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15 unexpected facts about artist Romare Bearden, his life and his NC family

Romare Bearden and family in Charlotte, circa 1920. Front row, from left: great-grandfather Henry Kennedy, Romare at age 8 or 9, great-grandmother Rosa Catherine Kennedy. Back row, from left: aunt Anna Bearden, Bessye Bearden, his mother, Howard Richard Bearden, his father, and grandmother Catherine “Cattie” Bearden.
Romare Bearden and family in Charlotte, circa 1920. Front row, from left: great-grandfather Henry Kennedy, Romare at age 8 or 9, great-grandmother Rosa Catherine Kennedy. Back row, from left: aunt Anna Bearden, Bessye Bearden, his mother, Howard Richard Bearden, his father, and grandmother Catherine “Cattie” Bearden. Courtesy of the Romare Bearden Foundation and the Wildenstein Plattner Institute, Inc.

A new book on Charlotte native Romare Bearden provided a number of unexpected details about the artist’s life, family and work. Here are 15 of them, from Glenda Gilmore’s “Romare Bearden in the Homeland of his Imagination: An Artist’s Reckoning with the South”.

Family ties

Bearden’s beloved great-grandparents, Henry and Rosa Kennedy, were enslaved to Woodrow Wilson’s father in the early 1860s when the future president was a young boy.

President Woodrow Wilson and first lady Edith Wilson in Charlotte on May 20, 1916, for the Mecklenburg Declaration of Independence celebration. Wilson’s father had enslaved Romare Bearden’s great-grandparents before the Civil War started. As president, Wilson segregated federal offices and fired all Black federal railway mail clerks, a job once held by Bearden’s great-grandfather.
President Woodrow Wilson and first lady Edith Wilson in Charlotte on May 20, 1916, for the Mecklenburg Declaration of Independence celebration. Wilson’s father had enslaved Romare Bearden’s great-grandparents before the Civil War started. As president, Wilson segregated federal offices and fired all Black federal railway mail clerks, a job once held by Bearden’s great-grandfather. Courtesy of the Robinson-Spangler Carolina Room - Public Library of Charlotte and Mecklenburg County

The Kennedys ultimately built a prosperous life for themselves in Charlotte: Chester, S.C., native Henry Kennedy landed a job as a federal railway mail service worker, and the couple bought a Victorian house at 401 S. Graham St., the grocery store next door and two adjacent rental homes. Their front porch offered a view of an elevated train trestle near Graham and Second streets, and the Southern Railway line, images that frequently would recur in Bearden’s work.

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Bearden’s mother, Bessye Bearden, was a political and social powerbroker in Harlem, starting in the 1920s. She was a newspaper columnist and the first Black woman appointed secretary to the Harlem School Board, campaigned for FDR and served as IRS deputy commissioner for New York. She wanted her son to be a doctor.

Romare Bearden, “Blue Lady,” 1955. Oil on canvas, 40 × 31 1/4 inches, an example of his abstract expressionism phase and a tribute to Monet’s palette.
Romare Bearden, “Blue Lady,” 1955. Oil on canvas, 40 × 31 1/4 inches, an example of his abstract expressionism phase and a tribute to Monet’s palette. Art ©Romare Bearden Foundation/ Licensed by VAGA at Artist Rights Society (ARS), NY.

Baseball, boxers and bachelors

While studying art at Boston University in the 1930s, Bearden pitched for its baseball team. After they played an exhibition game against the Philadelphia Athletics of the American League, A’s manager Connie Mack offered him a pro contract and signing bonus — but only if he agreed to pass as white.

The 1942 Philadelphia Athletics featured future Hall of Fame manager Connie Mack (middle, in suit).
The 1942 Philadelphia Athletics featured future Hall of Fame manager Connie Mack (middle, in suit). David T. Foster III dtfoster@charlotteobserver.com

Bearden once dated boxer Joe Louis’s former girlfriend, Ruby Allen, a Cotton Club dancer, and later was named one of Harlem’s most eligible bachelors. He eventually married model, dancer and choreographer Nanette Rohan, who later founded her own contemporary dance company.

