Beauford Delaney

Last updated

Beauford Delaney
Beauford Delaney, photographed by Carl Van Vechten in 1953
Born(1901-12-30)December 30, 1901
DiedMarch 26, 1979(1979-03-26) (aged 77)
Paris, France
Resting placeThiais Cemetery
Paris, France
Known for Painting
Movement Harlem Renaissance

Beauford Delaney (December 30, 1901 – March 26, 1979) was an American modernist painter. He is remembered for his work with the Harlem Renaissance in the 1930s and 1940s, as well as his later works in abstract expressionism following his move to Paris in the 1950s. Beauford's younger brother, Joseph, was also a noted painter. [1]



Early life

Beauford Delaney was born December 30, 1901 in Knoxville, Tennessee. Delaney's parents were prominent and respected members of Knoxville's black community. His father Samuel was both a barber and a Methodist minister. His mother Delia was also prominent in the church, and earned a living taking in laundry and cleaning the houses of prosperous local whites. Delia, born into slavery and never able to read and write herself, transferred a sense of dignity and self-esteem to her children, and preached to them about the injustices of racism and the value of education. Beauford was the eighth of ten children, only four of whom survived into adulthood. He summed up the reasons for this in a journal entry from 1961, saying "so much sickness came from improper places to live – long distances to walk to schools improperly heated… too much work at home – natural conditions common to the poor that take the bright flowers like terrible cold in nature…" [2]

Beauford and his younger brother, Joseph, were both attracted to art from an early age. Some of their earliest drawings were copies of Sunday school cards and pictures from the family bible. "Those early years which Beauford and I enjoyed together I am sure shaped the direction of our lives as artists. We were constantly doing something with our hands – modelling with the very red Tennessee clay, also copying pictures. One distinct difference in Beauford and myself was his multi-talents. Beauford could always strum on a ukulele and sing like mad and could mimic with the best. Beauford and I were complete opposites: me an introvert and Beauford the extrovert." [3] The Delaneys attended Knoxville's Austin High School, and among Beauford's early works was a portrait of Austin High principal Charles Cansler. [4]

When he was a teenager, he got a job as a "helper" at the Post Sign Company. However, he and his younger brother Joseph were drawing signs of their own. Then some of his work was noticed by Lloyd Branson, an elderly American Impressionist and Knoxville's best known artist. By the early 1920s, Delaney became the apprentice of Branson. [5] With Branson's encouragement, the 23-year-old Delaney migrated north to Boston to study art. With perseverance, he achieved the artist's education he desired, including informal studies at the Massachusetts Normal School, the South Boston School of Art and the Copley Society. He learned what he called the "essentials" of classical technique. It was also while in Boston that Delaney had his first "intimate experience" with a young man in the Public Garden. Through letters of introduction from Knoxville, he also received what he referred to as a "crash course" in black activist politics and ideas; having associated socially during his years in Boston with some of the most sophisticated and radical African-Americans of the time, such as James Weldon Johnson, writer, diplomat and rights activist; William Monroe Trotter, founder of the National Equal Rights League; and Butler Wilson, Board member of the National Association for the Advancement of Colored People. By 1929, the essentials of his artistic education complete, Beauford decided to leave Boston and head for New York.

New York City, USA

His arrival in New York City at the time of the Harlem Renaissance was exciting. Harlem was then the center of black cultural life in the United States. But it was also the time of the Great Depression, and it was this that Beauford was confronted with on his arrival. "Went to New York in 1929 from Boston all alone with very little money…this was the depression, and I soon discovered that most of these people were people out of work and just doing what I was doing – sitting and figuring out what to do for food and a place to sleep." [6]

Delaney felt an immediate affinity with this "multitude of people of all races – spending every night of their lives in parks and cafes" surviving on next to nothing. Their courage and shared camaraderie inspired him to feel that "somehow, someway there was something I could manage if only with some stronger force of will I could find the courage to surmount the terror and fear of this immense city and accept everything insofar as possible with some calm and determination".

