ATX: City Tour Series: 2025-2026

Despite having criss crossed Texas several times OTR had never managed to visit Austin (ATX). The initial reason was due to Covid 19 as we were forced to cancel a scheduled visit with friends in March 2020. So as we planned our City Tour Series for the autumn and spring of 2025/2026 we incorporated ATX as our second tour stop.The City Tour is not a road trip as we are accessing the cities via rail (see previous post) and air.

Wild Boar Ribs | Lamberts Downtown Barbecue | Austin
Mural | Generational Ties | Artist | Ruben Esquivel
Old Bakery & Emporium (photo courtesy of austintexas.gov)
Texas State Capitol | Austin, Texas
Colorado River | Lady Bird Lake |Austin, Texas
Jerry Bywaters |Oil Field Girls | 1940 | Oil on Board
Yasuo Kuniyoshi | Waitresses from the Sparhawk | 1924-25 | Oil on Canvas
Hayal Pozanti | This Sudden Smiling | 2024 | Oil Stick on Linen
Hayal Pozanti | Veil Between Worlds | 2023 | Oil Stick on Linen
Ragna Bley | Antarctica | 2024 | Acrylic and Oil on Linen
Ragna Bley | Inter-Waver | 2016 | Acrylic on Canvas
Congress Avenue Viewed from the ContemporAry Roof
San Antonio Street
Live and Let Die | 1974
Ward | Steve Ward | Video
Austin Central Library (Photo Courtesy of Guide to Austin Architecture)

ÍSLAND

Prime Minister’s Summer Residence
Tectonic Rift
Tectonic Rift
Gullfoss
Gullfoss
Hvítá River Viewed From Skálholt Church
Icelandic Happy Marriage Cake (Photo courtesy of Autumn Carolyn)
Harpa Concert Hall
Icelandic Foal
Polar Bear, Hotel Ranga, Hella, Iceland
Perlan (Photo courtesy of Perlan)

The “Freddy”

St. John River, Fredericton, New Brunswick
Fredericton Trail Coalition Map
Lord Beaverbrook
Salvador Felipe Jacinto Dali (Spanish, 1904-1989)
La Turbie: Sir James Dunn, 1949 oil on canvas
On Loan from the Beaverbrook Canadian Foundation
Medrie MacPhee (Canadian / Canadienne, b./n. 1953)
Locke (1987)
oil on canvas / huile sur toile
Carol Hoorn Fraser (Canadian / Canadienne, 1930 – 1991)
The Guardians, 1976
oil on canvas / huile sur toile
Lucy Jarvis (Canadian / Canadienne, 1896 – 1985)
Iris Swamp (1961)
oil on board / huile sur panneau
Christ Church Cathedral, Fredericton, New Brunswick

Halifax, Nova Scotia — Much Better Than Dunk, Nova Scotia

Halifax, from the Citadel
Artist—@BLAZENTATTOO
Self Portrait—Denyse Thomasos

St. John and the Loyalists

Strength Through Toast — Toast Marketing Board
Untitled Artist Mique Michele, 2021
See Stories — Artist Allan Ryan
@_prettywestern
Jamie Comeau & the Crooked Teeth

El Paso del Norte

We had been in Texas and New Mexico several times prior to our most recent trip, but for some reason had steered around El Paso (EP). Perhaps the timing was just not right or we were concerned about conditions there based on the reporting regarding the immigration issues at the border. Regardless, we were ready to explore EP as part of our OTR 9.0 adventure and draw our own conclusions about the city.

El Paso, Texas and Juarez, Mexico viewed from Scenic Drive

We made the decision to stay in the city and booked a hotel in the University district for three nights. We are glad we chose this area as it enabled us to walk to a number of casual but excellent restaurants and coffee shops dotting the university neighborhood. This was especially nice as EP is a sprawling metropolis that requires some driving in order to explore the city.

