Dining with Dean Mitchell, a "Modern Day Vermeer"

With Dean Mitchell 

I know I tend towards enthusiasm when it comes to artists. But rest assured that I'm not so presumptuous as to compare an artist I had the good fortune to meet to Vermeer. Instead, it was the New York Times' Michael Kimmelman who gave Dean Mitchell that lofty label. The full quote was, "Mr. Mitchell is a virtual modern-day Vermeer of ordinary black people given dignity through the eloquence of his concentration and touch." Having seen Mitchell's work, I understand the reference. His paintings are a bit quiet; they don't grab you when you walk into a room. But you would be missing out if you overlooked one of Mitchell's creations. Once you are standing in front of his work, its power and his skill shout out. But once again I've gotten ahead of myself. 

Every two years the Visual Arts Center in Punta Gorda hosts its National Art Exhibition. Having chaired the show in the past, it has special meaning to me. In addition to the prize money, artists enter the competition to have their work judged by nationally known artists. Which brings us to this year's juror -- Dean Mitchell. Exhibit festivities included a luncheon at which Mitchell spoke. Quite thrillingly, I was seated next to him. (Thanks, Susan!)  

"Napoleon House" (watercolor) 2014
On view at the Visual Arts Center

As I talked with Dean about his background, we found some commonality. His first job out of school was at Hallmark in Kansas City. I mentioned I'd lived in the suburb of Overland Park as a child. Turns out that's where he lived as well. But it was when I said my family had moved from there to Panama City in the Florida Panhandle that things got interesting. "Get out!" he said. "I grew up in Quincy [population 8,000] and my very first art show was at a gallery on Beck Avenue in Panama City." What???!!!  Yes, this world class artist got his professional start in my home town. 

The list of Dean's accolades and awards goes on and on. But here are a few:

--Youngest artist to be admitted to the American Watercolor Society (Dean works in a variety of mediums, but he is best known for his watercolor paintings. He was 27 at the time of his admission.)  

--Winner of over 400 competitions (200 at the national level), including recipient of the American Watercolor Society Gold Medal and the Thomas Moran award from the Salmagundi Club in New York   

--Interviewed to paint the official portrait of President Barack Obama (Click here for his thoughts on that process. Apologies for the ads.)  

"Rowena & Pretty Baby" (watercolor) 2014

Then there are tons of other cool things about Dean that warranted only a passing mention, if that. Like that he designed the U.S. postage stamps celebrating jazz greats such as Louis Armstrong, John Coltrane and Charles Mingus. (Click on the names to see the stamps.) Or that a children's book was written about him entitled "Against All Odds: Artist Dean Mitchell's Story."  And then there's the 1993 PBS documentary entitled "The Living Canvas" that showcased three Black artists -- Billy Dee Williams (yes, the actor), Thomas Blackshear II and Dean. It was so popular that visitors to the Met recognized Dean when he went to see an exhibit. (To see the documentary, click here.)

With so many awards and accolades, you might think that Dean and his work have been universally embraced from the beginning. But that's not the case. Dean has faced racism of different varieties throughout his career.  

When he was getting started, he found that gallerists were a bit less enthusiastic about his work when they discovered he's Black. In the early days, people might just blurt it out when he came into the gallery to drop off his work. "Oh," they'd say. "You're Black." He could see them calculating whether they still wanted to exhibit his work. Obviously, a meet and greet with the artist was out of the question. 

"A Pause for Peace" 

This reaction was one reason Dean turned to competitions in which his works were not submitted in person. When judges considered his work on its merits, he began to be recognized as an artist to keep an eye on. Dean said that for many years he was reluctant to even send a picture when he had won an award. He didn't want to out himself to art lovers whose minds might not be so open once they learned his race. 

Ridiculous as it is, hearing about this type of racism didn't come as a shock. What did surprise me was learning that some people, including many Black collectors, have lambasted Dean for his choice of subject matter -- landscapes, still lifes and figurative works rather than politically charged subjects. His steadfast approach to his art has resulted in his being called an "Uncle Tom Negro" by people you might expect to support him and celebrate his success. But, Dean said, he "doesn't allow race history to cripple his view of what he should do" and that he "doesn't want to minister to White America." 

"Urban Cyclist" (watercolor) 

Instead, Dean said, he wants to "show the joy of his struggles and how they've shaped him." His objective is to "depict the real space people live in." And he does just that in his work, whether it's a portrait of an old woman, a depiction of a Southern tobacco barn or a portrayal of some other very real scene that caught his eye. He is known for the humanity and honesty in his work. It's easy to see why. 

As you've probably gathered, I was quite taken with Dean, his art and his story. I've struggled to distill my reactions into this post. Most artists can speak passionately about their work and instill an appreciation in their audience. Trust me -- I eat it up. But I can't remember previously hearing an artist speak and coming away feeling honored to have had the opportunity.  Spending time with Dean Mitchell is an occasion I'll always remember. 

For more on Dean and his work, you can go to his website by clicking here. For a wonderful clip from a documentary about Dean that's in development entitled "On Power and Presence," click here. I loved hearing about how he came to paint Rowena. (Note: Dean mentioned the documentary in his talk, saying that it's stalled because there hasn't enough drama in his life. No drugs or prison or trouble. He noted that the absence of the very things he worked hard to avoid has led to a lack of interest in his story. "We have an addiction to drama as a society," he commented. "That is very sad.")  Finally, to see Dean's selections for the National Art Exhibition at the Visual Arts Center, click here. The show runs through April 16.