we are hoping to release the exhibition catalog as a free e-book available on the museum’s website, the publisher UTPress’s website, and any lender’s website that would also like to feature the e-catalog."
The print version of the catalog is superb, so news of the possibility of a free electronic version being released is more than welcome.
I hope you're staying close to home and will take the time to enjoy a virtual visit to both exhibitions. They will bring you joy!
Knoxville Links Are Keeping Beauford's Tombstone Beautiful
On 11 January 2020, I published a blog post called "Keeping Beauford's Tombstone Beautiful," which stated that this year (2020) marks the 10th anniversary of the laying of Beauford's tombstone and that the funds donated by generous individuals for its upkeep have been almost completely depleted.
I indicated that Les Amis de Beauford Delaney seeks to raise enough money to cover the maintenance fees for the next ten years by March 26, 2020 - the 41st anniversary of Beauford's death at Sainte-Anne's Hospital in Paris.
Today I am pleased to announce that the Knoxville (TN) Chapter of The Links, Incorporated has donated the entire amount of the funds required for this purpose!
Knoxville Links
Image courtesy of the Knoxville Links
The Knoxville Links have supported numerous initiatives to preserve and promote Beauford's legacy since the Resonance of Form and Vibration of Color exhibition was held in Paris in 2016. Chapter member Sylvia Peters, who is now the director of Gathering Light: The Delaney Project, attended the exhibition and returned to Knoxville determined to "bring Beauford home" by having the Knoxville Museum of Art (KMA) mount an itinerant version of the show. She told her Links sisters about me, Les Amis de Beauford Delaney, and the exhibition and persuaded them to sponsor my first visit to Knoxville in October 2016.
Monique (seated, third from left) and Knoxville Links
© Wells International Foundation
During that trip, the chapter donated $5000 to the Knoxville Museum of Art (KMA) to support the "Beauford Delaney in America" (BDIA) initiative to bring Resonance of Form to Knoxville.
Knoxville Links, Monique Y. Wells, and
KMA Executive Director David Butler with check
© Wells International Foundation
BDIA was the precursor for Gathering Light - a multifaceted community project that promotes and celebrates Beauford's life and art. The chapter is a charter member and promoter of this project and has consistently participated in efforts to make people in Knoxville and the surrounding region aware of Beauford's story and his work. The international organization of The Links, Incorporated has bestowed an award on the Knoxville chapter for this work.
As part of The Delaney Project, the Links partnered with KMA and West View Elementary School to implement a pilot educational program called "Bringing Beauford Delaney Home." This was designed to teach the children of Knoxville and Knox County about Beauford's life and work and to inspire the children to create their own art based on what they learned about him. The program unfolded between February 2 and March 31, 2017 at the school and the museum.
Student artwork at West View Elementary School
Image courtesy of Link Sylvia Peters
The highlight of the experience was the Arts Night event hosted by West View Elementary School on the evening of March 30, where the school proudly displayed the works created by its students. The artwork was subsequently displayed in the Education Gallery at KMA from June 1-30, 2017.
Student artwork at KMA Education Gallery
Image courtesy of the Knoxville Museum of Art
In late 2017-early 2018, the chapter and KMA teamed up once again to host "A Toast to the Arts," a reception during which KMA unveiled three Beauford Delaney works that it had recently acquired. This event was part of a joint effort to increase awareness of Beauford’s place in the international art world and to raise funds to bring a critical mass of his work home to Knoxville.
Invitation card for 2018 "A Toast to the Arts" event
Image courtesy of the Knoxville Links
The Links hosted a second "A Toast to the Arts" event in Beauford's honor in September 2019.
Invitation card for 2019 "A Toast to the Arts" event
Image courtesy of the Knoxville Links
Most recently, the Knoxville Links supported the staging of the world premiere of ShadowLight, the Marble City Opera production of the opera about Beauford, with a $25,000 donation.
Marble City Opera Director Kathryn Frady and
Knoxville Links Chapter President Dr. Avice Reid
Image courtesy of the Knoxville Links
At present, chapter members have only seen photos of Beauford's tombstone. Discussion has begun for the planning of an excursion to Paris later this year so they can visit the gravesite personally and celebrate the 10th anniversary of the laying of the stone.
Beauford's tombstone at Thiais Cemetery
© Discover Paris!
I indicated that Les Amis de Beauford Delaney seeks to raise enough money to cover the maintenance fees for the next ten years by March 26, 2020 - the 41st anniversary of Beauford's death at Sainte-Anne's Hospital in Paris.
Today I am pleased to announce that the Knoxville (TN) Chapter of The Links, Incorporated has donated the entire amount of the funds required for this purpose!
Image courtesy of the Knoxville Links
The Knoxville Links have supported numerous initiatives to preserve and promote Beauford's legacy since the Resonance of Form and Vibration of Color exhibition was held in Paris in 2016. Chapter member Sylvia Peters, who is now the director of Gathering Light: The Delaney Project, attended the exhibition and returned to Knoxville determined to "bring Beauford home" by having the Knoxville Museum of Art (KMA) mount an itinerant version of the show. She told her Links sisters about me, Les Amis de Beauford Delaney, and the exhibition and persuaded them to sponsor my first visit to Knoxville in October 2016.
© Wells International Foundation
During that trip, the chapter donated $5000 to the Knoxville Museum of Art (KMA) to support the "Beauford Delaney in America" (BDIA) initiative to bring Resonance of Form to Knoxville.
KMA Executive Director David Butler with check
© Wells International Foundation
BDIA was the precursor for Gathering Light - a multifaceted community project that promotes and celebrates Beauford's life and art. The chapter is a charter member and promoter of this project and has consistently participated in efforts to make people in Knoxville and the surrounding region aware of Beauford's story and his work. The international organization of The Links, Incorporated has bestowed an award on the Knoxville chapter for this work.
As part of The Delaney Project, the Links partnered with KMA and West View Elementary School to implement a pilot educational program called "Bringing Beauford Delaney Home." This was designed to teach the children of Knoxville and Knox County about Beauford's life and work and to inspire the children to create their own art based on what they learned about him. The program unfolded between February 2 and March 31, 2017 at the school and the museum.
Image courtesy of Link Sylvia Peters
The highlight of the experience was the Arts Night event hosted by West View Elementary School on the evening of March 30, where the school proudly displayed the works created by its students. The artwork was subsequently displayed in the Education Gallery at KMA from June 1-30, 2017.
Image courtesy of the Knoxville Museum of Art
In late 2017-early 2018, the chapter and KMA teamed up once again to host "A Toast to the Arts," a reception during which KMA unveiled three Beauford Delaney works that it had recently acquired. This event was part of a joint effort to increase awareness of Beauford’s place in the international art world and to raise funds to bring a critical mass of his work home to Knoxville.
Image courtesy of the Knoxville Links
The Links hosted a second "A Toast to the Arts" event in Beauford's honor in September 2019.
Image courtesy of the Knoxville Links
Most recently, the Knoxville Links supported the staging of the world premiere of ShadowLight, the Marble City Opera production of the opera about Beauford, with a $25,000 donation.
Knoxville Links Chapter President Dr. Avice Reid
Image courtesy of the Knoxville Links
At present, chapter members have only seen photos of Beauford's tombstone. Discussion has begun for the planning of an excursion to Paris later this year so they can visit the gravesite personally and celebrate the 10th anniversary of the laying of the stone.
