Beauford Delaney (December 30, 1901 – March 25, 1979) African-American artist / modernist painter. December 30 is the 364th day of the year (365th in leap years) in the Gregorian Calendar, with 1 day remaining. ... 1901 (MCMI) was a common year starting on Tuesday (see link for calendar) of the Gregorian calendar (or a common year starting on Wednesday of the 13-day-slower Julian calendar). ... March 25 is the 84th day of the year in the Gregorian calendar (85th in leap years). ... For the song by The Smashing Pumpkins, see 1979 (song). ... An African American (also Afro-American or Black American) is a member of an ethnic group in the United States whose ancestors, usually in predominant part, were indigenous to Africa. ... Look up artist in Wiktionary, the free dictionary. ... This article focuses on the cultural movement labeled modernism or the modern movement. See also: Modernism (Roman Catholicism) or Modernist Christianity; Modernismo for specific art movement(s) in Spain and Catalonia. ... Painting by Rembrandt self-portrait Detail from Las Meninas by Diego Velazquez, in which the painter portrayed himself at work For the computer graphics program, see Corel Painter. ...

[See photo of Delaney[2] by Hardy Liston]

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. – James Baldwin (writer) James Arthur Baldwin (August 2, 1924 – November 30, 1987) was a novelist, short story writer, playwright, poet, and essayist, best known for his novel Go Tell It on the Mountain. ...

Biography

Early life

Beauford Delaney was born in Knoxville, Tennessee, USA, in 1901. 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…”^[1] The Methodist movement is a group of denominations of Protestant Christianity. ... The Buxton Memorial Fountain, celebrating the emancipation of slaves in the British Empire in 1834, London. ... Manifestations Slavery · Racial profiling · Lynching Hate speech · Hate crime · Gay bashing Genocide · Holocaust · Pogrom Ethnocide · Ethnic cleansing · Race war Religious persecution Movements Discriminatory Aryanism · Neo-Nazism · Hate groups White/Black/Latino supremacy Radical Islam · Fundamentalism · Kahanism Anti-discriminatory Abolitionism · Civil rights · Gay rights Womens/Universal suffrage Childrens rights...

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.”^[2]

In the early 1920s Delaney became the apprentice of elderly American Impressionist, Lloyd Branson. 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 Gardens. 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. See also Impressionist (entertainment): A girl with a watering can by Renoir, 1876 Impressionism was a 19th century art movement, which began as a private association of Paris-based artists who exhibited publicly in 1874. ... James Weldon Johnson, photographed by Carl Van Vechten, 1932 James Weldon Johnson (June 17, 1871 – June 26, 1938) was a leading American author, poet, early civil rights activist, and prominent figure in the Harlem Renaissance. ... William Monroe Trotter (1872-1934), born Springfield Township, Ohio, was an African-American newspaper editor and protest leader. ... The National Equal Rights League (NERL) is the oldest nationwide Black human rights organization in the United States. ... The National Association for the Advancement of Colored People (NAACP, generally pronounced as EN Double AY SEE PEE) is one of the oldest and most influential civil rights organizations in the United States. ...

Bit*h

New York

His arrival in New York City at the time of the Harlem Renaissance was exciting. Harlem was then the centre 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.”^[3] The Harlem Renaissance was a flowering of African American art, literature, music and culture in the United States led primarily by the African American community based in Harlem, New York City, after World War I. Literary historians and academics have yet to reach a consensus as to when the period... The Great Depression was a worldwide economic downturn which started in October of 1929 and lasted through most of the 1930s. ...

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”.^[4]

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 taught, 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.” Disenfranchising refers to the removal of the ability to vote from a person or group of people. ... Look up realism, realist, realistic in Wiktionary, the free dictionary. ...