Members of this disenfranchised community became the subjects of many of Delaney's greatest New York period paintings. In New York "he painted colourful, engaging canvasses that captured scenes of the urban landscape…his works from that period express, in an American Modernist vein, not only the character of the city, but also his personal vision of equality, love, and respect among all people". [7]

Portrait of James Baldwin, 1957 Beauford Delaney portrait of James Baldwin, c. 1957. (30278339882).jpg
Portrait of James Baldwin, 1957

One of Delaney's works from this period, Can Fire in the Park (oil on canvas, 1946), where a group of men huddle together for warmth and companionship around an open fire, is described by the Smithsonian American Art Museum as a "disturbingly contemporary vignette [which] conveys a legacy of deprivation linked not only to the Depression years after 1929 but also to the longstanding disenfranchisement of black Americans, portrayed here as social outcasts… Despite its sober subject, the scene crackles with energy, the culmination of Delaney's sharp pure colors, thickly applied paints, and taut, schematic patterning. Abandoning the precise realism of his early academic training, Delaney developed a lyrically expressive style that drew upon his love of musical rhythms and his improvisational use of color." Works such as Can Fire in the Park "hover between representation and abstraction as that style evolved during the 1940s."

Delaney eventually obtained work as a bellhop, and later as a doorman, caretaker, and janitor. In exchange for working at the Witney as a guard, telephone operator and gallery attendant, Delaney received a studio space and a place to live. [8] He also managed to find "little corners in the world of the Great Depression that would or could be receptive to his work." [9]

In time, Delaney established himself as a well known part of the bohemianism of the art scene of the period. His friends included the "poet laureate" of the period, Countee Cullen, became the "spiritual father" to the young writer James Baldwin, and a friend of artist Georgia O'Keeffe and writer Henry Miller among many others.

Despite the friendships and successes of this period, he remained a rather isolated individual. David Leeming, in his 1998 biography Amazing Grace: a life of Beauford Delaney, presents Delaney as having led a very "compartmentalized" life in New York.

In Greenwich Village, where his studio was, Delaney became part of a gay bohemian circle of mainly white friends; but he was furtive and rarely comfortable with his sexuality.

When he traveled to Harlem to visit his African-American friends and colleagues, Delaney made efforts to ensure that they knew little of his other social life in Greenwich Village. He feared that many of his Harlem friends would be uncomfortable or repelled by his homosexuality.

He had "a third life" centered on questions concerning the aesthetics and development of modernism in Europe and the United States; primarily influenced by the ideas of his friends, photographer Alfred Stieglitz and the cubist artist Stuart Davis (painter), and the paintings of the European modernists and their predecessors like Cézanne, Matisse, Picasso and Van Gogh.

The pressures of being "black and gay in a racist and homophobic society" would have been difficult enough, but Delaney's own Christian upbringing and "disapproval" of homosexuality, the presence of a family member (his artist brother Joseph) in the New York art scene and the "macho abstract expressionists emerging in lower Manhattan's art scene" added to this pressure. So he "remained rather isolated as an artist even as he worked in a center of major artistic ferment… A deeply introverted and private person, Delaney formed no lasting romantic relationships." [10]

While he worked to incorporate African-American influences, such as the "Negro" idiom of jazz, into his own artwork, he often preferred to visit one of the clubs when he was in Harlem rather than join in the serious socio-political discussions or "Negro art" questions that were taking place at the "306 Group" or the Harlem Artists Guild. Though he resisted thinking of himself as a Negro artist, Beauford had tremendous pride in black achievement. He was also pleased to participate in a number of black artists exhibitions with fellow artists like Jacob Lawrence, Romare Bearden, Hale Woodruff, Selma Burke, Richmond Barthé, Norman Lewis and his brother Joseph Delaney.

The Smithsonian American Art Museum notes that "neither early success nor gracious spirit spared Delaney from the obscurity and poverty" that plagued most of his adult life. Brooks Atkinson wrote in his 1951 book Once Around the Sun: "No one knows exactly how Beauford lives. Pegging away at a style of painting that few people understand or appreciate, he has disciplined himself, not only physically but spiritually, to live with a kind of personal magnetism in a barren world."