© Discover Paris!
In a Speculative Light - UTK Symposium on Beauford and Baldwin
"In a Speculative Light" was a powerful and enlightening symposium that explored how the relationship between Beauford and his dearest friend, James Baldwin, shaped their artistic creations and influenced 20th-century arts. Hosted by the University of Tennessee Humanities Center, and funded in part with a Collaborative Research Grant from the National Endowment of the Humanities, it brought together scholars from the domains of visual arts, musicology, and literary studies to address this previously unexplored question. Professor Amy Elias, Director of the UTK Humanities Center, organized the entire event.
The symposium opened on February 19 with "An Evening Celebrating James Baldwin and Beauford Delaney" that featured a keynote presentation by award-winning author Hilton Als.
UTK Humanities Center Director Amy Elias and
Keynote Speaker Hilton Als
Image courtesy of Professor Amy Elias
The event was held at the Knoxville Museum of Art, where the current exhibition, Through the Unusual Door, also focuses on the relationship between Beauford and Baldwin. Als' presentation was entitled "The Mentor: James Baldwin, Beauford Delaney, and the Habit of Doing."
This was followed by two full days of on-campus presentations in six research domains: arts history and Black aesthetics, music and sonic arts, ethics and social values, style and form, gender and sexuality, and biography and legacies.
NYU professor Fred Moten gave his keynote presentation at the end of the first day. His topic was "Blue(s) as Cymbal: Beauford Delaney (Elvin Jones) James Baldwin”; he explored representations of blackness through Beauford's art, Baldwin's writing, and Jones' theory of music.
Keynote speaker Fred Moten
Image courtesy of Professor Amy Elias
A total of 26 speakers presented papers during the symposium. Beauford's biographer, David Leeming, was among them. To see the list of presenters (excluding Hilton Als) and topics, click HERE.
Speakers Magdalena Zaborowska (with microphone)
and Beauford Delaney biographer, David A. Leeming
Image courtesy of Professor Amy Elias
To see the list of presenters and topics (excluding Hilton Als), click HERE.
On Friday, February 21, a private session was held during lunch at the Frieson Black Cultural Center on the UT campus. Tanisha L. Jenkins, Director of UT Multicultural Student Life, welcomed participants and attendees. Presentations were given by Sylvia Peters, Director of The Delaney Project; Monique Y. Wells, President of Les Amis de Beauford Delaney, and Reneé Kesler, President and CEO of the Beck Cultural Exchange Center.
Presenter Monique Y. Wells on screen
at luncheon conference
Image courtesy of Professor Amy Elias
A unique and inspired project associated with the symposium was a pop-up portrait studio project through which four artists created portraits of several of the symposium speakers, including Fred Moten and David Leeming. The artists were Jered Sprecher, Joshua Bienko, Rubens Ghenov, and Mary Laube, all of whom work at UTK. Participants sat with artists for 60- to 90-minute portrait sessions during the run of the symposium in a dedicated space at the UT Student Union. The sessions were open to the public.
Pop-up Portrait Center
Image courtesy of Professor Amy Elias
Also on campus, Derek Spratley, Esq., the executor of the Beauford Delaney estate, presented a showing of Beauford’s paintings at the Student Union Art Gallery. The Paris Years: Paintings by Beauford Delaney from the Artist’s Estate gave the public and UT students, faculty, and staff the opportunity to see original Delaney artwork that was made available for purchase after the close of the exhibition.
The symposium opened on February 19 with "An Evening Celebrating James Baldwin and Beauford Delaney" that featured a keynote presentation by award-winning author Hilton Als.
Keynote Speaker Hilton Als
Image courtesy of Professor Amy Elias
The event was held at the Knoxville Museum of Art, where the current exhibition, Through the Unusual Door, also focuses on the relationship between Beauford and Baldwin. Als' presentation was entitled "The Mentor: James Baldwin, Beauford Delaney, and the Habit of Doing."
This was followed by two full days of on-campus presentations in six research domains: arts history and Black aesthetics, music and sonic arts, ethics and social values, style and form, gender and sexuality, and biography and legacies.
NYU professor Fred Moten gave his keynote presentation at the end of the first day. His topic was "Blue(s) as Cymbal: Beauford Delaney (Elvin Jones) James Baldwin”; he explored representations of blackness through Beauford's art, Baldwin's writing, and Jones' theory of music.
Image courtesy of Professor Amy Elias
A total of 26 speakers presented papers during the symposium. Beauford's biographer, David Leeming, was among them. To see the list of presenters (excluding Hilton Als) and topics, click HERE.
and Beauford Delaney biographer, David A. Leeming
Image courtesy of Professor Amy Elias
To see the list of presenters and topics (excluding Hilton Als), click HERE.
On Friday, February 21, a private session was held during lunch at the Frieson Black Cultural Center on the UT campus. Tanisha L. Jenkins, Director of UT Multicultural Student Life, welcomed participants and attendees. Presentations were given by Sylvia Peters, Director of The Delaney Project; Monique Y. Wells, President of Les Amis de Beauford Delaney, and Reneé Kesler, President and CEO of the Beck Cultural Exchange Center.
at luncheon conference
Image courtesy of Professor Amy Elias
A unique and inspired project associated with the symposium was a pop-up portrait studio project through which four artists created portraits of several of the symposium speakers, including Fred Moten and David Leeming. The artists were Jered Sprecher, Joshua Bienko, Rubens Ghenov, and Mary Laube, all of whom work at UTK. Participants sat with artists for 60- to 90-minute portrait sessions during the run of the symposium in a dedicated space at the UT Student Union. The sessions were open to the public.
Image courtesy of Professor Amy Elias
Also on campus, Derek Spratley, Esq., the executor of the Beauford Delaney estate, presented a showing of Beauford’s paintings at the Student Union Art Gallery. The Paris Years: Paintings by Beauford Delaney from the Artist’s Estate gave the public and UT students, faculty, and staff the opportunity to see original Delaney artwork that was made available for purchase after the close of the exhibition.
The Making of ShadowLight
Amy Elias, Director of the University of Tennessee Humanities Center and organizer of the groundbreaking UTK symposium "In a Speculative Light" on ShadowLight
Last week, I shared news about the world premiere of ShadowLight, the opera that brings Beauford's life story to the stage through song.
In that article, I indicated that Emily Anderson spent six months researching Beauford so that she could write a libretto that vividly portrayed his life.
Image courtesy of Marble City Opera
Today, I'm pleased to share Marble City Opera director Kathryn Frady's remarkable story about how she cast the production and baritone Brandon J. Gibson's sentiments about portraying Beauford. Gibson is also the managing director of Marble City Opera.
Image courtesy of Marble City Opera
To select the cast of ShadowLight, Kathryn Frady completely immersed herself in the music and the roles to be played during the performance:
"I held auditions in the Fall of 2019 after receiving the piano/vocal score from composer Larry Delinger. Larry had designated voice types for each of the roles, but before casting the singers I sang through each of the roles and studied the score so that I could understand what types of voices were needed.
"In opera, there are many different kinds of voices for each voice type. It is not as simple as casting any baritone, soprano, tenor, or bass. The texture of the music and which register the singer spends the majority of their time singing in, are majorly important.
"In my opinion the best way to understand how to cast a new opera is to sing through each role and study the score, so that is what I did. After studying the score I heard auditions and made selections from the singers who attended our audition days."
