feature
brushstrokes of
genius BY: A m y B i e m i l l e r
photography by: D a n Z . J o h n s o n
The musician depicted in the painting “Before the Gig” radiates quiet energy. His clasped hands allude to strength and composure. His face, without detail, emanates soulful anticipation. It is an evocative and vibrant work and one of thousands crafted by an artist who thinks deeply about the personal story of each subject he paints.
“When people look at my work, I want them to be able to connect with the subject in the painting,” said Dane Tilghman ’79. “I want them to get a sense of the difference that person made and feel like they know a little piece of that person’s story.” Just as an author spins a tale using words, Tilghman, one of America’s leading contemporary African American artists, creates with bold brushstrokes of color. He sets the scene with bright acrylic colors and minimal detail: ochre and amber swaths for a farm field; cool arcs of color for a jazz club; emerald and sage strips to define a baseball outfield. His textural, bold paint strokes also breathe character and depth into his subjects, who range from farmers and railroad workers to musicians and baseball legends. His canvases tell a story so well that you feel part of the subject’s moment in time. “I love a good story, and there’s beauty in the everyday activities of people,” said Tilghman. “I make my art about honoring those people and activities.” Tilghman practices realism, cubism and impressionism and has also developed his own style, which he calls tall-tale art. This style employs exaggerated perspective and caricature, and although it is very allegorical, it evokes a sense of grace and rhythm. His work resonates with a diverse audience and takes prideof-place in collections that range from posters that adorn dorm
12 Tower | Spring 2013
rooms and offices to original canvases setting out the picnic supper. on the walls of Bill Cosby’s and Nelson “As a frozen moment in time that Mandela’s homes. You’ll recognize his captures my father’s place in the family, work in the Butler Institute of Fine Art, this composition has to be my favorite, the University of Pennsylvania and the if I really must choose one,” he joked. Baseball Hall of Fame. You’ll also see Tilghman, who comes from a long line his paintings on stage sets for TV shows of watermen working the Chesapeake and in magazine layouts and as murals Bay, considers the Eastern Shore the in Turner Stadium in Atlanta and ultimate natural environment in which Citizens Bank Park in Philadelphia. to immerse himself and paint. “There’s nothing else I’d “ When people look at my work, I want them to be rather do to earn a living,” able to connect with the subject in the painting ...” he declared. “I had 26 jobs before I made the commit — Da n e t i lg h m a n ’ 79 ment to go full-out and paint. That was 29 years ago, and I haven’t “While I really do take joy in each looked back.” painting I create, I have a special place Tilghman is a prolific artist, averaging in my heart for painting the black 225 paintings a year. Some are commiswatermen,” he said. “To capture their sions, like one project he is just starting grace and strength in a classic American now for the San Francisco 49ers organizasetting resonates very deeply with me.” tion. Others are simply an answer to the Tilghman also draws on a reserve of call of his muse, the everyday man. inspiration collected from his past profes“I take inspiration from old black and sors at Kutztown University, citing, white photos of people doing everyday among many, his illustration professor things,” he explained. “I’ll use that moment Tom Quirk, his music teacher Charles in time captured on film as a jumping-off Scanzello and his sociology professor point to illustrate a story.” Sam Westmoreland. Family and family history also serve “I was fortunate to have professors as inspiration for his work. One of who not only taught me the skill I use Tilghman’s favorite compositions is today, but helped me expand my creativithat of his extended family caught on ty. Fred Keller, my life drawing teacher, camera at a picnic in 1947. Entitled and (the late) Dr. David Dunn, head of “The Last Family Reunion,” the piece the Black Theatre League, were just two captures Tilghman’s father at age 8 of the professors whose mentorship and and his slightly-older brother waiting influence are their legacy to me and, I am for their mother and aunts to finish sure, to countless other alumni.” Dane Tilghman’s paintings: “Sleepy John” (left), “Fielding the Long Ball” (middle), “Going to Church” (right).
Spring 2013 | Tower 13