I've already presented the portrait of James Baldwin at the Philadelphia Museum of Art in a recent posting. There is a second painting by Beauford at this museum as well. It is an oil-on-canvas portrait of two women named Marian and Betty. Though neither painting is currently being displayed, you can get a close-up view of them on the PMA Web site by clicking on the hyperlinks in this paragraph.
There are two pieces at the Newark Museum: The Burning Bush (1941) and Portrait of a Man (1943).
(1941) Oil on paperboard
(1943) Pastel on paper
Only The Burning Bush is currently displayed for public view. It can be found in the American Art section. The museum provided the following description of it:
The Burning Bush deals with the biblical subject from the Book of Exodus. This multicolored painting has a wonderful expressive style that vibrantly evokes the underlying energies animating this subject. The paint is applied very thickly on the surface, which may not come across in the photographs.
If you would like to arrange a private viewing Portrait of a Man, you may make a request in advance of your visit. The museum makes every effort to accommodate various scholars and individuals. The staff needs to know the reason and the nature of inquiry of every individual so that it can better serve you.
The Delaware Art Museum holds a Delaney on reserve. It was given to the museum by Michael Rosenfeld in 1995.
(1961) Oil on canvas
The museum provides this description:
This 1961 painting was produced in Paris. It is inscribed “pour mon frère M. Bigud [?]” and bears the label of Paul Facchetti’s Paris gallery. Like many of Delaney’s paintings from this period, it features subtly modulated color and active brushwork. The small canvas is covered from edge to edge in shades of yellow, white, and pale green. From a distance, it seems to resolve into a pattern, but, as the viewer approaches, the artist’s delicate touch becomes apparent. In some areas, the weave of the canvas is exposed, while in others thick, scumbled paint projects from the surface. With its monochromatic palette, active surface, and all-over composition, this painting fits comfortably into the abstract expressionist idiom.
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