Abdul-Jalil al-Hakim Exemplifies Beauford Delaney’s Masterful Portraits

Beauford Delaney (1901-1979) “Portraitist of the Famous” “Perhaps I should say, flatly, what I believe–that he is a great painter, among the very greatest; but I do know that great art can only be created out of love, and that no greater lover has ever held a brush.” James Baldwin (1924-1987), writer, friend of artist Beauford …
Continue reading Abdul-Jalil al-Hakim Exemplifies Beauford Delaney’s Masterful Portraits

Harlem Renaissance Modernist Beauford Delaney, GREATEST Artist in African-American Art History

“In another religion they honor people who serve like you with Sainthood!”” – Economics Professor Adeel Malik,Oxford University, England and World Renowned News Expert Commentator, speaking about Abdul-Jalil and the Aaron & Margaret Wallace Foundation.

“GOD sent me an ANGEL!”” – Hammer, speaking about Abdul-Jalil.

“Jalil, YOU ARE A TZADIK (SAINT)!”– Barry Barkan, Live Oak Institute and

  Ashoka Fellow at Ashoka Foundation:Innovators for the Public
 

“I thank God for you and for bringing you into my life and for the ministry you have been given to help the people of God!”– Pastor L. J. Jennings, Kingdom Builders Christian Fellowship, speaking about Abdul-Jalil and AMWF

  
Jalil with 1 of his Rolls Royces

Beauford Delaney, Self-portrait, 1944. Photo: Estate of Beauford Delaney by permission of Derek L. Spratley, Esquire, Court Appointed Administrator; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY Beauford Delaney was an American Harlem Renaissance painter known for his colorful Modernist compositions and distinctive approach to figuration. One of the most important African-American artists of the early 20th century, he often painted New York street scenes, lively scenes in jazz clubs, and portraits of prominent black figures like James Baldwin and W.E.B. Du Bois. Can Fire in the Park (1946) is one of his most iconic images, movingly capturing a common occurrence in Depression-era New York life. In addition to his representational work, Delaney also painted abstractly, noting that “the abstraction, ostensibly, is simply for me the penetration of something that is more profound in many ways than the rigidity of a form,” he explained. “A form if it breaths some, if it has some enigma to it, it is also the enigma that is the abstract, I would think.” Born on December 30, 1901 in Knoxville, TN as one of 10 children, he worked as sign-post painter as a teenager before going on to study in Boston at the Massachusetts Normal School, the South Boston School of Art, and the Copley Society. After school, he moved to Harlem in New York, where he befriended fellow artists like
 Alfred Stieglitz 
and
 Stuart Davis 
, who introduced him to the work of Modernists like
 Paul Cézanne 
,
 Pablo Picasso 
,
 Henri Matisse 
, and others. He moved to Europe in 1953 but was unable to find the same success he had previously had in New York, and gradually succumbed to alcoholism and mental health problems before his death on March 26, 1979 in Paris, France. Today, Delaney’s works are in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, and the Philadelphia Museum of Art, among others. Fame, at least lasting fame — the your-work-goes-down-in-history kind, often accompanied by fat royalty payments — is a club that thinks of itself as an unbiased meritocracy, blind to everything but aesthetic innovation and popular success. It’s never quite worked out that way. When we look at the past, we still see generations of great talents who never quite got their due critically or commercially, many of them left relatively unsung. In this ongoing series, our critics pick artists they feel remain underappreciated and tell their stories and sing their praises. “He is amazing … this Beauford,” the novelist Henry Miller wrote of his lifelong friend Beauford Delaney in a 1945 essay that helped make the painter (whom Miller called a “black monarch” capable of making “the great white world … grow smaller”) a legendary attraction in Greenwich Village. So much so that people often gathered outside Delaney’s building at 181 Greene Street, where he lived and worked on the top floor — a walk-up lit only by a wood-burning potbellied stove. Born in Knoxville, Tennessee, in 1901, Delaney migrated north to Boston in 1923 to study art, then moved to New York in November 1929, days after the onset of the Great Depression. That first day in New York, he slept on a Union Square bench, where someone stole his shoes. The next morning, he set out on foot, in newly bought shoes, to walk uptown to Harlem. When he reached Central Park, he stopped because of his severely blistered feet.