Frady believes that ShadowLight was well received for several reasons:
"I believe that the story and character of Beauford Delaney, a local to Knoxville, connected to the audience on a personal and emotional level that is unique to our community.
"I believe that the musical score that Larry Delinger created is beautiful, unique, and emotional.
"I believe it was also well received because of the cast's dedication to the interpretation of their characters given to them by the directors and all of the musicians' attention to detail led by maestro, Brian Holman.
on opening night
Image courtesy of Dawn Kunkel
"Add to that the beautiful projections designed by Joe Payne. The evening was well planned out and executed from all aspects."
on opening night
Image courtesy of Dawn Kunkel
The most important thing to Frady for any production is that it connects to the audience and moves them emotionally. She believes that in art, music, and theater, the audience should have a visceral reaction to what they have seen, heard, and experienced. She says that ShadowLight "brought all three of these things together and I believe moved the audience in attendance."
Brandon J. Gibson's portrayal of Beauford was profoundly moving for the audience.
Image courtesy of Marble City Opera
He first heard about Beauford about three years ago, following Marble City Opera’s first year of “Chocolate & Wine” concerts for Valentine's Day. Emily Anderson, the librettist, came to one of these performances and after hearing Gibson sing that night, she went up to him and said “I’ve found my Beauford!” She proceeded to tell Gibson about "this wild painter who also happened to be a short, round, and gregarious black man with a deep voice" that she was writing an opera about.
When Gibson looked Beauford up and realized just how local he was to the Knoxville community and how beautiful Beauford's work was, he became intrigued. As he learned about the life behind those works of art, he was even more intrigued and was "hooked from then on."
Gibson's mother died unexpectedly about a year and a half ago and he drew heavily from his experiences dealing with her passing as he portrayed Beauford's relationship with his mother, Delia.
"...it was not a stretch for me to sing about “missing her” as he [Beauford] often does in the opera. Once that vulnerability was established, the other barbs that he endured from the voices in his head were easy to react to in kind."
Image courtesy of Marble City Opera
I asked Gibson why he thought the opera was so well received. He replied:
"I think that the timing of the opera was perfect. From the exhibits, to the lectures and documentaries, etc., the city was primed to learn more about this man’s tragic story. The
combination of the material, and the visual elements really added a lot as well. The score, text, and direction all combined to tell a rich story."
The most important thing about ShadowLight for Gibson was that
"...in the end, Beauford triumphed. Despite, or perhaps in spite of his struggles, he was able to bring some beauty into the world. And to leave behind a legacy that serves as an inspiration to all of us. I feel honored to have played a small part in bringing his story to life!"
Image courtesy of Marble City Opera
Read additional reviews of ShadowLight here:
Marble City Opera’s 'Shadowlight' is another success
Opera airs anguish and artistry of Beauford Delaney
Read articles that describe Beauford's emergence into the minds and hearts of the people in Knoxville and East Tennessee here:
Artist of Color
Beaufort Delaney Acclaimed From Paris to Knoxville
Beauford Delaney Opera a Tremendous Success!
The world premiere of ShadowLight, the opera that depicts Beauford's life in a series of flashbacks, was a tremendous success!
I posted preliminary information about the opera in last week's blog. At the time, I was not aware that on February 28, OperaWire (an online publication whose mission is "to shine a spotlight on all the amazing people nurturing and developing the art form [of opera] today") listed ShadowLight as one of the top six operas to be seen in North America that weekend:
OperaWire article by David Salazar - February 28, 2020
Opening night was sold out long before February 28.
Opening night audience
Image courtesy of Marble City Opera
Sylvia Peters, director of The Delaney Project, was the first person to send me news of the results of opening night. She said the performance was "spectacular" and that "it must be presented in Paris."
Joy Stone, a parent of one of the children from the Classes Duo Paris / Knoxville program that is rooted in Beauford's life and work, sent me the link to the review by Arts Knoxville - "the source for news and commentary on the art and music scene in Knoxville":
Marble City Opera's 'ShadowLight' - A Stunning Celebration of the Art and Life of Beauford Delaney
I then began receiving comments from others who attended the performance.
Heather Klessig-Zeiger, another Classes Duo parent, had the following to say:
"The combination of art projected on the wall, the orchestra music, the facial expressions and the words spoken were very powerful.
Beauford and his inner voices
Image courtesy of Marble City Opera
"I paid attention to the angst, confusion, fear in the speaker’s face. It was tear jerking when the three voices were speaking all at once which resulted in Beauford crying. The struggle to stay focused on his art to quiet the voices but wanting to hear his mother’s voice. Calling out to his mom and wanting her when he was in Paris, watching him in the insane asylum and fighting against people who had to restrain him was hard to swallow.
An anguished Beauford
Image courtesy of Marble City Opera
"Because of ... the 25 years I’ve worked with children and adults with mental illness, it was powerful and insightful. I have seen first hand the way a person acts and responds to this trauma and not wanting to live to get rid of the pain. All of this was so beautifully conveyed with the music, his art and James Baldwin’s words.
"ShadowLight is not the presence of darkness in light but the presence of a light (Beauford) in the darkness. I believe that was the meaning of it all."
L to R: Librettist Emily Anderson; cast members Brandon J. Gibson, Regan Bisch, Vincent Davis, and Breyon Ewing;
director Kathryn Frady; orchestra conductor Brian Holman, composer Larry Delinger, cast member Joshua Allen
Image courtesy of Marble City Opera
Librettist Emily Anderson shared the following about her involvement in ShadowLight:
"I first learned about Beauford Delaney twenty-five years ago, when Knoxville Museum of Art curator Stephen Wicks started researching him. Sylvia Peters, director of The Delaney Project, invited me to write the libretto. I spent six months researching Delaney’s life, mostly in newspaper and magazine clippings and museum catalogues, plus the David Leeming biography. Except for the Leeming biography, there is not much about him in any archive."
I asked Anderson why she believes the opera was so well received. She replied that the audience seemed to understand who Beauford was, the obstacles he overcame, and the contributions he made to 20th-century art. The most important thing about the performance for her was that "Audience members took Beauford Delaney home with them."
Marble House Opera director Kathryn Frady first learned of Beauford when Anderson approached her about producing an opera about Beauford. She told me that one of her passions is to tell stories through opera that are relatable and accessible to a new audience. So the idea of producing an opera about an artist from Knoxville made logical and emotional sense to her.
Frady describes ShadowLight as "a story of someone that our audiences themselves would be excited about seeing, since he grew up where they live, and that had the potential to bring a new non-traditional opera audience to the performance."
Next week: I'll share information about how director Kathryn Frady selected the cast for ShadowLight.
I posted preliminary information about the opera in last week's blog. At the time, I was not aware that on February 28, OperaWire (an online publication whose mission is "to shine a spotlight on all the amazing people nurturing and developing the art form [of opera] today") listed ShadowLight as one of the top six operas to be seen in North America that weekend:
Opening night was sold out long before February 28.
Image courtesy of Marble City Opera
Sylvia Peters, director of The Delaney Project, was the first person to send me news of the results of opening night. She said the performance was "spectacular" and that "it must be presented in Paris."
