MeMoMu_HOHI_025 WASHINGTON SQUARE, NEW YORK / TEEDENI AED, KÜRBLA _ BEAUFORD DELANEY 1951 / MAIT VIGRISTE 2025

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Left: Washington Square, New York, 1951. Oil on canvas, 40 3/4 x 60 1/2 inches / 103.5 x 153.7 cm. Signed.
© Estate of Beauford Delaney, by permission of Derek L. Spratley, Esquire, Court Appointed Administrator, Courtesy of Michael Rosenfeld Gallery LLC, New York, NY.

Scalawag :
https://scalawagmagazine.org/2022/06/beauford-delaney/

Posted in ARTS & SOUL
Out of the Shadows: The Queer Life of Artist Beauford Delaney
by Tyra A. Seals June 29, 2022
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Delaney's colorful urban landscapes and expressive portraits secured him a name in prominent artistic circles during the height of the Harlem Renaissance. His insistence on invoking brightness and warmth into every scene is echoed through this 1951 painting of Washington Square Park. A jubilant yellow foregrounds the canvas and permeates in various places like the color of a woman's hair, the outline of the tree to the far left, and the sun that's placed just between that tree's branches. His use of yellow here and in many of his other landscape paintings of parks is a testament to his buoyant spirit.

This spirit, evident in so many of his works, seemed able to see through the opacities and hardships of life to depict the deep joy at the center. And though Beauford never returned to live in Tennessee, preferring at times cold nights on the park benches of Union Square to a life limited by Jim Crow, Delaney still bore vestiges of his Southern upbringing.

An interaction with prominent Abstract Expressionist Willem de Kooning illustrates this well: de Kooning, then a friend of Delaney, tried to advise the painter on how to better market his artwork, which did not enjoy much commercial success during his lifetime. Delaney's biographer, David Leeming, records that Delaney rolled his eyes, gently patted him on the shoulder in that characteristically Southern way, and responded "Bless you, child." He would pay de Kooning no mind and go on painting as he always did.
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