Of course, the first entry point for any worthwhile city visit is COFFEE! We were traveling from the east after our recent visit to Guadalupe Mountains National Park, therefore we were able to vector directly to an excellent specialty coffee shop and roaster on the east side of the city. We were most fortunate that the founder and owner of Global Coffee, Erika, sat with us for quite awhile. She shared with us her family history and the ties with Mexico that exist in a border town that has been a major immigration point for centuries(El Paso del Norte). Erika is a delightful and talented young woman and we wish her all the success she deserves with her business and family. https://globalcoffeeco.com/

After refueling we went directly to the tank museum, officially known as the 1st Armored Division & Fort Bliss Museum. The United States Army has had a post in EP since 1849, which has served as an infantry post, a cavalry post, an air defense artillery post and currently operates as a maneuver training post. The size of the Fort Bliss training area (965,00 acres) and its mountainous desert terrain have made it a vital training location for the many forces that have been deployed to the Middle East over the last three decades.

Artist: Fremont Ellis, El Paso Smelter at Night, 1919
Artist: @DEKO_UNO, Kerby Avenue, El Paso, Texas
Artists: Jesus Alvarado and Victor Casas, El Segundo Barrio, El Paso, Texas

Colorado: Abridged Edition

Durango – Four Corners – Route 550, Colorado
South Fork – Eastern Rockies – Route 160, Colorado

After refueling with burgers and diesel we continued our drive to the town of Del Norte. Prior to Euro-American settlement, this area was occupied by the Utes who migrated to the area from the south during the warmer months of the year. When this territory came under Mexican rule during the early 19th century, Hispanic settlers migrated north to take advantage of land grants offered by the Mexican government. Subsequently, this area was ceded to the United States by Mexico.

Del Norte, Photos, Courtesy Denver Public Library

After a quick tour of the small downtown we headed west a short distance to find a camping spot in the Rio Grande National Forest. We found a great spot in a meadow which afforded us a panoramic view of Del Norte Peak.

Rio Grande National Forest
Del Norte Peak, Elevation 12,400′
Great Sand Dunes National ParkSangre De Cristo Mountains

GSDNP presents a fascinating landscape with grasslands separated from a thirty square mile sand desert by Medano Creek. The dunes are tucked in against the base of the Sangre de Cristo Mountains–quite spectacular! The sand dunes at GSDNP are the tallest in North America. Some are as high as 700 feet (Star Dunes is the tallest at 750 feet).

Medano Creek
Medano Pass Primitive Road
Walsenberg, Colorado
The Broadmoor

Colorado Springs sits at just over 6000′ above sea level at the eastern base of the Rocky Mountains. Snow covered Pikes Peak (14,100′) looms over the city to the west creating a stunning backdrop. We did not travel up to the peak on this trip as we had taken the nine mile cog railroad trip on a previous visit (we definitely recommend riding the railroad to the top if the weather is clear -which it usually is in this part of Colorado). The train ride is fun and the views are phenomenal.

Pikes Peak
Building Three Coffee

With the cloudy, drizzly weather persisting into our second day in Colorado Springs (coincidently nicknamed “Little London” although not for the weather – there was a large British population in the 1870s) we decided to visit the Fine Arts Center (FAC) at Colorado College. The FAC is located in the Old North End neighborhood – an area of stately late 19th and early 20th century homes and tree lined boulevards.

Charles R. Bunnell (1897-1968) March Snow, 1940, Oil on canvas
Victor Higgins (1884-1949) Santa Fe Hills, Date Unknown, Oil on canvas

As with many museums of this size, the collection is regionally (although not exclusively) focused. We have included photos of several paintings which reflect the southwestern focus (and which we really liked). The museum is definitely worth a couple of hour visit when you visit “Little London”.

On our final day in Colorado Springs we ventured out to Red Rock Canyon. We had held off visiting earlier in our stay due to some cloudy weather. Unfortunately, it appeared that everyone else in Colorado Springs had done the same (it was also the weekend) and this popular open space was quite crowded.

Interestingly, Red Rock Canyon is a city park consisting of 1474 acres of land. The park was pieced together with the multiple purchases of parcels over a period of years during the 1920s and 1930s by private citizens. It was acquired by the city in 2003. What makes the park’s history all the more remarkable is that many of the parcels were formerly quarries, gravel pits and industrial sites which have been reclaimed. There is little evidence of the past use of the space – without reading about the history you would most likely not think that to be the case.