Joy Stone, a parent of one of the children from the Classes Duo Paris / Knoxville program that is rooted in Beauford's life and work, sent me the link to the review by Arts Knoxville - "the source for news and commentary on the art and music scene in Knoxville":
Marble City Opera's 'ShadowLight' - A Stunning Celebration of the Art and Life of Beauford Delaney
I then began receiving comments from others who attended the performance.
Heather Klessig-Zeiger, another Classes Duo parent, had the following to say:
"The combination of art projected on the wall, the orchestra music, the facial expressions and the words spoken were very powerful.
Image courtesy of Marble City Opera
"I paid attention to the angst, confusion, fear in the speaker’s face. It was tear jerking when the three voices were speaking all at once which resulted in Beauford crying. The struggle to stay focused on his art to quiet the voices but wanting to hear his mother’s voice. Calling out to his mom and wanting her when he was in Paris, watching him in the insane asylum and fighting against people who had to restrain him was hard to swallow.
Image courtesy of Marble City Opera
"Because of ... the 25 years I’ve worked with children and adults with mental illness, it was powerful and insightful. I have seen first hand the way a person acts and responds to this trauma and not wanting to live to get rid of the pain. All of this was so beautifully conveyed with the music, his art and James Baldwin’s words.
"ShadowLight is not the presence of darkness in light but the presence of a light (Beauford) in the darkness. I believe that was the meaning of it all."
director Kathryn Frady; orchestra conductor Brian Holman, composer Larry Delinger, cast member Joshua Allen
Image courtesy of Marble City Opera
Librettist Emily Anderson shared the following about her involvement in ShadowLight:
"I first learned about Beauford Delaney twenty-five years ago, when Knoxville Museum of Art curator Stephen Wicks started researching him. Sylvia Peters, director of The Delaney Project, invited me to write the libretto. I spent six months researching Delaney’s life, mostly in newspaper and magazine clippings and museum catalogues, plus the David Leeming biography. Except for the Leeming biography, there is not much about him in any archive."
I asked Anderson why she believes the opera was so well received. She replied that the audience seemed to understand who Beauford was, the obstacles he overcame, and the contributions he made to 20th-century art. The most important thing about the performance for her was that "Audience members took Beauford Delaney home with them."
Marble House Opera director Kathryn Frady first learned of Beauford when Anderson approached her about producing an opera about Beauford. She told me that one of her passions is to tell stories through opera that are relatable and accessible to a new audience. So the idea of producing an opera about an artist from Knoxville made logical and emotional sense to her.
Frady describes ShadowLight as "a story of someone that our audiences themselves would be excited about seeing, since he grew up where they live, and that had the potential to bring a new non-traditional opera audience to the performance."
Next week: I'll share information about how director Kathryn Frady selected the cast for ShadowLight.
Black and White and ShadowLight: Beauford's Life in History and Song
As Black History Month comes to a close, Knoxville continues to recognize and celebrate Beauford.
Promotional image for Black & White
L to R: Beauford Delaney, Joseph Delaney, and Ruth Cobb Brice
The Museum of East Tennessee History is featuring Black & White: Knoxville in the Jim Crow Era, an exhibition that explores what life was like for African Americans in Knoxville during the Jim Crow era. This exhibition, presented as a timeline, provides historical context to the lives of local African-American artists Beauford Delaney, Joseph Delaney, and Ruth Cobb Brice. It seeks to answer what influence the city had on the early lives of these artists and whether they could succeed without leaving home.
East Tennessee History Center
© Wells International Foundation
The show highlights three African-American artists from Knoxville — Beauford, his brother Joseph, and Ruth Cobb Brice — and examines how Knoxville during the Jim Crow era shaped their lives and careers.
Entrance to Black & White exhibition
Image courtesy of the East Tennessee History Center
The exhibition includes 66 artifacts highlighting the history of race relations, African-American art, and the development of an art community in Knoxville following the Civil War. Forty-five (45) of these artifacts are on loan to the Museum of East Tennessee History from the Calvin M. McClung Historical Collection, the Beck Cultural Exchange Center, and private donors. Also featured are several videos, including "Knoxville’s Red Summer: The Riot of 1919" and "Beauford Delaney," both of which are courtesy of East Tennessee PBS and Black Appalachia; and "The Civil Rights Movement in Knoxville," courtesy of the Tennessee Archive of Moving Image and Sound. A variety of artworks by the highlighted artists are on display as well as works from other Knoxville-based artists who influenced them.
Photo of the Delaney Family at Black & White exhibition
Image courtesy of the East Tennessee History Center
"Beauford Delaney Abroad" at Black & White exhibition
Image courtesy of the East Tennessee History Center
Black & White: Knoxville in the Jim Crow Era opened on February 14, 2020 and is on view through June 14, 2020. For more information, call (865) 215-8824, email: , or visit www.easttnhistory.org.
The world premiere of ShadowLight, a Marble City Opera production that presents Beauford's life through song, took place at the Beck Cultural Center on Friday, February 28.
Starring Brandon J. Gibson as Beauford and Vincent Davis as James Baldwin, it sold out weeks in advance.
ShadowLight rehearsal - Brandon J. Gibson as Beauford
Image courtesy of Marble City Opera
ShadowLight rehearsal - Vincent Davis as James Baldwin
Image courtesy of Marble City Opera
Beauford's tormenting inner voices are being sung by Regan Bisch, Joshua Allen, and Breyon Ewing. Brian Holman is conducting the orchestra.
ShadowLight rehearsal - Beauford taunted by his voices
L to R: Joshua Allen, Breyon Ewing, Regan Bisch
Image courtesy of Marble City Opera
I had the pleasure of meeting Gibson for the first time during my recent visit to Knoxville for the opening of the Through the Unusual Door exhibition at the Knoxville Museum of Art.
L to R: Marble City Opera artistic director Kathryn Frady,
Monique Y. Wells, and Brandon J. Gibson
ShadowLight was written by Larry Delinger (music) and Emily Anderson (libretto) and is directed by James Marvel and Kathryn Frady. The show's finale will be presented at the Beck Cultural Center this evening.
To learn more about the production, click HERE.
L to R: Beauford Delaney, Joseph Delaney, and Ruth Cobb Brice
The Museum of East Tennessee History is featuring Black & White: Knoxville in the Jim Crow Era, an exhibition that explores what life was like for African Americans in Knoxville during the Jim Crow era. This exhibition, presented as a timeline, provides historical context to the lives of local African-American artists Beauford Delaney, Joseph Delaney, and Ruth Cobb Brice. It seeks to answer what influence the city had on the early lives of these artists and whether they could succeed without leaving home.
© Wells International Foundation
The show highlights three African-American artists from Knoxville — Beauford, his brother Joseph, and Ruth Cobb Brice — and examines how Knoxville during the Jim Crow era shaped their lives and careers.
Image courtesy of the East Tennessee History Center
The exhibition includes 66 artifacts highlighting the history of race relations, African-American art, and the development of an art community in Knoxville following the Civil War. Forty-five (45) of these artifacts are on loan to the Museum of East Tennessee History from the Calvin M. McClung Historical Collection, the Beck Cultural Exchange Center, and private donors. Also featured are several videos, including "Knoxville’s Red Summer: The Riot of 1919" and "Beauford Delaney," both of which are courtesy of East Tennessee PBS and Black Appalachia; and "The Civil Rights Movement in Knoxville," courtesy of the Tennessee Archive of Moving Image and Sound. A variety of artworks by the highlighted artists are on display as well as works from other Knoxville-based artists who influenced them.