Abdul-Jalil Portrait by Beauford Delaney, in 1971. Portrait of Jean Genet in backgroud, top right, Kennedy right behind Jalil
Things had never been tougher for American artists — let alone black ones. Art schools didn’t take black artists, and independent-studio classes banned black artists from figure-drawing sessions with white models. Undaunted, Delaney began drawing at a midtown dance studio. Somehow, his career took off almost overnight. Four months after he arrived in New York, an article appeared in the New York Telegraph about portraits Delaney had done of dancers and society figures.
Beauford Delaney

Artist (1901–79) Currently, MoMA has 
 “Composition 16” 
(1954–56) on view, a glowing bioluminescent yellow abstraction kitty-corner across the gallery from that other (until recently) missing modernist, Hilma af Klint. Both are in the company of de Kooning, Kline, and the other giants of mid-century painting. He met and charmed everyone. A list of his friends and acquaintances includes Stuart Davis — his closest painter compatriot — W.E.B. Du Bois (whose portrait he did), Duke Ellington, Louis Armstrong, Jacob Lawrence, Alfred Stieglitz, Georgia O’Keeffe (who did a portrait of him), Edward Steichen, Dorothy Norman, Anaïs Nin (who intimidated him), Jackson Pollock, and Jean Genet. His closest lifelong friend, however, was James Baldwin — who, while fleeing a strict father at 16, looked up Delaney in the Village. He later called the artist his “principal witness.” Delaney was a kind of surrogate nurturing father to the writer. Judging by his 1941 Dark Rapture (James Baldwin), a steamy nude portrait of the 16-year-old writer (as well as from subsequent Baldwin portraits over the decades), Delaney seems to have been in love with the lithe young man 22 years his junior. In October 1938, more than a decade before Pollock graced the same pages, Life magazine featured Delaney, picturing him beatifically smiling at the Washington Square Outdoor Art Exhibit. The caption read, “One of the most talented Negro painters.” Yet by the time he died in 1979, Delaney was alone, alcoholic, hallucinating, paranoid, and penniless in a Paris psychiatric hospital. What started as a great American story is now a near absence in the history of American art and an American Dream forestalled.

A 1941 portrait of James Baldwin by the artist Beauford Delaney. Photo: Beauford Delaney (1901–1979), Dark Rapture (James Baldwin), 1941, oil on Masonite, 34” x 28”, signed; © Estate of Beauford Delaney by permission of Derek L. Spratley, Esquire, Court Appointed Administrator; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY I love his work — especially his highly colored, optically intense, dense figurative paintings. He is almost an exact contemporary of, and the New York counterpart to, another great painter-portraitist, an artist who captured the power and magic of being poor stylishly, who lived on the margins but eventually came to be recognized as a visionary: Alice Neel. Delaney should be regarded as such as well. Through the 1930s and 1940s, while most American artists were either being fifth-rate Cubists, regionalists, or academics or desperately looking for ways around Picasso via Surrealism, Delaney made his own thoroughly contemporary way. In street and park scenes, still lifes, and portraits, he built upon the work of his good friend Davis, arriving at his own compact, flat fields of creamy, opaque color. His sense of visual, jigsawing geometry and strong, graphic distillation of structure is second only to Davis’s. Delaney’s work, however, has a much more human aura, atmosphere, and arc, almost to a mystical degree, seen only in Marsden Hartley. So why has Delaney been disappeared from collective memory? Partly, it is the racial bias of art history, which, among other things, meant that even while he was celebrated, it was less as a painterly equal to his contemporaries than as some kind of Negro seer or spiritual black Buddha. And in 1953, at the age of 51, Delaney left New York at perhaps the worst possible time. When other American artists, like Jasper Johns, Robert Rauschenberg, Cy Twombly, John Cage, and Merce Cunningham, were meeting and staying up late together (many of them open and uncloseted in their sexuality), Delaney was in Paris, where Baldwin had told him he could escape the long American night of racism. Baldwin was right, but Delaney struggled with French and became even more isolated. Twombly, Baldwin, and Miller returned often to New York, while Delaney never did. So he never got to rejoin the conversation. By the 1960s, Delaney’s abstraction was more connected to the French Art Informel — a primarily European response to Abstract Expressionism — and his paintings, influenced as they were by Monet’s Water Lilies and Turner’s glowing color, had few of the ironic, systemic, direct qualities of Pop Art and minimalism. At a distance, Delaney’s work seemed passé — an artist painting in a void, outside the canon. *This article appears in the January 6, 2020, issue of New York Magazine. Beauford Delaney collection, Sc MG 59, Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, The New York Public Library Repository Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division Access to materials Some collections held by the Manuscripts, Archives and Rare Books Division of the Schomburg Center for Research in Black Culture are held off-site and must be requested in advance. Please check the collection records in
 the NYPL’s online catalog 
for detailed location information. To request access to materials in the Manuscripts, Archives and Rare Books Division, please visit:
 http://archives.nypl.org/divisions/scm/request_access 
 Request access to this collection. 

