Search Results for delaney

... The introduction to the volume presents biographical background about Beauford Delaney and James Baldwin and discusses the history of their friendship and their mutual influences. It provides a comprehensive summary of scholarship conjoining the two artists and explores shared political...

... In this chapter, Hilton Als meditates on the legacy of queerness left by Beauford Delaney for Black artists. Als imagines the initial encounter between Delaney and James Baldwin in New York City and their recognition of each other as queer Black outsiders. queer community queer studies...

... In this chapter, Fred Moten explores the relationship between Beauford Delaney and James Baldwin by way of synesthetic aesthetics: how music and the attempt to listen deeply also means attention to color, and particularly blue, but also green and yellow, in Delaney's painting and Baldwin's...

... Delaney use images of light to put blues-sorrows into perspective. The chapter offers a new reading of Baldwin’s major short story “Sonny’s Blues” in the context of Delaney’s lessons to Baldwin as the latter matures as an author. The essay proposes a theory of reading visual art and literature...

...: Baldwin’s mentor Beauford Delaney, to whom it was dedicated, and the French artist Yoran Cazac, who provided its illustrations. Drawing on original research, the essay shows how Little Man, Little Man should be read as a particularly productive confluence of the artistic sensibilities of all three men...

... In this chapter, Indie A. Choudhury examines the ways that Beauford Delaney and James Baldwin conflated sight and visibility and how performance became the functional apparatus that mediated the relationship between these modes. Using Baldwin’s play Blues for Mister Charlie (1964...

... In this chapter, Monika Gehlawat examines Beauford Delaney’s proclivity for choosing both abstraction and figuration to achieve formal and political ends and how this links his painting to James Baldwin’s nonfiction. Baldwin uses pronoun play as a rhetorical strategy to enact a vision...

... This chapter, by Tyler T. Schmidt, centers on Beauford Delaney’s Self-Portrait in a Paris Bath (1971) to query the relationship between aesthetics and erotics in Delaney’s later work. Delaney’s depiction of himself as African royalty cites but also subverts European modernists’ interest...

... In this chapter, Shawn Anthony Christian explores how the friendship between James Baldwin and Beauford Delaney constituted an instance of Black artistic relation as genealogical transition, something deeper than “artistic influence” and more historically and culturally familial than simply...

... In this chapter, Magdalena J. Zaborowska sketches out how Beauford Delaney’s spiritual and artistic fatherhood of James Baldwin helped the writer achieve a complex and unique literary aesthetic, inflected by Delaney’s idiosyncratic paintings and honed over decades of a complex familial...

... In this chapter, D. Quentin Miller argues that James Baldwin’s 1957 short story “Sonny's Blues” was published at a point in his career when his attention to visual aesthetics was catalyzed and refined by Beauford Delaney. Reframing “Sonny’s Blues” in terms of its visual elements both affords...

... In this chapter, Levi Prombaum shows how Beauford Delaney’s Self-Portrait (1944) is one of the painter’s most assertive announcements of his identity as a modernist, placing him neither outside nor in opposition to European painting traditions but rather working positively from...

... In this chapter, Abbe Schriber illustrates how Beauford Delaney’s canvases elicit new expressive modes not through interiority, but through redefining vision as both visual and tactile. For Delaney, intimacy can be understood as an extension of seeing, and his relationships with James Baldwin...

... In this chapter, Stephen C. Wicks examines how one painting by Beauford Delaney, James Baldwin (1966) , stands apart from all of Delaney’s many portraits of the writer in its atypically narrow color scheme of yellow and black, tangled angular contours, openwork structure, and absence...

... In this chapter, Walton Muyumba observes that while the claim is provocative that James Baldwin’s “Sonny’s Blues” is his homage to Beauford Delaney, the author actually has doubled himself within the short story: Sonny, the improvising artist, and his brother, the narrator-as-critic, are both...

... In this chapter, Rachel Cohen examines four paintings by Beauford Delaney— Self-Portrait (1944), Untitled (Village Street) (1948), Self Portrait (1962), and The Black Sage (1967)—to consider the relationships between “I’s” and “eyes,” between city streets and self-regard, and among...