Image courtesy of the East Tennessee History Center
Image courtesy of the East Tennessee History Center
Black & White: Knoxville in the Jim Crow Era opened on February 14, 2020 and is on view through June 14, 2020. For more information, call (865) 215-8824, email: , or visit www.easttnhistory.org.
The world premiere of ShadowLight, a Marble City Opera production that presents Beauford's life through song, took place at the Beck Cultural Center on Friday, February 28.
Starring Brandon J. Gibson as Beauford and Vincent Davis as James Baldwin, it sold out weeks in advance.
Image courtesy of Marble City Opera
Image courtesy of Marble City Opera
Beauford's tormenting inner voices are being sung by Regan Bisch, Joshua Allen, and Breyon Ewing. Brian Holman is conducting the orchestra.
L to R: Joshua Allen, Breyon Ewing, Regan Bisch
Image courtesy of Marble City Opera
I had the pleasure of meeting Gibson for the first time during my recent visit to Knoxville for the opening of the Through the Unusual Door exhibition at the Knoxville Museum of Art.
Monique Y. Wells, and Brandon J. Gibson
ShadowLight was written by Larry Delinger (music) and Emily Anderson (libretto) and is directed by James Marvel and Kathryn Frady. The show's finale will be presented at the Beck Cultural Center this evening.
To learn more about the production, click HERE.
The Art of Delaney: Redeeming, Reconciling & Healing
While I was in Knoxville for the opening of Through the Unusual Door, the exquisite monographic exhibition of Beauford's work at the Knoxville Museum of Art, I had the pleasure of returning to the Beck Cultural Center, which is Knoxville's storehouse of African-American history and culture and a primary repository of black history and culture in East Tennessee. Beck is restoring the Delaney family home on Dandridge Avenue with the intent to create The Delaney Museum at Beck.
Delaney home on Dandridge Avenue
© Wells International Foundation
Beck's president, Rev. Reneé Kesler, gave a private, guided tour of the center and proudly presented several items recovered from the home. She also spoke passionately about the original performing arts tribute to Beauford and the Delaney family that she is writing and producing. It is called The Art of Delaney: Redeeming, Reconciling & Healing. Through this Black History Month show, she will interconnect the story of the Delaney family with the story of African-American history through the arts.
Photo of the Delaney Family, 1909
Top, left to right: Samuel Emery, John Samuel, Delia
Bottom, left to right: Joseph, Ogust Mae, Beauford, Naomi
Image © Discover Paris!
Rev. Kesler says that “Beauford Delaney is by far the most important artist Knoxville produced in the twentieth century, at least in terms of national and international reputation. This special tribute will showcase the influence of Beauford’s art and its ability to redeem, reconcile and heal, at a time when we need it the most."
Hosted by Dr. Maxine Thompson Davis, former Assistant Vice Chancellor of Student Life at the University of Tennessee Knoxville,The Art of Delaney will feature several acts:
The Art of Delaney will be performed at the Bijou Theatre, 803 S Gay St in downtown Knoxville on Monday, February 24 at 6:30 PM.
Bijou Theatre
© Les Amis de Beauford Delaney
Tickets are $10 for adults and $5 for students K-12 and are available online at Ticketmaster (fees apply). Bijou tickets can be purchased at the Tennessee Theatre box office located at 224 Clinch Avenue on the side of the theatre ($1.00 fee).
The performance is sponsored by the Beck Cultural Exchange Center and the Bijou Theatre with support from UBS Financial Services.
Beauford Delaney banner on Gay Street
© Les Amis de Beauford Delaney
© Wells International Foundation
Beck's president, Rev. Reneé Kesler, gave a private, guided tour of the center and proudly presented several items recovered from the home. She also spoke passionately about the original performing arts tribute to Beauford and the Delaney family that she is writing and producing. It is called The Art of Delaney: Redeeming, Reconciling & Healing. Through this Black History Month show, she will interconnect the story of the Delaney family with the story of African-American history through the arts.
Top, left to right: Samuel Emery, John Samuel, Delia
Bottom, left to right: Joseph, Ogust Mae, Beauford, Naomi
Image © Discover Paris!
Rev. Kesler says that “Beauford Delaney is by far the most important artist Knoxville produced in the twentieth century, at least in terms of national and international reputation. This special tribute will showcase the influence of Beauford’s art and its ability to redeem, reconcile and heal, at a time when we need it the most."
Hosted by Dr. Maxine Thompson Davis, former Assistant Vice Chancellor of Student Life at the University of Tennessee Knoxville,The Art of Delaney will feature several acts:
- - Music by the Knoxville Opera Gospel Choir, which is celebrating over ten years of concert performances under the direction of Jeanie Turner Melton.
- - Singing performance of the final scene from Okoye’s Harriet Tubman by Adia Evans, accompanied by Brian Salesky, Executive and Artistic Director of the Knoxville Opera.
- - West African drum and dance performances by the Austin East Magnet High School performing arts department under the direction of Malaika Guthrie.
- - Fashions that bring art to life by Yvette Rice of YR Productions.
- - Music by saxophonist Casey McClintock.
- - Presentation of the award-winning theatrical performance, “The Cure” by Dalton Miksa of Morristown West High School and Chris Cox of the University of Alabama.
- - Portrayals of Beauford's mother, Delia Delaney, by Artece Slay and Beauford by Malik Baines.
The Art of Delaney will be performed at the Bijou Theatre, 803 S Gay St in downtown Knoxville on Monday, February 24 at 6:30 PM.
© Les Amis de Beauford Delaney
Tickets are $10 for adults and $5 for students K-12 and are available online at Ticketmaster (fees apply). Bijou tickets can be purchased at the Tennessee Theatre box office located at 224 Clinch Avenue on the side of the theatre ($1.00 fee).
The performance is sponsored by the Beck Cultural Exchange Center and the Bijou Theatre with support from UBS Financial Services.
© Les Amis de Beauford Delaney
Knoxville Continues to Celebrate Beauford - What's Coming Next
I'm back in Paris after visiting Knoxville for the FABULOUS opening of Beauford Delaney and James Baldwin: Through the Unusual Door.
Banners bearing Beauford's image line the streets around the Knoxville Museum of Art.
Banners near the Knoxville Museum of Art
© Les Amis de Beauford Delaney
Signage on the façade of the museum announces the exhibition.
What's on at the Knoxville Museum of Art
© Les Amis de Beauford Delaney
Inside, a enlarged photo of Beauford and James Baldwin walking down a Paris avenue greets visitors.
Monique Y. Wells and photo of James Baldwin and Beauford Delaney
Image courtesy of the Knoxville Museum of Art
The museum was packed for the VIP preview of the exhibition and the excitement of the attendees was palpable.
Attendees at VIP Preview of Through the Unusual Door
Image courtesy of the Knoxville Museum of Art
The exhibition itself is exquisite!
Exhibition rooms for Through the Unusual Door
© Les Amis de Beauford Delaney
It has whetted the appetite of Knoxville's citizens for the next big celebration of the lives and work of Beauford and Baldwin - the University of Tennessee Knoxville's symposium entitled "In a Speculative Light."
Banners for "In a Speculative Light" on campus
at the University of Tennessee Knoxville
Photo courtesy of Amy J. Elias, Ph.D.