Cartoons, songs and WWII

Some of Bearden’s earliest art work was doing political cartoons for The Crisis, the NAACP’s magazine. That included “The Picket Line” in 1934, supporting boycotts of stores that refused to hire Black workers.

At his first one-man art show, in 1940, Bearden only sold six pieces. Unable to make a living off of his art, Bearden was a case worker for the New York Department of Welfare for nearly 30 years.

During World War II, Bearden enlisted and joined a segregated infantry regiment, later training soldiers who’d be deployed for D-Day.

Carl Van Vechten, “Bearden in Uniform,” circa. 1944. Romare Bearden, despite segregation in the military, twice tried to earn an officer’s commission in the Army but did not succeed.
Carl Van Vechten, “Bearden in Uniform,” circa. 1944. Romare Bearden, despite segregation in the military, twice tried to earn an officer’s commission in the Army but did not succeed. Courtesy of the Library of Congress, Prints and Photographs Division, Carl Van Vechten Collection, LC-USZ62-42507.

After the war, Bearden worked out of an art studio above the famed Apollo Theater in Harlem. Duke Ellington bought one of his paintings at an exhibition, “The Resurrection.”

To earn extra cash in the 1950s, Bearden wrote lyrics for jazz songs, including “Seabreeze,” which was recorded by Billy Eckstine and others.

Pickets, plays and returning home

In the late 1960s, Bearden and other artists picketed New York’s Metropolitan Museum of Art when its “Harlem on my Mind” exhibit didn’t include any Black artists.

A 1978 collage by Bearden, “Mill Hand’s Lunch Bucket (Pittsburgh Memories)“, served as the inspiration for August Wilson’s play, “Joe Turner’s Come and Gone.” The show was set in a Pittsburgh boarding house during the Great Migration of the 1910s.

In 1980, Bearden returned to Charlotte for a major exhibition of his work at the Mint Museum. That’s also when Charlotte Observer writer Richard Maschal, who had been working on a story about Bearden, took the artist to the cemetery where his great-grandparents and grandmother were buried.

Romare Bearden, “Profile/Part I, The Twenties: Mecklenburg County, Maudell Sleet’s Magic Garden,” 1978. Collage on board, 10 x 7 inches. Bearden produced a number of pieces of Sleet and her garden, although author Glenda Gilmore believes he conflated the name with that of a different neighbor from his childhood.
Romare Bearden, “Profile/Part I, The Twenties: Mecklenburg County, Maudell Sleet’s Magic Garden,” 1978. Collage on board, 10 x 7 inches. Bearden produced a number of pieces of Sleet and her garden, although author Glenda Gilmore believes he conflated the name with that of a different neighbor from his childhood. Collection of Linda and Pearson C. Cummin III, Greenwich, Connecticut. Photography by Paul Mutino. Art © Romare Bearden Foundation/Licensed by VAGA, New York, NY

The Mint Museum Uptown, which opened on Tryon Street in 2010, sits about three blocks from where the Kennedys’ Graham Street home once stood. Their home is now a vacant lot near Bank of America Stadium, just a short walk to the 5-acre Romare Bearden Park.

A composite panorama of spectators gathered in Romare Bearden Park before an Independence Day fireworks display after the USA Baseball Stars vs. Stripes game July 4, 2022 at Trust Field in Charlotte, N.C.
A composite panorama of spectators gathered in Romare Bearden Park before an Independence Day fireworks display after the USA Baseball Stars vs. Stripes game July 4, 2022 at Trust Field in Charlotte, N.C. Arthur H. Trickett-Wile atrickett-wile@charlotteobserver

Bearden returned to the “homeland of his imagination” yet again for “Moonlight Prelude,” which prominently featured the view of trains and trestles from his great-grandparents’ home. He finished it 100 days before his death in 1988.

More arts coverage

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This story was originally published October 12, 2022 at 5:35 AM with the headline "15 unexpected facts about artist Romare Bearden, his life and his NC family."

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Adam Bell
The Charlotte Observer
Award-winning journalist Adam Bell has worked for The Charlotte Observer since 1999 in a variety of reporting and editing roles. He currently is the business editor and the arts editor. The Philly native and U.Va. grad also is a big fan of cheesesteaks and showtunes.  Support my work with a digital subscription
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