Delaney's paintings seem to say, "I may be suffering, but what an experience this is". Delaney's work "is never depressing, though Beauford was often depressed; he could say yes to life in spite of the fact that life was kicking him in the butt." [11]

Paris, France

Plaque in tribute to Beauford Delaney, rue d'Odessa, Paris, France Beauford Delaney - plaque .JPG
Plaque in tribute to Beauford Delaney, rue d'Odessa, Paris, France

In 1953, at the age of 52, and just as the center of the art world was shifting to New York, Delaney left New York for Paris. Europe had already attracted many other African-American artists and writers who had found a greater sense of freedom there. Writers Richard Wright, James Baldwin, Chester Himes, Ralph Ellison, William Gardner Smith and Richard Gibson, and artists Harold Cousins, Herbert Gentry and Ed Clark [12] had all preceded him in journeying to Europe. In his journal, Richard Wright described Paris as "a place where one could claim one's soul."

Europe became Delaney's home for the remainder of his life. About his new life and possibilities, Beauford entreated himself to "Keep the faith and trust in so far as possible. Love humility and don’t mind the insinuations that cause sorrow…and loneliness and limitations. We learn self-reliance and to hear the voice of God, too…and how to…not break but bend gently. Learning to love is learning to suffer deeply and with quietness." [13]

His years in Paris led to a dramatic stylistic shift from the "figurative compositions of New York life to abstract expressionist studies of color and light." [7]

"Delaney's relationship with abstraction predated the notorious Abstract Expressionist movement, positioning him as a forerunner of one of the most important ideological and stylistic developments in twentieth-century American art. Although he chose not to identify himself with the movement, as the Abstract Expressionists began to gain notoriety in the late 1940s, Delaney's abstract work increasingly gained attention." [14]

Though abstract expressionist work predominated during this period, Delaney still produced figurative compositions. His portrait of James Baldwin (1963, pastel on paper) is described by the US National Portrait Gallery as "heated and confrontational, its harsh colors roughly applied" and glowing with "the vibrant, Van Gogh-inspired yellow the artist often used after he moved to Paris." The portrait "is both a likeness based on memory and a study in light."

Delaney's drive to continuously paint resulted in him using his raincoat when he was out of canvas, "Untitled, 1954" is an oil on raincoat fragment. [15]

Mental deterioration

By 1961, heavy drinking had begun to impair Delaney's often fragile mental and physical health. [16] Periods of lucidity were interrupted by days and sometimes weeks of madness. [17] This pattern continued for the remainder of his life.

Continued poverty, hunger and alcohol abuse fueled his deterioration. "He has been starving and working all of his life – in Tennessee, in Boston, in New York, and now in Paris. He has been menaced more than any other man I know by his social circumstances and also by all the emotional and psychological stratagems he has been forced to use to survive; and, more than any other man I know, he has transcended both the inner and outer darkness." [18]

He returned briefly to the United States in 1969 to see his family, dogged by mental illness. He believed malicious people came to him at night "and speak unpleasant and vulgar language and threaten malicious treatment…interfering with my health and urgent work…the constant, continuous creation." [19]

He returned to his work in Paris in January 1970. In the early 1970s it became clear that he could no longer cope with daily life. In the autumn of 1973 his friend, Charley Boggs, wrote to James Baldwin, "Our blessed Beauford is rapidly losing mental control." His friends tried to care for him but, in 1975, he was hospitalized and then committed to St Anne's Hospital for the Insane. Beauford Delaney died in Paris while at St Anne's on March 26, 1979.

In his Introduction to the Exhibition of Beauford Delaney opening December 4, 1964 at the Gallery Lambert, James Baldwin wrote, "the darkness of Beauford's beginnings, in Tennessee, many years ago, was a black-blue midnight indeed, opaque and full of sorrow. And I do not know, nor will any of us ever really know, what kind of strength it was that enabled him to make so dogged and splendid a journey."


Following his death, he was praised as a great and neglected painter but, with a few notable exceptions, the neglect continued.

A retrospective of his work at the Studio Museum in Harlem a year before his death did little to revive interest in his work. It was not until the 1988 exhibition Beauford Delaney: From Tennessee to Paris, curated by the French art dealer Philippe Briet at the Philippe Briet Gallery, that Delaney's work was again exhibited in New York, followed by two retrospectives in the gallery: "Beauford Delaney: A Retrospective [50 Years of Light]" in 1991, and "Beauford Delaney: The New York Years [1929–1953]" in 1994.