Portrait de Jean Genet, Beauford Delaney, 1972
Beauford Delaney was a painter, specializing in portraits. The Beauford Delaney collection consists of correspondence with colleagues, friends, gallery owners, and family members, as well as printed material documenting Delaney’s life in Paris. BIOGRAPHICAL/HISTORICAL INFORMATION Beauford Delaney was born in Knoxville, Tennessee, the third child of the Reverend Samuel Delaney and Delia Johnson Delaney. He attended the Knoxville Colored School and later studied art with an elderly Knoxville artist, who encouraged him to get further training. In 1924 Delaney went to Boston where he studied at the Massachusetts Normal School and the South Boston School of Art, and attended evening classes at the Copley Society. Delaney went to New York in 1929, settling at first in Harlem. He painted society women and professional dancers at Billy Pierce’s dancing school on West 46th Street, which gained him a reputation as a portraitist. His first one-man show, which consisted of five pastels and ten charcoal drawings, was at the 135th Street Branch Library of the New York Public Library in 1930. During the same year three of his portraits were included in a group show at the Whitney Studio Galleries, the predecessor of the Whitney Museum of American Art. Delaney also taught part-time at a progressive school in Greenwich Village. By the late 1940s Beauford Delaney had become a significant figure on the art scene. He illustrated “Unsung Americans Sung” (1944), a book of black musical tributes edited by W.C. Handy; he had a series of one-man shows in New York and Washington, D.C.; and he exhibited in group shows in a number of other cities. In 1945 he showed his first series of portraits of writers Henry Miller and James Baldwin, who would become his lifelong friends. In 1949 he began an association with the Roko Gallery in New York, where he exhibited annually until 1953. In 1953 Delaney left New York with the intention of settling in Rome, but a visit to Paris turned into a permanent stay. He had two studios in Paris, the first in the suburbs of Clamart and the other in the Rue Vincingetorix. In Paris Delaney exhibited in one-man and group shows at the Gallerie Paul Fachetti (1960), the Centre Culturel Americain (1961 and 1972), the Galerie Lambert (1964), the Musee Galliera (1967) and the Galerie Darthea Speyer (1973), among other places. The latter was a major showing of a selection of his work from the mid-1960s to the early 1970s and the catalog contained tributes by James Jones, James Baldwin, and Georgia O’Keefe. Delaney also exhibited in England, Germany, Italy, Spain, Switzerland and the United States. The Paris years saw the creation of several masterpieces including portraits of singer Marian Anderson and writer Jean Genet. During this period he also created a series of interiors and studies in watercolor. After suffering two nervous breakdowns, Delaney was institutionalized, and died on March 26, 1979 at St. Ann’s Hospital in Paris. Delaney’s last one-man show in the United States was at the Studio Museum in Harlem in 1978, inaugurating that museum’s Black Masters Series. Delaney’s work is in several private collections and in the collections of the Schomburg Center for Research in Black Culture, The Studio Museum in Harlem, the Newark Museum and the Whitney Museum of American Art. SCOPE AND ARRANGEMENT The Beauford Delaney collection consists of correspondence with colleagues, friends, gallery owners, and family members, as well a printed material documenting Delaney’s life in Paris. Biographical information is provided in statements Delaney authored, articles prepared by others for catalogs, and his obituary. Among the many friends, colleagues and art collectors with whom he maintained an active correspondence is James Baldwin, who wrote an introduction to a catalog for an exhibition of Delaney’s art at Paris’ Galerie Lambert in 1964. Other correspondents include artists Charles Boggs, Al Hirschfeld, John Franklin Koenig, and Ellis Wilson, authors James Jones and Henry Miller (who was also a water colorist), art historian Richard A. Long, and his friend Lynn Stone. Additional artists, painters, writers, gallery owners and musicians who corresponded with Delaney include Lawrence Calcagno, Cab Calloway, Elaine DeKooning, Palmer C. Hayden, and Darthea Speyer. The letters discuss the style of painting of the correspondents, travels, purchase and exhibition of works, and personal matters. Numerous gallery announcements for art exhibits of Delaney’s and other artists’ works in Paris, New York and other cities demonstrate the extent of Delaney’s activities in the contemporary art world. The collection also contains a large number of picture postcards, some sent by friends, and gallery announcements. Family letters are from his brother and fellow artist, Joseph Delaney, and discuss his own work and impressions of Paris; his brother Emery (includes letters Delaney wrote to his brother, in addition to those received); and Delaney’s niece, Imogene.   Beauford Delaney

