James Van Der Zee’s portraits of artists, musicians, and other notable figures serve as a record of African American society in New York during the exciting and rapidly changing era that was the Harlem Renaissance. Van Der Zee, a self-taught photographer, strove to portray his subjects in a flattering light, in order to emphasize their elegance and dignity. Often working outside of his studio, he explored many aspects of Harlem, including church life. A favorite subject was Daddy Grace (Marcelino Manuael da Graca), a minister and an entrepreneur who gained a following because of his evangelistic and fundamentalist preaching style. Van Der Zee was attracted to the setting of Daddy Grace’s church, the United House of Prayer for All People.

Here Van Der Zee photographed Daddy Grace on a platform to the left of the altar; the choir surrounds the stairs leading to the platform, directing our eyes to the church leader and thereby conveying the devotion and awe he inspired. While absent, the members of the congregation are evoked by the two empty rows of chairs in the foreground, which create a sense of depth and, with the light-bulb decorated wall and arches behind, frame the two choral groups. The formal uniforms on one side and the fancy dresses on the other complement the flamboyant character of the interior. The whole image is infused with a  luminous quality––from the bright white altar behind Daddy Grace to the glow of the choir’s clothing––further connecting the figures to this spiritual setting and suggesting the vibrant theatricality that was so central to Daddy Grace and his church. (JJ)