"Whatever Happened to Beauford Delaney?", an article by Eleanor Heartney, appeared in Art in America in response to the 1994 exhibition asking why this once well regarded "artist's artist" was now virtually unknown to the American art public. "What happened? Is this another case of an over-inflated reputation returning to its true level? Or was Delaney undone by changing fashions which rendered his work unpalatable to succeeding generations? Why did Beauford Delaney so completely disappear from American art history?" The author believed that Delaney's disappearance from the consciousness of the New York art world was linked to "his move to Paris at a crucial moment in the consolidation of New York's position as the world's cultural capital and his work's irrelevance to the history of American art as it was being written by critics" at the time. The article concludes, "Today [1994] as those histories unravel and are replaced by narratives with a more varied and colorful weave, artists like Delaney can be seen in a new light." [20]

In 1985 James Baldwin described the impact of Delaney on his life, saying he was "the first living proof, for me, that a black man could be an artist. In a warmer time, a less blasphemous place, he would have been recognised as my Master and I as his Pupil. He became, for me, an example of courage and integrity, humility and passion. An absolute integrity: I saw him shaken many times and I lived to see him broken but I never saw him bow." [21] He further wrote, "Perhaps I should not say, flatly, what I believe – that he is a great painter – among the very greatest; but I do know that great art can only be created out of love, and that no greater lover has ever held a brush."

Delaney's work has now been exhibited by, among others, the Philadelphia Museum of Art, Harvard University Art Museums, Art Institute of Chicago, Knoxville Museum of Art, The Minneapolis Institute of Arts, The Newark Museum, The Studio Museum in Harlem, and the Smithsonian American Art Museum. His work has also been exhibited by a number of galleries, including the Anita Shapolsky Gallery and the Michael Rosenfeld Gallery in New York City. [22] [23]

The Beauford Delaney burial site

In 2009 freelance writer Monique Y. Wells was researching an article on African-American gravesites in Paris when she learned that Delaney was buried in an unmarked grave at the Parisian Cemetery of Thiais. She discovered that Delaney's remains would be exhumed before the end of the year if the "concession" (the equivalent of a lease) on his grave was not renewed. Friends of Delaney gathered the sum required, and Wells paid the fee to the cemetery to preserve Delaney's resting place.

Tombstone of painter Beauford Delaney at the Parisian Cemetery of Thiais in Thiais, France BD tombstone ceramic close-up of inscription 2.jpg
Tombstone of painter Beauford Delaney at the Parisian Cemetery of Thiais in Thiais, France

The same friends expressed a desire to place a marker at Delaney's gravesite, and Wells was inspired to found a French non-profit association to facilitate fundraising for a tombstone. Called Les Amis de Beauford Delaney, the association was created in November 2009. Fundraising began in February 2010, and the association collected sufficient funds to proceed with ordering and installing the stone by June 2010. The installation was completed by August 2010.

Les Amis de Beauford Delaney organized a commemorative ceremony to inaugurate the tombstone, which took place on October 14, 2010. Several friends and admirers of Delaney gathered at Thiais Cemetery under blue skies and brilliant sunlight to honor him. Wells presided over the ceremony as president of the organization. Readings were given by Reverend Doctor Scott Herr and personal friends of Delaney. Singer ferritia-fatia sang "Come Sunday". Wells gave her own tribute to Delaney, and laid an arrangement of yellow roses on the tombstone. [24]

After the gravesite ceremony, the group returned to Paris for a reception that was co-hosted by Les Amis de Beauford Delaney and the U.S. Embassy's Department of Public Affairs. Approximately fifty people gathered to continue the celebration of Delaney's life and art. Cultural Attaché Rafik Mansour opened the event. [25]