From Colorado Springs we traveled north – camping near Sterling, Colorado for our last night in the state. In future posts we will chronicle our trek across the midwestern plains en route to Connecticut.

Be seeing you!

Fine Art Tourist.Van Gogh in America.Detroit Institute of Art

In early December, Fine Art Tourist traveled to Detroit for the unique opportunity to see 74 pieces in an exhibition of paintings and drawings by Vincent Van Gogh. This show features Van Gogh works from museums and private collections around the world.

While Detroit in December is not ideal, Van Gogh is our favorite artist (we are not alone there obviously) and this exhibition is at the Detroit Institute of Arts (DIA) for just two months. This exhibition will not appear anywhere else in the United States.

The DIA was the first museum in the United States to purchase a painting by Van Gogh (Self-Portrait (no. 7)) at an auction in New York City in 1922. This exhibition entitled Van Gogh in America, commemorates the hundred-year anniversary of that acquisition. Today, the DIA has six Van Gogh paintings in its permanent collection.

It is difficult to imagine today, but Van Gogh’s work was not popular in the United States until many years after his death in 1890. The first public display of his work in the United States did not take place until 1913 (New York City, Boston and Chicago).

By the late 1920’s Van Gogh’s work had grown popular in the United States. A number of his works were included in an exhibition at the opening of the Museum of Modern Art in New York City in 1929. Subsequently, a number of museums in the United States acquired Van Gogh paintings. Curiously, in addition to the DIA, a number of mid-western museums were early purchasers of his paintings. These included the Art Institute of Chicago, the Toledo Museum of Art, the Saint Louis Art Museum and the Nelson-Atkins Museum of Art (Kansas City).

In this post we are not going to delve into the life of Vincent Van Gogh. There are numerous excellent books available about his tumultuous life and spectacular art. We have included several of our favorites at the end of the post if you are interested in learning more about his personal life and his development as an artist.

We have included below 30 of our photographs taken at the Van Gogh in America exhibit. The paintings included are presented in chronological order. It is fascinating for us to see how dramatically his paintings change in regard to brushwork and color over his short ten year painting career. The majority of the paintings are from late in his career when, despite his illness, he was incredibly productive.

Detroit Institute of Arts: https://dia.org/

Sorrow, 1882, Pencil and ink on paper,
The New Art Gallery Walsall, United Kingdom
Bird’s Nest, 1885, Oil on canvas,
Van Gogh Museum, Amsterdam
Beer Tankards, 1885, Oil on canvas,
Van Gogh Museum, Amsterdam
Vase with Poppies, 1886, Oil on canvas,
Wadsworth Atheneum of Art, Hartford, Connecticut
Terrace in the Luxembourg Gardens, 1886, Oil on canvas,
The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
Pont du Carrousel and the Louvre, 1886, Oil on canvas,
Ny Carlsberg Glyptek, Copenhagen
Le Moulin de la Galette, 1886, Oil on canvas,
Staatliche zu Berlin, Nationalgalerie, Berlin
A Pair of Boots, 1887, Oil on canvas,
Baltimore Museum of Art, Baltimore, Maryland
Grapes, Lemons, Pears, and Apples, 1887, Oil on canvas,
The Art Institute of Chicago, Chicago
Restaurant de la Sirene of Asnieres, 1887, Oil on canvas,
Musee d’Orsay, Paris
The Stevedores in Arles, 1888, Oil on canvas,
Museo Nacional Thyssen-Bornemiszo, Madrid
Entrance to the Public Gardens in Arles, 1888, Oil on canvas,
The Phillips Collection, Washington, DC
Van Gogh’s Chair, 1888, Oil on canvas,
The National Gallery, London
The Sower, 1888, Oil on canvas,
Van Gogh Museum, Amsterdam
Mountains at Saint-Remy, 1889, Oil on canvas,
Guggenheim Museum, New York City
The Olive Trees, 1889, Oil on canvas,
The Museum of Modern Art, New York City
The Bedroom, 1889, Oil on canvas,
The Art Institute of Chicago, Chicago
View of Auvers-sur-Oise, 1890, Oil on canvas,
Museum of Art, Rhode Island School of Design, Providence, Rhode Island
Poppy Field, 1890, Oil on canvas,
Kunstmuseum Den Hoog, The Hague
Farms near Auvers, 1890, Oil on canvas,
Tate, London
Wheat Stacks, 1890, Oil on canvas,
Fondation Beyeler, Riehen/Basel
Stairway at Auvers, 1890, Oil on canvas,
Saint Louis Art Museum, Saint Louis, Missouri
Undergrowth with Two Figures, 1890, Oil on canvas,
Cincinnati Art Museum, Cincinnati, Ohio
Sheaves of Wheat, 1890, Oil on canvas,
Dallas Museum of Art, Dallas, Texas
Women Crossing the Fields, 1890, Oil on paper,
McCoy Art Museum, San Antonio, Texas