Director, University of Tennessee Humanities Center
Originally planned as a closed event, UT Humanities Center director and conference organizer Amy Elias has now opened the symposium to the public due to popular demand. Entry is free.
For additional access, most of the sessions will be livestreamed.
The keynote speaker, NYU professor Fred Moten, will discuss Beauford's painting in relation to Baldwin's writing and Elvin Jones' theory of music on Thursday, February 20, at 3:30 pm in the UTK Student Union Auditorium.
The complete schedule for this three-day event can be found here:
https://baldwindelaney.org/schedule/
"In a Speculative Light: The Portrait Project" is an innovative addition to the symposium that honors Beauford's love of portraiture. Four artists - Jered Sprecher, Joshua Bienko, Rubens Ghenov, and Mary Laube - have offered to create portraits of symposium speakers, who will be asked to sit for their sessions in a pop-up studio in the UT Student Union.
During the week of February 17, visitors to campus will be able to view an exhibition called "The Paris Years: Paintings by Beauford Delaney from the Artist’s Estate" at the Student Union Art Gallery on the UT campus.
This show is being organized by Derek Spratley, Esq., the executor of the Beauford Delaney estate, to give the public and UT students, faculty, and staff the opportunity to see original Delaney artwork that will be available for purchase after the close of the exhibition.
Banners bearing Beauford's image line the streets around the Knoxville Museum of Art.
© Les Amis de Beauford Delaney
Signage on the façade of the museum announces the exhibition.
© Les Amis de Beauford Delaney
Inside, a enlarged photo of Beauford and James Baldwin walking down a Paris avenue greets visitors.
Image courtesy of the Knoxville Museum of Art
The museum was packed for the VIP preview of the exhibition and the excitement of the attendees was palpable.
Image courtesy of the Knoxville Museum of Art
The exhibition itself is exquisite!
© Les Amis de Beauford Delaney
It has whetted the appetite of Knoxville's citizens for the next big celebration of the lives and work of Beauford and Baldwin - the University of Tennessee Knoxville's symposium entitled "In a Speculative Light."
at the University of Tennessee Knoxville
Photo courtesy of Amy J. Elias, Ph.D.
Director, University of Tennessee Humanities Center
Originally planned as a closed event, UT Humanities Center director and conference organizer Amy Elias has now opened the symposium to the public due to popular demand. Entry is free.
For additional access, most of the sessions will be livestreamed.
The keynote speaker, NYU professor Fred Moten, will discuss Beauford's painting in relation to Baldwin's writing and Elvin Jones' theory of music on Thursday, February 20, at 3:30 pm in the UTK Student Union Auditorium.
The complete schedule for this three-day event can be found here:
https://baldwindelaney.org/schedule/
"In a Speculative Light: The Portrait Project" is an innovative addition to the symposium that honors Beauford's love of portraiture. Four artists - Jered Sprecher, Joshua Bienko, Rubens Ghenov, and Mary Laube - have offered to create portraits of symposium speakers, who will be asked to sit for their sessions in a pop-up studio in the UT Student Union.
During the week of February 17, visitors to campus will be able to view an exhibition called "The Paris Years: Paintings by Beauford Delaney from the Artist’s Estate" at the Student Union Art Gallery on the UT campus.
This show is being organized by Derek Spratley, Esq., the executor of the Beauford Delaney estate, to give the public and UT students, faculty, and staff the opportunity to see original Delaney artwork that will be available for purchase after the close of the exhibition.
James Baldwin Feted in Knoxville
During African-American History Month 2020, Beauford's hometown of Knoxville, Tennessee is celebrating Beauford's dear friend James Baldwin just as much as it is celebrating Beauford!
James Baldwin
(1963) Pastel on Paper
National Portrait Gallery, Smithsonian Institute
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Here is the list of planned events:
Movie Screening ~ James Baldwin: The Price of the Ticket
Sunday, February 2, 2020 | 2:00 PM
Location: Lawson McGhee Library Contact: nhill@knoxlib.org
Socratic Seminars ~ James Baldwin: The Fire Next Time
Tuesdays, February 4 and 11, 2020 | 6:30 PM
Location: Lawson McGhee Library Contact: nhill@knoxlib.org
Movie Screening ~ James Baldwin: I Am Not Your Negro
Sunday, February 9, 2020 | 5:00 PM
Location: La Bamba Seafood, 2619 Chapman Hwy #1913, Knoxville, TN 37920
Contact: nhill@knoxlib.org
Spoken Word Performance ~ Black Atticus and Friends
Sunday, February 9, 2020 | After Movie Screening
Location: La Bamba Seafood, 2619 Chapman Hwy #1913, Knoxville, TN 37920
Contact: nhill@knoxlib.org
Socratic Seminars ~ James Baldwin
Tuesday February 18, 3:00 PM (Murphy Branch) & Thursday, February 27, 6:00 pm (Bearden Branch)
Contact: nhill@knoxlib.org
(1963) Pastel on Paper
National Portrait Gallery, Smithsonian Institute
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Here is the list of planned events:
Movie Screening ~ James Baldwin: The Price of the Ticket
Sunday, February 2, 2020 | 2:00 PM
Location: Lawson McGhee Library Contact: nhill@knoxlib.org
Socratic Seminars ~ James Baldwin: The Fire Next Time
Tuesdays, February 4 and 11, 2020 | 6:30 PM
Location: Lawson McGhee Library Contact: nhill@knoxlib.org
Movie Screening ~ James Baldwin: I Am Not Your Negro
Sunday, February 9, 2020 | 5:00 PM
Location: La Bamba Seafood, 2619 Chapman Hwy #1913, Knoxville, TN 37920
Contact: nhill@knoxlib.org
Spoken Word Performance ~ Black Atticus and Friends
Sunday, February 9, 2020 | After Movie Screening
Location: La Bamba Seafood, 2619 Chapman Hwy #1913, Knoxville, TN 37920
Contact: nhill@knoxlib.org
Socratic Seminars ~ James Baldwin
Tuesday February 18, 3:00 PM (Murphy Branch) & Thursday, February 27, 6:00 pm (Bearden Branch)
Contact: nhill@knoxlib.org
An Eruption of Creativity – An Interview with Gary Elgin
This week, I'm pleased to share an interview with Gary Elgin, an artist who adopted the city of Knoxville as his own and who feels kinship with Beauford's life and work.
Gary Elgin
Image courtesy of Gary Elgin
Les Amis: Tell us a little about yourself.
GE: I'm a transplanted Knoxvillian, having been born in Chicago, Illinois in 1962. Adopted by two loving parents, who always encouraged every creative avenue I wanted to explore. I always exhibited visual artistic talents from the time I could hold a crayon, but I was a late bloomer in other aspects of life only coming out at age 30.
Les Amis: You describe yourself as a queer portrait painter. Does this mean that you are queer and you paint portraits, that you paint portraits of queer people, or both?
GE: First I guess I should explain My embrace of the word queer. This word has had a checkered past both in and outside the LGBTQ community. I have embraced it from almost day one of my identifying as 'other than'. Although I identify as 'gay' I find the more inclusive term queer to be preferable. I have been a visual artist nearly all my life, but I would have to admit that my queer nature has always, whether I knew it or not, informed my art. If not in subject matter, in energy or color or style. It has to.
Les Amis: What drew you to portrait painting?
