About

Milton Derr was viewed as an invaluable and unique work of art in his own right. Always artistically and formally attired with colorful suspenders and a sketchbook in hand, he was easily recognizable by his lively, quick-paced gait and admired for the abundance of stories and wisdom with that he delivered with panache.

Born in Milwaukee, Wisconsin, he studied at the Layton School of Art in Milwaukee. After serving in the United States Air Force during he Korean War, he came to Boston in 1956 for several years of study at the School of the Museum of Fine Arts. A fellowship from the school enabled him to explore Europe and return to Asia where he fulfilled his desire to see this part of the world in an entirely different light – for the richness of its cultures and traditions. During a four-year sojourn in Japan, he worked collaboratively with The Independent Group of Painters and Sculptors in Tokyo and found himself drawn to traditional Japanese art forms, particularly woodblock prints, screen paintings, and gold leaf application. He embraced these forms and techniques and incorporated them into his artistic vocabulary. From an even broader perspective, Derr credits his extensive cultural experience for enhancing his abilities to express himself verbally, philosophically, psychologically, vocally, as well as visually.

Upon his return to Boston in 1964, Derr specialized in illustration work and commenced his long enduring 40 year teaching career at his alma mater – the School of the Museum of Fine Arts, Boston. He also joined the faculty of Tufts University. During the 1970s and 80s, he transitioned away from his work as an illustrator and dedicated himself to the medium of painting. Over the decades, his artwork has been exhibited in many institutions. Several of his exhibitions have been sponsored by Northeastern University’s African-American Master Artists in Residency Program.

While Derr has been traditionally designated as one of the “blackstream artists” of the 1960s and 1970s due to his many protrayals of African-American subjects, his artistic vision actually universalizes the African-American experience by depicting themes that transcend race. He perceives his subjects not as individuals, but as visual metaphors emblematic of issues, ideals and qualities akin to all humanity. Enforcing his visual messages is his painterly style. It is not marginalized, but instead it has evolved from a broad array of influences. Derr acknowledges the inspiration of both Western Impressionism and Expressionism on his style, but equally significant is the impetus of the linear qualities and decorative patterning of the Asian traditions upon his artwork.

Derr envisions his painting practice as “visual imagination or painting in symbols.” He believes that “imagery is like music, it is an exact language that can be assembled creatively.”