As I negotiate the aftermath of the Beauford Delaney: Resonance of Form and Vibration of Color exhibition, I'm stunned to realize that six weeks have already passed since the closure of the show!
Catalog cover for Resonance of Form and Vibration of Color
Thanks to the exhibition, I've had the opportunity to meet lots of people and to introduce Beauford's work to many who were previously unaware of him and his artistic genius.
And I've had the opportunity to listen to and read thoughts and scholarly critiques of the works displayed in the exhibit.
In today's post, I'm highlighting two remarks that are remarkably similar in sentiment, yet made by individuals who have never met each other. I then illustrate them with images of Beauford's work.
The first comes from Marc Albert-Levin, the French art critic who contributed the article entitled Resonance of Form and Vibration of Color: A Critical Review of Beauford's Portraiture.
In his essay entitled “L’anachronique du flâneur N° 12,” ("Anachronic Chronicle, N° 12"), Albert-Levin describes his interactions with painter Herbert Gentry, who was a friend of Beauford. He says that when he and Gentry got together, they would often speak of Beauford:
The second comes from Cary Alan Johnson, writer and human rights consultant:
Resonance of Form and Vibration of Color does indeed take you through all colors of the prism. But what any observer experience in terms of emotion as described in the two quotes above depends upon what that observer brings to his or her interaction with each individual work.
I daresay that many would consider the vibrant colors of the works below to represent the emotion of joy.
Untitled
(1970) Mixed media on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Les Embruns
(1963) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Untitled
(1960) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
But finding melancholy and sadness in the paintings from this exhibition could be far more subjective. We'll explore this in next week's post.
************
COMING SOON:
Video of Beauford Delaney art exhibition!
Because of the tremendous success of the Beauford Delaney: Resonance of Form and Vibration of Color exhibition held at Columbia Global Centers | Paris (February 4-March 15, 2016), Les Amis and the Wells International Foundation (WIF) are creating a video documentary of the show and the associated cultural and educational programs. We plan to use this documentary to encourage U.S. and European museums to host the exhibition.
WE VALUE YOUR SUPPORT!
To contribute to the production of the video, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
Thanks to the exhibition, I've had the opportunity to meet lots of people and to introduce Beauford's work to many who were previously unaware of him and his artistic genius.
And I've had the opportunity to listen to and read thoughts and scholarly critiques of the works displayed in the exhibit.
In today's post, I'm highlighting two remarks that are remarkably similar in sentiment, yet made by individuals who have never met each other. I then illustrate them with images of Beauford's work.
The first comes from Marc Albert-Levin, the French art critic who contributed the article entitled Resonance of Form and Vibration of Color: A Critical Review of Beauford's Portraiture.
In his essay entitled “L’anachronique du flâneur N° 12,” ("Anachronic Chronicle, N° 12"), Albert-Levin describes his interactions with painter Herbert Gentry, who was a friend of Beauford. He says that when he and Gentry got together, they would often speak of Beauford:
We might talk about the way a canvas painted by Beauford could imperceptibly take you through all the colors of the prism and express all the possible nuances from deep sorrow to exhilarating joy, from the indelible sadness of the flowery wallpaper of a cheap hotel room to a whirlwind of bright and vivid colors, the large solar festival promised to the blessed of all religions and faiths.
The second comes from Cary Alan Johnson, writer and human rights consultant:
I had a chance to look at the catalog. I am drawn to Beauford's colors--something seems so melancholy, yet on the verge of joy.
Resonance of Form and Vibration of Color does indeed take you through all colors of the prism. But what any observer experience in terms of emotion as described in the two quotes above depends upon what that observer brings to his or her interaction with each individual work.
I daresay that many would consider the vibrant colors of the works below to represent the emotion of joy.
(1970) Mixed media on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1963) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
(1960) Mixed media on paper
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
But finding melancholy and sadness in the paintings from this exhibition could be far more subjective. We'll explore this in next week's post.
COMING SOON:
Video of Beauford Delaney art exhibition!
Because of the tremendous success of the Beauford Delaney: Resonance of Form and Vibration of Color exhibition held at Columbia Global Centers | Paris (February 4-March 15, 2016), Les Amis and the Wells International Foundation (WIF) are creating a video documentary of the show and the associated cultural and educational programs. We plan to use this documentary to encourage U.S. and European museums to host the exhibition.
WE VALUE YOUR SUPPORT!
To contribute to the production of the video, click HERE.
To sign-up to receive the latest behind-the-scenes news about the show, click HERE.
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