GE: I honestly couldn't say. I have always since the very beginnings been attracted to faces! One of my more recent exhibits was entitled "Familiar Faces" (one of the key pieces was coincidentally a portrait of James Baldwin that now is in the collection of the Knoxville Public Library system at the Burlington Branch). I've always been fascinated with faces and eyes.
Les Amis: Do you paint things other than portraits?
GE: Oh yes! I particularly enjoy painting owls, animals of all sorts and clowns (I was a professional performing clown from about 1982 to 2001).
Les Amis: You discovered Beauford’s art at a KMA exhibition upon moving to Knoxville in 1992. If you can remember the paintings by him that you saw during that show, please describe them.
GE: I honestly do not remember the first pieces I saw other than to say they were striking... Passionate... and seemingly an eruption of creativity. His portraits evoked emotions in me… this is before ever reading anything about his life or his challenges. When I first saw his 1944 "Portrait of James Baldwin," I felt an instant connection. On a very deep level.
Portrait of James Baldwin
(1944) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Les Amis: Perhaps you are aware of the digital exhibition that celebrates Beauford’s portraiture. What are your thoughts about the evolution of his portraits over the years?
GE: I find his early portraits steeped in realism and exactness are very similar to how many of us begin painting, before we give ourselves permission to are creative true selves.
Les Amis: In what way(s) has Beauford’s art influenced yours?
GE: He (it) gave me “permission.”
Les Amis: Have you ever done a self-portrait?
GE: HAVE I !!!??? (laughs) in 1989, I had amassed an extensive collection of self-portraits. I launched an exhibit and paired them with journal entries that appeared appropriate. "Long, Hard Looks Inside: Portraits of a Gay Life" was a very satisfying exhibit for me. It enabled me to get a lot of junk out of my system.
Les Amis: Have you ever done a portrait of Beauford?
GE: Started, but not yet completed.
Les Amis: Perhaps you’ve seen Beauford’s 1944 self-portrait at the Art Institute of Chicago. How would you describe this work?
GE: To me, it seems to be influenced by Vincent van Gogh's "Portrait of a Young Man". Although I understand the resemblance to a self-portrait by Matisse. The arched eyebrow and penetrating gaze draws the audience in.
Les Amis: In what way has Beauford’s story inspired you?
GE: His courage. Through all of his trials and tribulations with his inner voices... He still had what I would consider to be courage and that is expressed through his work.
Les Amis: How well would you say his life and work are known in the LGBTQ community – locally or nationally?
GE: Sadly, I would say it is not as well-known especially locally. I believe that will change with this upcoming exhibit. The energy and resources Knoxville has put toward this latest collection of events will certainly catch the attention of even the casual observer.
Les Amis: Are you using his story or his art as part of your activist activities?
GE: Most of my activist activities happened from 1992 to 2005 and I can definitely say he as well as James Baldwin heavily influenced how I went about my work.
Les Amis: If so, in what way?
GE: I did my utmost to represent the LGBTQ community in a professional and upstanding manner. Even in the most heated moments, I did my best to stay polite, soft-spoken and yet direct. I also kept a creative thread through each of the activities and social actions we participated in.
Les Amis: Any final thoughts?
GE: I am thrilled to be living in Beauford & Joseph Delaney's hometown and have lived to be able to see them celebrated in such a grand way! It is much deserved.
Image courtesy of Gary Elgin
Les Amis: Tell us a little about yourself.
GE: I'm a transplanted Knoxvillian, having been born in Chicago, Illinois in 1962. Adopted by two loving parents, who always encouraged every creative avenue I wanted to explore. I always exhibited visual artistic talents from the time I could hold a crayon, but I was a late bloomer in other aspects of life only coming out at age 30.
Les Amis: You describe yourself as a queer portrait painter. Does this mean that you are queer and you paint portraits, that you paint portraits of queer people, or both?
GE: First I guess I should explain My embrace of the word queer. This word has had a checkered past both in and outside the LGBTQ community. I have embraced it from almost day one of my identifying as 'other than'. Although I identify as 'gay' I find the more inclusive term queer to be preferable. I have been a visual artist nearly all my life, but I would have to admit that my queer nature has always, whether I knew it or not, informed my art. If not in subject matter, in energy or color or style. It has to.
Les Amis: What drew you to portrait painting?
GE: I honestly couldn't say. I have always since the very beginnings been attracted to faces! One of my more recent exhibits was entitled "Familiar Faces" (one of the key pieces was coincidentally a portrait of James Baldwin that now is in the collection of the Knoxville Public Library system at the Burlington Branch). I've always been fascinated with faces and eyes.
Les Amis: Do you paint things other than portraits?
GE: Oh yes! I particularly enjoy painting owls, animals of all sorts and clowns (I was a professional performing clown from about 1982 to 2001).
Les Amis: You discovered Beauford’s art at a KMA exhibition upon moving to Knoxville in 1992. If you can remember the paintings by him that you saw during that show, please describe them.
GE: I honestly do not remember the first pieces I saw other than to say they were striking... Passionate... and seemingly an eruption of creativity. His portraits evoked emotions in me… this is before ever reading anything about his life or his challenges. When I first saw his 1944 "Portrait of James Baldwin," I felt an instant connection. On a very deep level.
(1944) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Les Amis: Perhaps you are aware of the digital exhibition that celebrates Beauford’s portraiture. What are your thoughts about the evolution of his portraits over the years?
GE: I find his early portraits steeped in realism and exactness are very similar to how many of us begin painting, before we give ourselves permission to are creative true selves.
Les Amis: In what way(s) has Beauford’s art influenced yours?
GE: He (it) gave me “permission.”
Les Amis: Have you ever done a self-portrait?
GE: HAVE I !!!??? (laughs) in 1989, I had amassed an extensive collection of self-portraits. I launched an exhibit and paired them with journal entries that appeared appropriate. "Long, Hard Looks Inside: Portraits of a Gay Life" was a very satisfying exhibit for me. It enabled me to get a lot of junk out of my system.
Les Amis: Have you ever done a portrait of Beauford?
GE: Started, but not yet completed.
Les Amis: Perhaps you’ve seen Beauford’s 1944 self-portrait at the Art Institute of Chicago. How would you describe this work?
GE: To me, it seems to be influenced by Vincent van Gogh's "Portrait of a Young Man". Although I understand the resemblance to a self-portrait by Matisse. The arched eyebrow and penetrating gaze draws the audience in.
Les Amis: In what way has Beauford’s story inspired you?
GE: His courage. Through all of his trials and tribulations with his inner voices... He still had what I would consider to be courage and that is expressed through his work.
Les Amis: How well would you say his life and work are known in the LGBTQ community – locally or nationally?
GE: Sadly, I would say it is not as well-known especially locally. I believe that will change with this upcoming exhibit. The energy and resources Knoxville has put toward this latest collection of events will certainly catch the attention of even the casual observer.
Les Amis: Are you using his story or his art as part of your activist activities?
GE: Most of my activist activities happened from 1992 to 2005 and I can definitely say he as well as James Baldwin heavily influenced how I went about my work.
Les Amis: If so, in what way?
GE: I did my utmost to represent the LGBTQ community in a professional and upstanding manner. Even in the most heated moments, I did my best to stay polite, soft-spoken and yet direct. I also kept a creative thread through each of the activities and social actions we participated in.
Les Amis: Any final thoughts?
GE: I am thrilled to be living in Beauford & Joseph Delaney's hometown and have lived to be able to see them celebrated in such a grand way! It is much deserved.
