Lynn DelPorte is a Member of the Delaware Art Museum’s Howard Pyle Society, which is part of the Director’s Circle. She was a longtime picture framer in Pennsylvania and studied at the Barnes Foundation before becoming a Docent at the Delaware Art Museum in 2005. She currently serves as the Docent representative to the Museum’s Board of Trustees.
How did you first become interested in the Museum?
When I was still living in Pennsylvania, I heard about the Wondrous Strange exhibition. I came down with a group of friends, and it was so good that we came back the next day to see it again. I had never thought about the sensibility that the Wyeths shared, the weird sense of humor that they had. When I moved to Delaware, I saw an ad to become a Docent as the Museum was preparing to reopen and thought it was perfect for me.
What do you like about being a Docent?
I really enjoy leading children’s tours. I have a personal mission to spread visual literacy. The Delaware Art Museum is a great place to start learning about art. The illustration collection is very narrative, so people can see exactly what’s happening in a painting, and then it’s not so difficult to lead them to a work of art that isn’t as narrative. The Vogel collection should be an interesting challenge!
Are there any works to which children particularly respond?
A really interesting one is Richard Cleaver’s Queen’s Closet. Children are very attracted to the piece because there’s so much to look at—the jewels, the moving pieces, the writing on the back. Sculptures can really draw children in because they can walk all the way around them.
Why do you support the Delaware Art Museum?
I’ve spent a lot of time supporting the arts, and supporting the Museum is another aspect of that. If I wasn’t a Docent, I would still be involved somehow. I tell people that you can see the Museum in a day, but there’s always something new to come back for. It gives me the opportunity to encourage visitors not to just look at a work of art for a few seconds, but to stop and look longer and treat it as a communication device from artist to viewer.