MS01.03.03.B11.F15.0006
Facsimile
Transcription
plentifully until I departed. Allen Crite
met me out front and we proceeded
up a flight of steps which were
decorated with triptychs of every kind
and order with black Virgins painted
in various techniques. Over the heads
of many were brass haloes which
had been tooled from the thin gauge
metal. We went into a combination
bedroom and sitting area which
reminded me of the living room I had
grown up respecting as a "company
room" in my own home during childhood.
Mrs. Crite, the invalid mother
of Allen Crite lay there awaiting my
visit as enthusiastically as did her
son. She was way into her eightys [eighties]
in age and was as keen as a
whip when it came to remembering
dates relating to the accomplishments
of her son.
I started the conversation off by
telling both of them what my visit
was all about and my desire to
use some of Allen's older works
as an important part of this historic
exhibition. He was delighted knowing that
he was to be included. He wanted to
know who told me of his work. I explained
to him that I had known of his painting
through James A. Porter, my teacher at
Howard University and remembered specifically
the very handsome street scenes of Black
life in Boston painted by him in the 1930-
40s and perhaps into the early 50's. Our
conversation enlarged to include some of
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