 Jazz Banb 1963 
 Michael Rosenfeld Gallery 

 All the Races, 1970 
 Michael Rosenfeld Gallery 
Price on Request

 Bernard Hassell, 1961 
 Michael Rosenfeld Gallery 
Price on Request
 Untitled: Abstract in Red, Blue, Yellow and…, 1956 

 Levis Fine Art 
Price on Request Beauford Delaney

 Untitled, 1956 
 Levis Fine Art 
Price on Request

 Mother’s Portrait (aka Portrait of Delia…, 1964 
 Michael Rosenfeld Gallery 
Price on Request Beauford Delaney

 Composition, 1963 
Sale Date: February 6, 2021 Auction Closed

 Self-portrait, 1964 
Sale Date: December 8, 2020 Auction Closed Beauford Delaney 

 Street Scene, 1968 
Sale Date: December 8, 2020 Auction Closed
 SANS TITRE 
Sale Date: July 9, 2020 Auction Closed Beauford Delaney 

 SANS TITRE – 1960, 1960 
Sale Date: July 9, 2020 Auction Closed

 Composition, 1962 
Sale Date: December 13, 2019 Auction Closed SOURCE OF ACQUISITION Donated by Daniel Richard in 1988. PROCESSING INFORMATION Compiled by Victor N. Smythe, 1998. Finding aid edited and adapted to digital form by Kay Menick in 2016. Paintings and art catalogs transferred to Art and Artifact Division. Photographs transferred to Photographs and Prints Division. KEY TERMS NAMES
 Baldwin, James, 1924-1987  (creator)
 Boggs, Charles  (creator)
 Calcagno, Lawrence, 1913-1993  (creator)
 Calloway, Cab, 1907-1994  (creator)
 De Kooning, Elaine  (creator)
 Delaney, Joseph, 1904-1991  (creator)
 Haden, Palmer  (creator)
 Hirschfeld, Al  (creator)
 Jones, James, 1921-1977  (creator)
 Koenig, John Franklin, 1924-1987  (creator)
 Long, Richard A., 1927-2013  (creator)
 Miller, Henry, 1891-1980  (creator)
 Speyer, Dathea  (creator)
 Stone, Lynn M.  (creator)
SUBJECTS
 African American artists 
 African American artists — France — Paris 
 African American painters 
 African American painters — France — Paris 
 Artists — United States 
 Expatriate painters 
 Expatriate painters — France — Paris 
 Painters — France — Paris 
 Painting — United States 
 Painting, American — 20th century — Exhibitions 
As President and CEO of Superstar Management since 1971, the first African-American in this field, Abdul-Jalil al-Hakim has a tremendous   wealth of experience in all aspects of business and personal management, contract drafting and negotiations, and performed all arbitrations of salary grievances and contract disputes for all professional sports and entertainment clients with unprecedented legal and historical results. He negotiates and drafts all agreements for all publishing, merchandising and licensing; commercial advertisements and product endorsements; corporate sponsorships and affiliations; motion picture, television, radio and personal appearances. He was the first “SUPER AGENT”, CREATED the Profession of Sports/Music/Entertainment Branding, Marketing and Promoting, the African-American in the field and has taught and lectured Entertainment Law for 35 years. Many of the agents and lawyers in the business where instructed, consulted, influenced or inspired by his work….