Portrait Gallery

  • Self-Portrait, 1889, Oil on canvas
  • La Berceuse, 1889, Oil on canvas
  • Portrait of Camille Roulin, 1888, Oil on canvas
  • L’Arlesienne, Madame Ginoux, 1890, Oil on canvas
  • Adeline Ravoux, 1890, Oil on fabric

We hope you enjoyed seeing these works by Van Gogh as much as we enjoyed sharing them with you. Be seeing you!

Van Gogh, an Appreciation of his Art – Gerhard Gruitrooy: Vincent Van Gogh, The Letters – Edited by Leo Jansen, Hans, Luijten and Nienke Bakker: Van Gogh, His Life and His Art – David Sweetman

Fine Art Tourist: Poetry and Art

Fine Art Tourist:OTR 8.0: Mississippi Museum of Art: New Symphony of Time

Jason Bouldin (1965) Portrait of Medgar Wiley Evers, 2013, Oil on canvas
Hystercine Rankin (1929-2010) Baptism in Crow Creek, 1996, quilted fabric, with appliqué and embroidery

After several days in Vicksburg, immersing ourselves in Civil War and Mississippi River history (see post – ctsprinterlife: OTR 8.0: Mississippi Part Three), we decided to head east to visit Jackson, before continuing our journey south along the Mississippi River.

Our timing turned out to be impeccable as MMOA was just opening a new exhibit entitled New Symphony of Time. The exhibit is ongoing and part of the permanent collection of the MMOA. The exhibit consists of 170 works by noted artists such as Georgia O’Keeffe, Albert Bierstadt and Benny Andrews. Additionally, the exhibit includes many works by talented Mississippi artists.

msmuseumart.org

Albert Bierstadt (1830-1902) A Scene in the Rockies, Lake Silva Plans, not dated, Oil on canvas

New Symphony of Time expands and illuminates the boundaries of Mississippi’s narrative. Exploring the themes of ancestry and memory; migration, movement, and home; shared humanity; the natural environment; and liberty for all, the exhibition is inspired by Margaret Walker’s epic poem, “This is My Century: Black Synthesis of Time.” (Above paragraph is taken from the curator notes.) The poem is interspersed in the post below.

Throughout the exhibit certain ideas resonate: personal and collective memory, history and the connection to place, as well as the roles artists play in pursuit of civil rights and racial equality.