  1. Beauford Delaney Archived May 10, 2012, at the Wayback Machine , University of Tennessee website. Retrieved: January 27, 2013.
  2. Journal of Beauford Delaney, quoted in Leeming 1998:13.
  3. Joseph Delaney, "Archived copy". Archived from the original on July 7, 2013. Retrieved 2013-07-07.CS1 maint: archived copy as title (link) 1978.
  4. Jack Neely, "The Life of Knoxville Artist Beauford Delaney (1901-1979) Archived June 4, 2016, at the Wayback Machine ," Knoxville Mercury, 18 February 2016.
  5. Neely, Jack. Knoxville's Secret History. Scruffy City Publishing, 1995.
  6. Journal of Beauford Delaney, quoted in Leeming 1998:32.
  7. 1 2 Canterbury 2004.
  8. "Gates, H. L. and Appiah K. A. (2005). Africana: The Encyclopedia of the African and African-American Experience (5 Volume Set). Oxford University Press P.353. ISBN   978-0195170559.
  9. Leeming 1998:36.
  10. Neuman 2005.
  11. Biographer, David Leeming, quoted in Neely 1997.
  12. Studio Museum in Harlem (1996) Explorations in the City of Light. New York: Studio Museum in Harlem. January 18 – June 2, 1996. Texts by Kinshasa Holman Conwill, Catherine Bernard, Peter Selz, Michel Fabre, Valerie J. Mercer.
  13. Journal of Beauford Delaney, quoted in Leeming 1998:127.
  14. Adrienne Childs, University of Maryland.
  15. Delaney, Beauford (January 11, 2017). "Beauford Delaney". Archived from the original on February 6, 2017. Retrieved January 11, 2017.
  16. Heartney 1994
  17. Leeming 1998.
  18. James Baldwin, December 4, 1963.
  19. Journal of Beauford Delaney.
  20. Heartney 1994.
  21. James Baldwin, from The Price of the Ticket, 1985.
  22. "Delaney, Beauford". Archived from the original on April 3, 2015. Retrieved March 23, 2015.
  23. "Beauford Delaney 1901-1979, US". Archived from the original on September 23, 2015. Retrieved March 23, 2015.
  24. Celebrating Beauford! – The Gravesite Ceremony Archived July 8, 2011, at the Wayback Machine , Les Amis de Beauford Delaney blog, October 20, 2010.
  25. Celebrating Beauford! – The Reception Archived March 4, 2016, at the Wayback Machine , Les Amis de Beauford Delaney blog, October 27, 2010.


Related Research Articles

Charles Alston American painter

Charles Henry Alston was an African-American painter, sculptor, illustrator, muralist and teacher who lived and worked in the New York City neighborhood of Harlem. Alston was active in the Harlem Renaissance; Alston was the first African-American supervisor for the Works Progress Administration's Federal Art Project. Alston designed and painted murals at the Harlem Hospital and the Golden State Mutual Life Insurance Building. In 1990 Alston's bust of Martin Luther King, Jr. became the first image of an African American displayed at the White House.

Abstract expressionism American post–World War II art movement

Abstract expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.

James Baldwin American writer

James Arthur Baldwin was an American novelist, playwright, and activist. His essays, as collected in Notes of a Native Son (1955), explore intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th-century North America. Some of Baldwin's essays are book-length, including The Fire Next Time (1963), No Name in the Street (1972), and The Devil Finds Work (1976). An unfinished manuscript, Remember This House, was expanded and adapted for cinema as the Academy Award–nominated documentary film I Am Not Your Negro. One of his novels, If Beale Street Could Talk, was adapted into an Academy Award-winning dramatic film in 2018.

Christopher Ofili, is a British Turner Prize-winning painter who is best known for his paintings incorporating elephant dung. He was one of the Young British Artists. Since 2005, Ofili has been living and working in Trinidad and Tobago, where he currently resides in Port of Spain. He also lives and works in London and Brooklyn.

The New York School was an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. They often drew inspiration from surrealism and the contemporary avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York City art world's vanguard circle.

Aaron Douglas American painter

Aaron Douglas was an American painter, illustrator and visual arts educator. He was a major figure in the Harlem Renaissance. He developed his art career painting murals and creating illustrations that addressed social issues around race and segregation in the United States by utilizing African-centric imagery. Douglas set the stage for young, African-American artists to enter public arts realm through his involvement with the Harlem Artists Guild. In 1944, he concluded his art career by founding the Art Department at Fisk University in Nashville, Tennessee. He taught visual art classes at Fisk until his retirement in 1966. Douglas is known as a prominent leader in modern African-American art whose work influenced artists for years to come.

