One of my ancestors was a folk artist named Justus DaLee. Several months ago I did a little online research regarding his life and his works when I came upon this painting:
It is known as the Justus DaLee Family Record Memorial Drawing.
Justus and his wife Mary, along with seven of their ten children, are pictured standing in a graveyard. Every family member is dressed in gray or black, tidy and simple. Eight headstones, covered in undiscernable markings, stand to the right. Two larger headstones dwarf Justus and Mary—one of them stands between them. Above is a chapel of sorts with a kneeling figure inside. In the center background, a ship sails away. Three birds fly overhead. A tree that looks like a weeping willow dominates the entire left side of the painting.
It transfixes me.
I find it fascinating to study this visual link to a far-flung yesterday—especially when I consider Mary. There is something about her, this great-great-great-great grandmother of mine.
Rather than standing primly at attention, as one would expect from a portrait made in the 1830s (nobody knows for sure when it was painted), she holds herself up by leaning on one of the enormous grave markers. She is weary. Her eyes look down. Her mouth is twisted. She doesn’t want to be there and seems detached. She looks down in one direction. The children look in the opposite direction. Her husband, the artist, is faithful to represent. A baby boy had been born in 1819. He died in 1819. A daughter, Ruth, died at age eleven.
I wonder if Ruth is the kneeling figure in the chapel. I wonder if the baby boy is the ship, sailing away. There is no way to prove or disprove my interpretation of the symbolism—but I doubt an artist father would leave two of his children out of a family memorial record. They are there, somewhere.
Perhaps I need to look no further than Mary’s face.
Whatever I’ve been through does not come close to what she experienced. Her sorrow is forever recorded in watercolor, soluable and fragile, but strong enough to speak to me where I sit, today—centuries shattered. I am a daughter of sorts, admitedly diluted by years and pioneer trails and DNA’s helixes spiraling away, away, away.


