Painting Thomas Wolfe

The following is excerpted from the Thomas Wolfe Newsletter Volume 4, No. 1, Spring 1980 in which Frank Mason, the creator of Thomas Wolfe's portrait, recounts his experience creating a portrait which still remains in the Dialectic Chambers today. Discover how two souls became intertwined to create something meant to honor the legacy of one of North Carolina's most influential writers. 

"In the 30's, In my 17th and 18th years, I first became aware of Thomas Wolfe. In the midst of the Great Depression and the rise of the Third Reich, he was a writer for youth, a romantic, an inspiration for a young artist. At the Art Students League in New York where I studied, I first heard of Thomas Wolfe from the other students who spoke of him as students in the 50's spoke of Dylan Thomas and, in the 60's, of Bob Dylan. In the 40's at the National Arts Club, New York City, I attended an evening devoted to Thomas Wolfe. I shall always remember it. 

When asked to paint Thomas Wolfe in a memorial portrait for the Dialectic and Philanthropic Literary Societies at the University of North Carolina: Chapel Hill, I happily consented. I felt this was meant to be and intended to give it my best. Several people helped me gather data and photographs, especially Mrs. Walter Mason, my sister-in-law, a North Carolinian who has long been an admirer of Thomas Wolfe. 

I made many drawings and a limited edition of lithographs of Wolfe, and I placed photos of him all about me in my studio. Some of these were life-sized enlargements of informal snapshots taken by friends. There were few formal, professional photos to my liking. Over a two-year period I lived with the photographs and reread much of his work. I felt in tune with Wolfe from beginning to end as the portrait developed. 

In my studio I found an old beat-up hat at least 30 years old and ready for the ash can. It was made to order for the portrait. Wolfe was a giant of a man, and I needed someone large as a model of sorts in order to study his poses. Being 6 ft. 4 in. and 201 pounds, I used myself, with old clothes reminiscent of his, before a large mirror. In the background of the painting I put the mountains of Asheville and the Old Kentucky Home of his childhood. A brooding sunset signifies his short life passing before us like a brilliant comet. 

Before the portrait was finished, Roger Kirkman and the Selection Committee of the Di-Phi Societies visited my New York City studio. They were interested in my painting methods. My technique is based on craft similar to that used by the Old Masters. I grind my colors, prepare my oils in the sun and build the grounds on the finest raw linen from Belgium. 

The Committee was pleased with the progress. This encouraged me to pursue my romantic adventure with Thomas Wolfe to the completion of the portrait. 

The audience at the Chapel Hill unveiling on October 27, 1979, received the painting with enthusiasm. Mr. and Mrs. Albert Coates, who knew Thomas Wolfe personally (he lived with them as a close friend), said that the portrait was not only a likeness but the true spirit of Thomas Wolfe. That was very rewarding, as I never met him. 

I am pleased to have been made an honorary member of the Di-Phi Society and happy to have been a part of the canonization of an American genius, Thomas Wolfe."-  Artist Frank Mason

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