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Portrait of American artist Beauford Delaney (1901–1979) by Carl Van Vechten.

Portrait of American artist Beauford Delaney (1901–1979) by Carl Van Vechten.

#OnThisDay in 1979, American modernist painter Beauford Delaney, a member of the Harlem Renaissance, died in Paris. He was 77.

Photo by Carl Van Vechten

#OTD #ArtSky #BeaufordDelaney #HarlemRenaissance

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Beauford Delaney #beauforddelaney

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#OnThisDay in 1901, American modernist painter Beauford Delaney was born in Knoxville, Tennessee.

Photo by Carl Van Vechten

#BOTD #ArtSky #BeaufordDelaney

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#BlackArtistsMatter
#BeaufordDelaney

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Side note: I was a little disappointed that postcards of Delaney’s “James Baldwin, 1945” had long sold out at The Drawing Center. I wanted one! The sista working there yesterday told me they were extremely popular. I said, “I’m not surprised!” Wonderful exhibit. #BlackArt #BeaufordDelaney #NYC

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Inside of The Drawing Center is the intro wall at the start of the exhibit “In the Medium of Life: The Drawings of Beauford Delaney.” The left side of the wall is painted a warm yellow, and the right side features an enlarged black-and-white photo of Delaney later in life, a black beret on his head and a cigarette in his mouth. Sept 13, 2025.

Inside of The Drawing Center is the intro wall at the start of the exhibit “In the Medium of Life: The Drawings of Beauford Delaney.” The left side of the wall is painted a warm yellow, and the right side features an enlarged black-and-white photo of Delaney later in life, a black beret on his head and a cigarette in his mouth. Sept 13, 2025.

This is “New York's first major Delaney museum exhibition in over 30 years and the first ever focused on his drawings.” About 90 pieces fill the entirety of The Drawing Center, including a lower level, and they’re a mix of portraiture and abstract/impressionist works. #BlackArt #BeaufordDelaney #NYC

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American artist Beauford Delaney painted this iconic portrait of acclaimed American contralto Marian Anderson, whose operatic talent and integrity inspired a generation. In this “memory” portrait—produced in Paris but with an awareness of the civil rights struggles underway in the United States—Delaney expressed his admiration for Anderson’s sensitive brilliance as a performer and person. The visual harmony of the work epitomizes his exploration of painterly abstractions, with the color yellow symbolizing perfection and transcendence.

The painting is dominated by a striking, almost overwhelmingly bright yellow background, textured in a way that suggests an impasto technique with visible brushstrokes. The yellow has variations in tone, with warmer shades in some areas and cooler ones in others, adding depth and dynamism to the background. This bright background contrasts sharply with the central figure, Marian with short dark hair, dark eyes, and a calm, serious expression. Her brown-ish skin tone is relatively muted compared to the background's intensity. Her attire comprises a yellow-toned, long dress beneath a jacket that is primarily blue and yellow, creating a pattern that is somewhat indistinct but adds texture and visual interest without drawing attention away from the Marian’s face. The pattern creates a sense of movement and subtle chaos, which further contrasts with the composure of the legendary singer whose hands are clasped neatly in front of her.

In the right of the canvas, a much fainter, almost transparent, smaller figure is visible that appears to be seated female, and it is significantly paler, almost ghostly, in color compared to the central figure. This secondary figure is subtly placed and I wonder its significance.

The overall mood is one of honor and respect. Delaney's style creates a tactile quality, drawing our focus both on Marian and his bold application of paint.

American artist Beauford Delaney painted this iconic portrait of acclaimed American contralto Marian Anderson, whose operatic talent and integrity inspired a generation. In this “memory” portrait—produced in Paris but with an awareness of the civil rights struggles underway in the United States—Delaney expressed his admiration for Anderson’s sensitive brilliance as a performer and person. The visual harmony of the work epitomizes his exploration of painterly abstractions, with the color yellow symbolizing perfection and transcendence. The painting is dominated by a striking, almost overwhelmingly bright yellow background, textured in a way that suggests an impasto technique with visible brushstrokes. The yellow has variations in tone, with warmer shades in some areas and cooler ones in others, adding depth and dynamism to the background. This bright background contrasts sharply with the central figure, Marian with short dark hair, dark eyes, and a calm, serious expression. Her brown-ish skin tone is relatively muted compared to the background's intensity. Her attire comprises a yellow-toned, long dress beneath a jacket that is primarily blue and yellow, creating a pattern that is somewhat indistinct but adds texture and visual interest without drawing attention away from the Marian’s face. The pattern creates a sense of movement and subtle chaos, which further contrasts with the composure of the legendary singer whose hands are clasped neatly in front of her. In the right of the canvas, a much fainter, almost transparent, smaller figure is visible that appears to be seated female, and it is significantly paler, almost ghostly, in color compared to the central figure. This secondary figure is subtly placed and I wonder its significance. The overall mood is one of honor and respect. Delaney's style creates a tactile quality, drawing our focus both on Marian and his bold application of paint.

Marian Anderson by Beauford Delaney (American) - Oil and egg tempera emulsion on canvas / 1965 - Virginia Museum of Fine Arts (Richmond) #WomenInArt #art #artwork #ArtText #VMFA #VirginiaMuseumofFineArts #MarianAnderson #BeaufordDelaney #Delaney #AmericanArt #AfricanAmericanArtist #AmericanArtist

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Un tableau sans titre de l'artiste Ed Clark, réalisé à Vétheuil en France. L'artiste utilise la technique du big sweep. Il applique une pression sur un balai poussoir sur la toile. Les couleurs appliquées sont le bleu, le blanc, le rouge et le noir

Un tableau sans titre de l'artiste Ed Clark, réalisé à Vétheuil en France. L'artiste utilise la technique du big sweep. Il applique une pression sur un balai poussoir sur la toile. Les couleurs appliquées sont le bleu, le blanc, le rouge et le noir

[Expo] Paris Noir au Centre Pompidou
@centrepompidou.bsky.social

urlr.me/KTXJ9E

#CentrePompidou #ExpoParisNoir #Pompidou #exposition #parisnoir #abstraction #surrealisme #panafricain #beaubourg #lutte #beauforddelaney #gerardsekoto #edclark #HaroldCousins #GeorgesCoran #PapaIbraTall #BobThompson

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Can Fire in the Park Can Fire in the Park is as much a swirling vignette of thickly applied paint as it is an image of a place.

americanart.si.edu/artwork/can-...
#art
#harlemrenaissance
#beauforddelaney
#MoMA
#Smithsonian
#blacksky
"Can Fire In the Park"
painted by Beauford Delaney in 1946
He was also a friend of James Baldwin

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I must admit I didn’t know any of the names of the black artists shown there but one of them stood out, a friend of James Baldwin: Beauford Delaney

#parisnoir #centrepompidou #beauforddelaney

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