Made “Law Review” TWICE with UNPRECEDENTED cases establishing NEW LAW; Sports/Music/Entertainment Talk Show Founder, Producer and Host, CSA; Expert and Guest Political/Legal/Business/Sports/Music/Entertainment Analyst and Commentator; Business/Sports/Music/Entertainment Law Lecturor/Presentor; Sports Color Commentator; His “The Stars” show was the FIRST Cable Business/Sports/Music/Entertainment Talk Show in 1973; OpEd Columnist/Journalist; Sports, Music, Entertainment and Variety Film, TV, Concert and Special Events Content Creator/Producer/Developer/Runner/Promoter; Islamic Dawah Lecturor/Presentor; His Computer Intelligence Company First and Only Minority Certified IBM, Apple, Compact, Microsoft Computer Value Added Dealer (1982); Computer Technology Lecturor/Presentor; MWBE Specialist.

Hammer “Rap-The-Vote Concert Series” Secured Re-Election of Russian President Boris Yeltsin

How Abdul-Jalil and MC Hammer HISTORIC “Rap-The-Vote Concert Series” Campaign Strategy Spawned Rise of Vladamir Putin to Power AND Secured Re-Election of Russian President Boris Yeltsin!
HAPPY BIRTHDAY HAMMER!
BLACK HISTORY is WORLD HISTORY, EVERYDAY! Create It, Write It, Live/Be It, Celebrate It!

How Abdul-Jalil and MC Hammer HISTORIC “Rap-The-Vote Concert Series” Campaign Strategy Spawned Rise of Vladamir Putin to Power AND Secured Re-Election of Russian President Boris Yeltsin!

This article was written strictly from a WORLD HISTORIC perspective about how our “WORLD ALTERING” Urban-American, western style, political campaign strategy utilizing M. C. Hammer in a “Rap-The-Vote Concert Series” secured the 18-45 voter turnout and the re-election of Russian President Boris Yeltsin in 1995 with the “Our Home Is Russia” (NDR), a Russian liberal political party. Abdul-Jalil al-Hakim devised a strategic plan, executive produced, produced, filmed and broadcast on Russian National TV a series of concerts in St. Petersburg, Moscow, and the WORLD. This campaign tactic was their most effective strategy, greatest strength- uniquely different and vastly superior to anything Russia had ever witnessed. This comprehensive, targeted attack with our expertise well grounded in modern focused campaigning strategy, advertising, marketing, and promotions was trumpeted for saving Russian democracy with Yeltsin’s re-election ensuring continuity in the Democratic evolution of Russia and securing world peace. The television programming was so successful that it has regularly run on air since 1995!

This strategy was trumpeted for saving Russian democracy with Yeltsin’s re-election ensuring continuity in the Democratic evolution of Russia and securing world peace.
At the time we began our concerts and campaign events over the weeks in St. Petersburg, Vladimir Putin was then Deputy mayor of St. Petersburg, organized the St. Petersburg branch of the Party Our Home Is Russia, was it’s Chairman, and led the campaign issue of the party in the elections to the Duma that led to his rise to power and being named President of Russia by Boris Yeltsin.

After our concerts and campaign events over the weeks ending in Moscow, our overwhelmingly positive Polling numbers cemented the campaign an incredible success and this strategy was heralded world wide by political pundits as “incredibly brilliant”, “ a global coup”, “a miraculous event in history”, a “triumph for democratic reform” and “universally invaluable” in it’s effect of being “a savior”, as Yeltsin was the only alternative to guaranteeing the West’s and the World’s political, economic, and military security to carry out their reform agenda.

BUT, with a Western audience in mind, and I must add an important clarification that I do not aim to justify the authoritarian tendency or the confrontational policies undertaken by Russia, EVER. However, a sober conversation about missed opportunities, of what went wrong, requires a scrutinizing evaluation not only of Russian, but also of the rest of the World, including China, North Korea, South America, Israel and the United States.