Helene Canizaro (1911-1997) Stafford Springs, 1974, Oil on canvas
Georgia O’Keeffe (1887-1986) The old Maple Tree, Lake George, 1926, Oil on canvas
Mildred Nungester Wolfe (1912-2009) The Old Studio, 1957, Oil on canvas
         This is My Century: Black Synthesis of Time by  ---  Margaret Walker
O Man, behold your destiny,
Look on this life
and know our future living
our former lives from these our present days
now melded into one.
Hale Woodruff (1900-1980) Mississippi Wilderness, c. 1944, Oil on canvas
Queens of the Nile,
Gods of our Genesis,
Parade of Centuries
behold the rising sun.
The dying Western sky
with yawning gates of death,
from decadence and dissonance
destroying false and fair,
worlds of our galaxies,
our waning moons and suns
look on this living hell
and see the rising sun.
Theora Hamblett (1895-1977) Walking, Meditating in the Woods,1963, Oil on canvas
This my century
I saw it grow
from darkness into dawn.
I watched the molten lava pour
from red volcanic skies;
Islands and Mountains heave
into the sea
Move Man into the spiraled axis turn
and saw six suns and sunsets rise and burn.
Karl Wolfe (1903-1984) Xanadu (View from Studio Window), c. 1960s, Oil on board
Osiris, Isis, black and beautiful gods,
When came your spectacle
of rythmed life and death?
You gods of love
on pyres of sacrifice
our human hearts become
old hearthstones of our tribal birth and flame:
the hammer and the forge,
the anvil and the fire,
the righteous sparks go wild
like rockets in the sky.
The fireworks overhead
flame red and blue and gold
against on darkened sky.
O living man behold
your destined hands control
the flowered earth ablaze,
alive, each golden flower unfold.
John McCrady (1911-1968) Rural Symposium, 1964, Acrylic on board
Now see our marching dead
The tyrants too, have fled.
The broken bones and blood
Have melted in the flood.
Clementine Hunter (1886-1988) Untitled, 1980, oil on canvas board
Cinque.
O man magnificent.
The gods endowed you well.
Prince of our innocence
The stars move round your head.
You stride the earth to tell
your sons and daughters young
from island, sea, and land-
a continental span-
how men are made of gods
and born to rule the world.
In majesty with monumental hands
you bridge the Universe
and centuries of desert sands.
Bequeath to us your handsome dignity
and lordly noble trust.
George Morland (1763-1804) Execrable Human Traffick, 1789, Oil on canvas
Gods of compassion, rise
In mortal human form.
The splendor of your eyes
Streaks lightening through the storm.
Noah Saterstrom (1974) Road to Shubuta, 2016, Oil on canvas
This is my century-
Black synthesis of Time:
The Freudian slip
The Marxian mind
Kierkaardian Leap of Faith
and Du Bois' prophecy: the color line.
These are the comrades of Einstein,
the dawning of another Age,
new symphony of Time.
New liberties arise;
from Freedom's flag unfold;
the right to live and be
both stronger and more wise.
Each child, a prophet's eyes;
each place, a priestess stone.
This Beast no man denies
the godly-human throne.
Each generation cries
to touch divinity
and open up the sunlit splitting skies.
Ruth Miller (1949) The Evocation and Capture of Aphrodite, 2014, hand-embroidered wool
I have had a good time singing
the songs of my fathers
the melodies of my mothers
the plaintive minor notes of my grandmothers.
I heard the drums of Africa
and I made the music of Spain.
I gave rythym to the world
and called it syncopation.
All the Calypso brothers
have dance music in my head
and all my beautiful jazzy greats
like old Satchmo,
the Duke, the Count, the Duchess, the King
the Queen, Prince, and Princesses
they were the sons and daughters of royalty
in my dynasty.
I am a black shoeshine boy
made immortal by Barthe
and I am a black mother
running from slavery.
Ernest Crichlow (1914-2005) Underground III,1990, Oil on canvas
Look on my bronzed and black-red-mahogany face
and know me well.
For I am the seed of the earth,
the broken body of the Son of God,
and the Spirit of the Universe.
Drink wine in my memory
and pour water on stones
singing Libation songs.
I came out of the sun
and I swam rivers of blood
to touch the moon.
I will not flinch before the holocaust
for I am a deathless soul,
immortal, black, and free.

The MMOA started as a state art association in 1911 and has grown in size and stature. Today the museum collection includes 5800 works and contains works by notable artists including Andy Warhol, Robert Henri, Georgia O’Keeffe and George Bellows.

The museum and the community are clearly demonstrating a commitment to confronting the legacy of racism in Mississippi and to moving forward to help foster a better present and future. Our hats off to the organization and community.

We hope you enjoyed this edition of OTR with Maria and Stephen.

Be seeing you!