What's on in Knoxville - Through the Unusual Door and More
Following last week's article about the preparations that Knoxville is making to celebrate Beauford during February 2020, I'm providing details about events organized in conjunction with the Knoxville Museum of Art (KMA) exhibition entitled Beauford Delaney and James Baldwin: Through the Unusual Door and sharing news about an additional event.
Knoxville Museum of Art
© Discover Paris!
I will attend a private preview of the exhibition prior to the public opening that is scheduled for Friday, February 7. That evening, KMA has scheduled a musical “Tribute to Bob Marley” for its Alive After Five program performed by the roots reggae group, Natti Love Joys. The festivities will begin at 6 PM. Tickets will be made available on site beginning at 4:45 PM; KMA members can attend for free.
On Saturday, February 8, the museum's Family Fun Day will celebrate the exhibition beginning at 11 AM. Art activities, artist demonstrations, door prizes, face painting, and more will be offered to the public at no charge.
For information about both events, send e-mail to .
Dr. Maurita Poole, Director of the Clark Atlanta University Art Museum, will talk about the university's "Delaney and Baldwin Collection" during a KMA Cocktails & Conversation session on February 25, 2020. This event is free and open to the public.
Dr. Poole is one of twelve curators selected to participate in the 2020 Center for Curatorial Leadership Fellowship program.
On February 16, Black in Appalachia is sponsoring a free screening of a short documentary called "Beauford Delaney" at The Bottom, 202 Randolph Street.
Promotional image for "Beauford Delaney"
East Tennessee PBS short documentary
The public is invited to a post-screening discussion at the same address, during which refreshments will be served. Children are welcome to attend the event.
"Beauford Delaney" will also air on East Tennessee PBS on the following dates:
- Thursday, February 6 at 8:30 PM ET
- Sunday, February 9 at 6:30 PM ET
- Sunday, February 16 at 10:30 AM ET
© Discover Paris!
I will attend a private preview of the exhibition prior to the public opening that is scheduled for Friday, February 7. That evening, KMA has scheduled a musical “Tribute to Bob Marley” for its Alive After Five program performed by the roots reggae group, Natti Love Joys. The festivities will begin at 6 PM. Tickets will be made available on site beginning at 4:45 PM; KMA members can attend for free.
On Saturday, February 8, the museum's Family Fun Day will celebrate the exhibition beginning at 11 AM. Art activities, artist demonstrations, door prizes, face painting, and more will be offered to the public at no charge.
For information about both events, send e-mail to .
Dr. Maurita Poole, Director of the Clark Atlanta University Art Museum, will talk about the university's "Delaney and Baldwin Collection" during a KMA Cocktails & Conversation session on February 25, 2020. This event is free and open to the public.
Dr. Poole is one of twelve curators selected to participate in the 2020 Center for Curatorial Leadership Fellowship program.
On February 16, Black in Appalachia is sponsoring a free screening of a short documentary called "Beauford Delaney" at The Bottom, 202 Randolph Street.
East Tennessee PBS short documentary
The public is invited to a post-screening discussion at the same address, during which refreshments will be served. Children are welcome to attend the event.
"Beauford Delaney" will also air on East Tennessee PBS on the following dates:
- Thursday, February 6 at 8:30 PM ET
- Sunday, February 9 at 6:30 PM ET
- Sunday, February 16 at 10:30 AM ET
Beauford's Ever Expanding Legacy
2020 is going to be a phenomenal year for the expansion of Beauford's legacy!
Momentum for The Delaney Project (Gathering Light) in Knoxville is increasing and preparations for major events that will take place in February are well underway.
Banners bearing Beauford's image will be hung on city streets.
Beauford Delaney Banner
Image courtesy of Sylvia Peters,
The Delaney Project
Momentum for The Delaney Project (Gathering Light) in Knoxville is increasing and preparations for major events that will take place in February are well underway.
Banners bearing Beauford's image will be hung on city streets.
Image courtesy of Sylvia Peters,
The Delaney Project
Banners have already been posted for the James Baldwin - Beauford Delaney symposium entitled "In a Speculative Light" that will be held at the University of Tennessee Knoxville.
Director, University of Tennessee Humanities Center
They feature a pastel portrait of Baldwin done by Beauford in 1944, which is currently held by the Knoxville Museum of Art (KMA). These banners were created by Beauvais Lyons (Art, University of Tennessee) and UT Communications and supported by the UTK Chancellor, Donde Plowman.
(1944) Pastel on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
KMA has posted information about the solo exhibition of Beauford's work that will open on February 7.
Beauford Delaney and James Baldwin: Through the Unusual Door
Farther afield, Vulture (of New York Magazine) has published a brilliant article written by Jerry Saltz entitled
Beauford Delaney, Black and Gay, Very Nearly Disappeared from Art History.
I'll bring you more details about the February activities scheduled for the Delaney Project in the coming weeks.
Keeping Beauford's Tombstone Beautiful
Since the laying of Beauford's tombstone during the summer of 2010, I have visited Thiais Cemetery many times.
My most poignant experiences there took place in the company of others:
During the graveside ceremony that celebrated the laying of the stone in October 2010
Graveside ceremony
© Discover Paris!
and when I took playwright Silver Wainhouse to the gravesite in 2017.
Silver Wainhouse at Beauford's Gravesite
© Discover Paris!
I also proudly visited Beauford's grave in 2014, the year that Thiais Cemetery added his gravesite to its celebrity list.
Map of Thiais Cemetery and list of most visited graves
This year (2020) marks the 10th anniversary of the laying of the stone!
Through the generous donations of individuals, Les Amis de Beauford Delaney has paid for the upkeep of Beauford's tombstone. These funds have been almost completely depleted.
So today, I'm asking for your help to keep Beauford's grave pristine - to keep it in a condition that reflects his inestimable contributions to the art world and to humanity.
The annual maintenance fee for the tombstone has increased 15% over the last 10 years. In 2020, the cost is 140,92€.
Les Amis seeks to raise enough money to cover the maintenance fees for the next ten years. To allow for inflation, our target is 1650€.
We'd like to raise this amount by March 26, 2020, the 41st anniversary of Beauford's death.
Please give to support this cause by clicking on the donate button below!
Thanks in advance for your support!
My most poignant experiences there took place in the company of others:
During the graveside ceremony that celebrated the laying of the stone in October 2010
© Discover Paris!
and when I took playwright Silver Wainhouse to the gravesite in 2017.
© Discover Paris!
I also proudly visited Beauford's grave in 2014, the year that Thiais Cemetery added his gravesite to its celebrity list.
This year (2020) marks the 10th anniversary of the laying of the stone!
Through the generous donations of individuals, Les Amis de Beauford Delaney has paid for the upkeep of Beauford's tombstone. These funds have been almost completely depleted.
So today, I'm asking for your help to keep Beauford's grave pristine - to keep it in a condition that reflects his inestimable contributions to the art world and to humanity.
The annual maintenance fee for the tombstone has increased 15% over the last 10 years. In 2020, the cost is 140,92€.
Les Amis seeks to raise enough money to cover the maintenance fees for the next ten years. To allow for inflation, our target is 1650€.
We'd like to raise this amount by March 26, 2020, the 41st anniversary of Beauford's death.
Please give to support this cause by clicking on the donate button below!
Thanks in advance for your support!