Knoxville Museum of Art Museum in Knoxville, Tennessee

The Knoxville Museum of Art (KMA), located at 1050 World's Fair Park in Knoxville, Tennessee, presents the rich visual legacy of East Tennessee and new art from the region and beyond. According to its mission statement, the museum "celebrates the art and artists of East Tennessee, presents new art and new ideas, educates and serves a diverse community, enhances Knoxville’s quality of life, and operates ethically, responsibly, and transparently as a public trust."

Bradley Walker Tomlin belonged to the generation of New York School Abstract Expressionist artists. He participated in the famous ‘’Ninth Street Show.’’ According to John I. H. Baur, Curator of the Whitney Museum of American Art, Tomlin’s "life and his work were marked by a persistent, restless striving toward perfection, in a truly classical sense of the word, towards that “inner logic” of form which would produce a total harmony, an unalterable rightness, a sense of miraculous completion...It was only during the last five years of his life that the goal was fully reached, and his art flowered with a sure strength and authority."

Norman Lewis (artist) American artist

Norman Wilfred Lewis was an American painter, scholar, and teacher. Lewis, who was African-American, was associated with abstract expressionism, and used representational strategies to focus on black urban life and his community's struggles.

Joseph Delaney (artist) American artist

Joseph Delaney was an African-American artist who became a part of the New York art scene at the time of the Harlem Renaissance.

Edward Clark, also known as Ed Clark, was an American abstract expressionist painter and one of the early experimenters with shaped canvas in the 1950s.

Thomas Sills was a painter and collagist and a participant in the New York Abstract Expressionist movement. At the peak of his career in the 1960s and 1970s, his work was widely shown in museums. He had four solo shows at Betty Parsons Gallery, was regularly featured in art journals and is in museum collections.

Herbert Gentry American painter

Herbert Alexander Gentry, popularly known as Herb Gentry, was an African-American Expressionist painter who lived and worked in Paris, France, Copenhagen, Denmark (1958–63), in the Swedish cities of Gothenburg (1963–65), Stockholm, and Malmö (1980–2001), and in New York City (1970–2000) as a permanent resident of the Hotel Chelsea.

Lloyd Branson BRANSON, Lloyd (1861 - 1925), Painter

Enoch Lloyd Branson (1853–1925) was an American artist best known for his portraits of Southern politicians and depictions of early East Tennessee history. One of the most influential figures in Knoxville's early art circles, Branson received training at the National Academy of Design in the 1870s and subsequently toured the great art centers of Europe. After returning to Knoxville, he operated a portrait shop with photographer Frank McCrary. He was a mentor to fellow Knoxville artist Catherine Wiley, and is credited with discovering twentieth-century modernist Beauford Delaney.

Merton Daniel Simpson was an American abstract expressionist painter and African and tribal art collector and dealer.

Ealy Mays American painter

Ealy Mays is a Paris-based African-American contemporary artist. His work has been exhibited in Mexico's Galeria Clave, Paris’ Carrousel du Louvre, Mexico's annual José Clemente Orozco Art competition, and New York's Guggenheim museum, to name a few. Legendary painter Henry O. Tanner was the first African American to exhibit at the Louvre in 1897. Mays’ 2005 “Migration of the Superheroes” exhibition at the Carrousel du Louvre makes him one of the few African-American artists to date to follow Tanner's footsteps to the Louvre.

George McNeil was an American abstract expressionist painter.

Amaranth Roslyn Ehrenhalt is an American painter, sculptor, and writer, who spent the majority of her career living and working in Paris, France. Ehrenhalt is one of the few abstract expressionists from the New York School of the 1950s who is still active today. She now lives and works in New York City.

The Anita Shapolsky Gallery is an art gallery that was founded in 1982. It is located at 152 East 65th Street, on Manhattan's Upper East Side, in New York City.

Ronald Joseph (1910-1992) was an African-American artist, teacher, and printmaker.