Since the collapse of the Soviet Union, Russia has been traversing its own, often difficult path toward independent development. The trajectory of the country’s development was mostly determined by internal factors, particularly concerning the balance of power among various sections of the Russian elite.

For Russia, the early 1990s were one of those critical junctures when many paths were open. The politically active section of society defeated a decrepit totalitarian regime, hoping to restore Russia’s full participation in the community of developed states in the global north. In those days, the most pressing question in Russian society appeared to concern identity: Who are we? In searching for an answer, many members of the reformist elite waited for the West to extend a hand in friendship, to offer assistance as equals. Accordingly, many among the Russian elite and society at large answered that question by attempting to reclassify their country as a member of the “first world.” It was the world Andrei Sakharov dreamed that Russia could join, as yesterday’s foe and tomorrow’s friend. That move, they hoped, could lead to Russia’s deeper integration into the West’s political, economic, and security structures, such as the EU, NATO, WHO, Schengen Zone, and the World.

Such a move, had it been successful, would not have prevented a nationalist backlash in subsequent years but might at least have limited it: elites integrated into Western systems would have valued the advantages of their position. And if, regardless of those achievements, Russia’s leaders had still opted for isolationism, then the world would be discussing “Russia’s Brexit” and its departure from the EU. It would not be discussing the invasion of Ukraine, the annexation of Crimea, wars in Georgia and Chechnya, and the evisceration of constitutional freedoms in Russia.

“Our Home Is Russia” (NDR) was a Russian liberal political party founded in 1995, existed to 2006, by former Gazprom chairman, then Russian Prime Minister Viktor Chernomyrdin. It was a liberal, centrist political movement, founded for the purpose of rallying more technocratic-reformist (right-wing) government supporters. At the time of its founding, Chernomyrdin had the backing of Russian president Boris Yeltsin along with numerous large financial institutions such as Association of Russian Banks, and major companies such as Gazprom, of which he was formerly the chairman.

Viktor Chernomyrdin, served as Russia’s prime minister under then President Boris Yeltsin from 1992 to 1998, a turbulent period of economic hardship and political turmoil as a bankrupted Russia struggled to recreate itself as a democracy after the Soviet collapse, developing as a market economy while throwing off communism and engineered the creation of Gazprom, now the world’s biggest gas company.

The movement attracted the sympathies and interests of many prominent members of the ruling elite of Russia, and NDR was thus nicknamed “the party of power”. It was also known as the party of the Oligarchs, the position previously identified with another political party, Democratic Choice of Russia. Two other parties were interested in cooperating with NDR after its foundation: parts of the Agrarian Party of Russia and Democratic Choice of Russia. Together their platform would promote “freedom, property, and legality”, and would favor such policies as reducing the state’s role in the economy, support for small businesses, privatization of agriculture, military cutbacks and sought “a normal life in Russia” and peace in Chechnya after the First Chechen War. However, after Chernomyrdin’s candidacy for a second term as Prime Minister was in 1998 rejected by the Duma, Our Home – Russia declined the other parties’ bid for cooperation.

Boris Yeltsin wanted to establish a two-party system in 1995 after the American model and advocated the establishment of a center-right and a left- centrist electoral blocs. Yeltsin’s aim was on the one hand to clip the extreme parties on the political fringe, even at the head of the Communist Party Gennady Zyuganov KPRF away from the power. On the other hand, Yeltsin wanted to create functional, loyal and non-ideological parties to consolidate its power and stability of the country.
Recently KPFA Radio DJ Doug Edwards and Gabrielle Wilson hosted a Tribute and Benefit for Khalil Shaheed on “Music of the World”. The event featured testimonials from many of the Nations and Bay Areas top Jazz personalities honoring Shaheed. During the program they aired for the first time the Public Service Announcements featuring the Prospect Sierra 8th Grade Students and their teacher Bert Kessler. Bert begins the PSA’s with an introduction of the students and their Community Service Project at KPFA arranged by Gabrielle Wilson and Associates with the Aaron & Margaret Wallace Foundation.