FINE ART TOURIST: KNOXVILLE MUSEUM OF ART: TENNESSEE ARTISTS ON DISPLAY

Our first stop in Tennessee on the outbound leg of OTR 8.0 was Knoxville. We have chronicled portions our visit to Knoxville in two previous posts (Street Art Tourist OTR 8.0 and Fika with Fiona:OTR 8.0). This post is focused on our visit to the Knoxville Museum of Art (KMOA). https://knoxart.org/contact/. (Photos of the museum below courtesy of the museum)

The KMOA is a regional art museum with a focus on the art, artists and culture of the Southern Appalachians, particularly Eastern Tennessee. The museum opened to the public in its current modern 53,000 square foot facility in 1990. Today the collection includes 1500 pieces of art in a variety of media. While the museum collection extends beyond works from Eastern Tennessee, we were most interested in seeing the paintings of several of the most noted Tennesseans, on display in the Higher Ground exhibition.

Higher Ground : A Century of the Visual Arts in East Tennessee

Marion Greenwood (1909-1970) History of Tennessee, 1954-55, Oil on Linen

Higher Ground is the first permanent exhibition devoted to East Tennessee’s artistic achievements. It includes objects from the KMA collection supplemented by important works borrowed from public and private collections. Many of the featured artists spent their entire lives and careers in the area, while some moved away to follow their creative ambitions. Others were drawn to the region by its natural beauty, as the wealth of landscape imagery in this exhibition attests. Together, these artists’ works form the basis of a visual arts legacy in East Tennessee that is both compelling and largely unheralded. Higher Ground allows viewers to follow the history of artistic activity in the region over roughly a century of development and learn about the many exceptionally gifted individuals who have helped shape the area’s visual arts tradition.

Catherine Wiley

Anna Catherine Wiley was one of the most active, accomplished, and influential artists in Knoxville during the early twentieth century. She taught art at the University of Tennessee, helped organize area art exhibitions, and was a driving force in the Nicholson Art League, a prominent local art association. Wiley studied with Frank DuMond at the Art Students League in New York and spent summers in New England working with Impressionist Robert Reid. She returned to Knoxville following her studies and brought with her a mastery of Impressionism. Wiley specialized in scenes of women amid their daily lives rendered in thick, brightly colored pigment. Morning features a more expressive variety of brushwork often seen in her late paintings.

Wiley’s work is represented in museum collections around the country, including the Metropolitan Museum of Art. Her promising career ended in 1926 when she was confined to a psychiatric hospital where she was without access to her studio supplies. The exact nature of the artist’s illness remains unconfirmed.

Catherine Wiley (Coal Creek [now Rocky Top],
Tennessee 1879-1958 Norristown, Pennsylvania) Young Woman Reading with Parasol, circa 1918, Oil on canvas
Catherine Wiley (1879-1958) Untitled (Woman and Child in a Meadow)1913, Oil on canvas

Untitled (Woman and Child in Meadow) represents Knoxville Impressionist Catherine Wiley at the height of her career. She won the top award for regional painting at the 1910 Appalachian Exposition in Knoxville, and evidence suggests the artist selected this canvas for inclusion in Knoxville’s 1913 National Conservation Exposition. In a review of the 1913 exposition, one Knoxville Journal & Tribune critic wrote that “Miss Catherine Wiley’s work has attracted general comment and praise. She has three pictures on exhibition, two of which are new examples of her art. The most pleasing of the three is a study of a woman and child out-of- doors. The figures are sitting in strong sunlight, while a dark wooded hillside forms the background. The piece is strongly handled, and shows originality and force.”

Catherine Wiley (1879-1958) Boats and Water, circa 1915, Oil on canvas
Catherine Wiley (1879-1958) Morning Milking Time,circa 1915, Oil on canvas

Beauford Delaney

Beauford Delaney (Knoxville 1901-1979 Paris) Blue-Light Abstraction, circa 1962, Oil on canvas

Born in Knoxville in 1901 to a Methodist Episcopalian minister, Beauford Delaney and his younger brother Joseph demonstrated early artistic talent. Their parents supported the brothers’ creative aspirations, and Beauford’s talents came to the attention of painter Lloyd Branson, who served as an early mentor. Facing the additional hurdle of racism, the brothers left Knoxville in the mid-1920s to pursue their art careers in larger arenas, but followed very different artistic paths. After studying in Boston, Beauford chose New York and later Paris as the ideal settings for his experiments with expressive abstraction. He attracted a host of distinguished friends including Georgia O’Keeffe, Alfred Stieglitz, Willem de Kooning, James Baldwin, Henry Miller, and Louis Armstrong. He became known for his radiant portraits and landscapes in which he explored color—luminous color—applied with explosive brushwork. Visible references to the outside world began to fade as the artist sought what he believed were the healing powers of light as embodied in the brilliant hues of his palette.

