A Portrait of Harry Tuft

On Sunday July 28, I will have the privilege of being present at the dedication of a portrait of a certified Colorado music legend, Harry Tuft. This is hardly the first, and certainly won’t be the last event honoring Mr. Tuft. The celebration will be a gathering of friends and fans to trade music and stories. The portrait was painted by your humble author. Although I am generally reluctant to make myself the subject of these articles, I am going to do that here and now. I hope my readers will forgive this, and indulge me. As I normally talk about painters long dead, from a viewer's perspective; perhaps it might be interesting to hear the story from the horse's mouth. This is my story of the production of a portrait. 

For those not steeped in Colorado music, Harry Tuft has been a fixture in the state’s folk scene since 1960. He founded and owned The Denver Folklore Center and later, Co-founded the Swallow Hill Music Association which is currently thriving. As a concert organizer, teacher, and a musician, Harry Tuft seems to have fit multiple lives into his one.

It is never easy to start a portrait. The blank canvas is always intimidating. But a portrait has higher stakes-it involves the accurate portrayal of an individual. To do this badly would be more than just a bad painting, it would be an insult to the individual being painted. So it’s important that it’s done right. I need to know who the person is, and how they ought to be portrayed. Questions have to be answered: What kind of clothes they generally wear and what kind of clothes they wear for other people (which is more appropriate in a portrait?). Is there a place that is particularly significant? Are there any items or objects that are of particular importance? The most important thing for me to do is spend time with the subject of the portrait. I need to know the person so the audience of the painting will know them also. 

During our first phone call, Harry was friendly, yet somewhat confused as to why his portrait needed to be painted. I think the idea of having his portrait painted was the last thing Harry had ever thought would happen to him. I asked what kind of clothes he typically wore and he replied “a plaid shirt and jeans”- Great. Wear that. Where should the painting be set? “In the Cafe at Swallow Hill”. With that we scheduled the photoshoot at Swallow Hill. I arrived at Swallow Hill on an icy January day and set up my photographic equipment. Harry arrived shortly later.

Harry Tuft, 2023

I don’t paint a posed portrait in the traditional sense. That is, I don’t have someone sit for me as I paint them. I take many photographs as I talk with the person that I intend to paint. I glean much from interacting with them. I see how the individual speaks, holds themselves, behaves in a natural setting. I get to know them; their personality as well as their general physiognomy. I see what a genuine smile looks like on their face. If I simply asked them to take a pose I would miss the real, honest essence of the person. 

Of course, this part of my process was exceptionally rewarding with Harry because he is so very interesting: all the people he has known, the rich life he has lived, was so engaging that I had to remind myself to take photographs. As a Denver native, I am surprised I haven't met him before; he seemed to know everyone in town, including a few family friends. After I felt like I took enough photos, I packed up my gear and we continued to chat. I felt like I made a friend that day and wasn't just seen by Harry as a workman doing his job, In fact I have been privileged to spend time with him on occasions that were not portrait related.

My process requires that I take a large number of photographs because I don’t just use a single one for a source of a painting. The multiple photographs increase the possibility that I am able to touch on the essence of the individual that I met during the shoot. I montage/splice/assort-whatever way you want to say it; the conglomeration of the photographs become the documentation of the character of a person.

Some elements of Harry’s painting were already set before the shoot even took place. The person who is responsible for organizing the portrait specified that the painting shouldn’t just be Harry holding a guitar. Harry has had more impact than just being a great musician (as if that wasn’t enough). Subsequently, Harry sits in front of the stage as opposed to on it. He isn’t there to be on the stage, the stage is there for Harry, and because of Harry.  

As the painting started to take shape many changes were made: An almanac from the Denver Folklore Center was placed on the table. Harry suggested that his Guild D-40 Guitar and Fender bass be positioned in the background as opposed to the random instruments that I originally had painted there. His Santa Cruz guitar at his side should have the custom inlays commemorating Fifty years of the Denver Folklore Center. These adjustments were made to better tell about the man in the portrait. Obviously his face is the star of the show. It is my opinion that if properly portrayed, the face of a person can speak for itself. 

As all of these changes suggest, Harry can be quite exacting- if this portrait was to be done, it would be done right. Yet at the same time he is incredibly humble. He didn't really understand why he should be the subject of the portrait. Here we have a man who fundamentally affected the cultural scene of Denver and American music. There are Denver institutions that, if not for Harry, wouldn't exist. Leaving a legacy is a blessing, but people should know whom to thank for that legacy. Generations from now, young people will see the footprints of this giant and wonder who made them. I hope this portrait is one way of telling his story.