{"title":"The 1930s: An Art Reminiscence","authors":"","doi":"10.1515/9781478002260-010","DOIUrl":"https://doi.org/10.1515/9781478002260-010","url":null,"abstract":"","PeriodicalId":125004,"journal":{"name":"The Romare Bearden Reader","volume":"203 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122061904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Impressions and Improvisations: A Look at the Prints of Romare Bearden","authors":"","doi":"10.1515/9781478002260-026","DOIUrl":"https://doi.org/10.1515/9781478002260-026","url":null,"abstract":"","PeriodicalId":125004,"journal":{"name":"The Romare Bearden Reader","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115389230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Pressing on Life Until It Gave Back Something in Kinship”: An Introductory Essay","authors":"G. O’Meally","doi":"10.1515/9781478002260-002","DOIUrl":"https://doi.org/10.1515/9781478002260-002","url":null,"abstract":"Expressionism—modes he never completely abandoned—toward his signature printmaking and collage. Yet most of the essays in this section are written by novelists and poets, lending this part of the book a bias that is unmistakably literary. How apt that in response to Bearden’s paintings, where so often scenes and characters are drawn from literature, these writers return the favor in flying word-colors! What this means is that in their heft and quickness of signification, and in artistic qualities so difficult to put into words, these literary responses to Bearden stand up to his paintings. Note, for example, the sinewy language of playwright August Wilson, who recalls, in the essay included here, making his way to the artist’s apartment on New York’s Canal Street, but then failing to muster what it took to knock on the man’s door—Bearden’s art had been so profound a guide for him: I have never looked back from that moment when I first encountered his art. He showed me a doorway. A road marked with signposts, with sharp and sure direction, charting a path through what D. H. Lawrence called the “dark forest of the soul.” I called to my courage and entered the world of Romare Bearden and found a world made in my image. A world of flesh and muscle and blood and bone and fire. A world made of scraps of paper, of line and mass and form and shape and color, and all the melding of grace and birds and trains and guitars and women bathing and men with huge hands and hearts, pressing on life until it gave back something in kinship.13 In several cases, these writers create a practical vocabulary to spell out ways of working that they share with Bearden and with visual artists in general, and perhaps with all artists. All require structure, color, and rhythm, says Toni Morrison.14 Put her triad alongside Bearden’s assertion that all painting is “putting something over something else.”15 Is not all art a matter of placing one thing over the other (in the case of the writer, placing many-storied words and storylines one over the other): of collage-like layering? Put this query alongside Bearden’s declaration that he learned much about the art of painting from jazz musicians, improvising layer on layer of rhythm and tune over the chord changes of a blues melody or atop a popular song like Gershwin’s “I Got Rhythm.” Jazz musicians have coined a wonderful phrase for improvisations on this Gershwin standard: “playing the ‘Rhythm changes.’ ” I like to think of Bearden, too, as playing “Rhythm changes.” (See Albert Murray’s essay on Bearden and jazz in this volume.) This part of the book has something to do, as well, with questions of influence and translation, not only from painter to painter but from painter to writer, writer 6 robert g. o’meally Downloaded from https://read.dukeupress.edu/books/chapter-pdf/685608/9781478002260-001.pdf by guest on 31 October 2019 An Introductory Essay 7 to painter, from painter and writer to musician—back and forth. One wonders if ","PeriodicalId":125004,"journal":{"name":"The Romare Bearden Reader","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114703388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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