Beauford Delaney (Knoxville 1901-1979 Paris) Self-Portrait in a Paris Bath House, 1971, Oil on canvas

Joseph Delaney

Joseph Delaney (Knoxville 1904-1991 Knoxville) Vine and Central, Knoxville, Tennessee,1940, Oil, pastel and charcoal on canvas

Joseph Delaney, like his brother Beauford, was born in Knoxville, but left for Chicago before settling in New York, where he established himself as a tireless and prolific painter of Manhattan’s urban scene. Over the span of his 60-year career, Joseph displayed a remarkable ability to convey a vibrant modern world in transition while representing an unvarnished record of his energetic painterly process. He returned to Knoxville to visit his family over the years and eventually moved back to his hometown in 1986. The Knoxville Museum of Art has worked diligently to call attention to the artistic accomplishments of both brothers by hosting or organizing such exhibitions as Beauford Delaney: From New York to Paris (2005), Beauford Delaney: Gathering Light (2017), Joseph Delaney: On the Move (2018), and Beauford Delaney & James Baldwin: Through the Unusual Door (2020). The KMA owns the world’s largest and most comprehensive institutional collection of Beauford Delaney’s work, and an extensive selection of paintings and drawings by Joseph Delaney.

Joseph Delaney(1904-1991) Marble Collegiate Church,1974-75, Oil on canvas
Joseph Delaney (1904-1991) Untitled (Saguenay, Quebec),circa 1945, Oil on canvas board

Lloyd Branson

Lloyd Branson (Union County, Tennessee 1853-
1925 Knoxville)Going Home at Dusk,1920, Oil on board

Enoch Lloyd Branson was one of the most talented and versatile East Tennessee artists of his era. Under his lasting influence, the local art scene reached a new level
of activity and quality. Branson received artistic training at East Tennessee University (later renamed the University of Tennessee) and the National Academy of Design in New York. Upon the artist’s return in 1878, he established a successful portrait painting business with photographer Frank McCrary at 130 Gay Street in downtown Knoxville. Branson devised a method of producing vivid portraits based on photographs, which provided his primary income as an artist. However, he earned greatest recognition for heroic genre scenes such as Hauling Marble, which portrayed East Tennessee’s thriving marble industry. The painting won the gold medal at the Appalachian Exposition of 1910. In addition to his studio work, Branson was active as an art teacher, training and inspiring a new generation of talent including Catherine Wiley, Adelia Lutz, and Beauford Delaney, whose works are included in this exhibition.

Lloyd Branson (1853-1925) Hauling Marble,1910, Oil on canvas

The Tennessee marble industry began during the late 1830’s with the discovery of major veins in Hawkins County. Around 1850, Tennessee marble was discovered in Knox and Blount Counties where, with greater access to rail, the stone industry took off. By the 1880s, Knoxville became known as “The Marble City,” and its extensive quarries supplied stone used throughout the region and in the construction of the National Gallery of Art in Washington, D.C., New York’s state capitol, the Lincoln Memorial in Washington, New York’s Grand Central Station, and the New York Public Library’s famous stone lions. The Knoxville Museum of Art is also clad in pink Tennessee marble.

Despite its name, Tennessee marble is not a true marble due to its sedimentary structure and lesser hardness that are more akin to limestone. However, its high density, low porosity, water resistance, and range of color contribute to its distinguished history as a highly attractive building material.

We enjoyed the KMOA and recommend spending a morning or afternoon at the museum on your next visit to Knoxville. The KMOA is conveniently located at the site of the World’s Fair Park (1982) on the edge of downtown. Lastly, we would like to acknowledge that we drew heavily from the excellent Higher Ground Exhibition notes in preparing this post.

Be seeing you!