Delaney would eventually obtain work as a bellhop, and later as a telephone operator, doorman, caretaker, and janitor. He also managed to find “little corners in the world of the Great Depression that would or could be receptive to his work.”^[5]

In time, Delaney would establish 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, and he would also become the “spiritual father” to the young writer James Baldwin, and friends with artist Georgia O’Keeffe, writer Henry Miller and many others. The term Bohemian was used in the nineteenth century to describe the non-traditional lifestyles of marginalized and impoverished artists, writers, musicians, and actors in major European cities. ... Countee Cullen, photographed by arl Van Vechten, 1941 Countee Cullen (May 30, 1903–January 9, 1946) was an American poet. ... Georgia O’Keeffe in Abiquiu, New Mexico, photographed by Carl Van Vechten, 1950 Georgia Totto OKeeffe (November 15, 1887 – March 6, 1986) was an American artist, widely regarded as one of the greatest modernist painters of the 20th century. ... Henry Miller photo taken by Carl Van Vechten, 1940 Henry Valentine Miller (December 26, 1891 – June 7, 1980) was an American writer and, to a lesser extent, painter. ...

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. The Washington Square Arch Greenwich Village (pronounced Grennich Village; also called simply the Village) is a largely residential area on the west side of downtown (southern) Manhattan in New York City. ...

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. Homosexuality refers to sexual and romantic attraction between two individuals of the same sex. ...

He had ‘a third life’ centered around questions concerning the aesthetics and development of modernism in Europe and the United States; primarily influenced by the ideas of his friends the photographer Alfred Stieglitz and the cubist artist Stuart Davis (painter), and the paintings of the European modernists and their predecessors like Cezanne, Matisse, Picasso and Van Gogh. The Parthenons facade showing an interpretation of golden rectangles in its proportions. ... Alfred Stieglitz (January 1, 1864 – July 13, 1946) was an American-born photographer who was instrumental over his fifty-year career in making photography an acceptable art form alongside painting and sculpture. ... Woman with a guitar by Georges Braque, 1913 Cubism was an avant-garde art movement that revolutionised European painting and sculpture in the early 20th century. ... Photograph of Stuart Davis, 1940 penis muncher (December 7, 1892 - June 24, 1964), American painter, was born in Philadelphia. ... Categories: 1839 births | 1906 deaths | French painters | Post-impressionism | Artist stubs ... Self-Portrait in a Striped T-shirt (1906). ... A young Pablo Picasso Pablo Picasso, formally Pablo Ruiz Picasso, (October 25, 1881 - April 8, 1973) was one of the recognized masters of 20th century art. ... van gogh is a piece of shit Vincent van Gogh (1853-1890), Netherlands artist. ...

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.”^[6] Homophobia is a term used to describe: A culturally determined phobia manifesting as fear, revulsion, or contempt for homosexuality. ... Christians believe that Jesus is the mediator of the New Covenant (see Hebrews 8:6). ...

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 Barthe, Norman Lewis and his brother Joseph Delaney. // Negro means black in Spanish and Portuguese (Latin: niger = black). It is an ethnic term applied to people of African origin; some people consider it either archaic or a slur (see also nigger) except for its inclusion in the names of some organizations founded when the term had currency, e. ... Jazz is a musical art form that originated in New Orleans at around the start of the 20th century. ... Jacob Lawrence taken by Kenneth Space. ... Romare Bearden photo taken by Carl Van Vechten, 1944 Romare Bearden (September 2, 1911, in Charlotte, North Carolina — March 11, 1988 in New York, New York) was an African-American artist. ... Hale A. Woodruff (August 26, 1900 - September, 1980) was an African American artist known for his mural, paintings, and prints. ... Selma Hortense Burke (31 December 1900 – 29 August 1995) was an American sculptor. ... BARTHÉ, James Richmond (January 28, 1901 - March 5, 1989) is an African-American sculptor recognized as one of the foremost sculptors of his generation, and is known for his many public works, including the Toussaint L’Ouverture Monument in Port-au-Prince, Haiti and a sculpture of Rose McClendon for... Norman Lewis (28 June 1908–22 July 2003) was a prolific English writer known (but considered underappreciated) for his travel writing. ...

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." Brooks Atkinson (November 28, 1894-January 14, 1984) was the theater critic for The New York Times from 1925 to 1960. ...

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 ass."^[7]

Paris

In 1953, at the age of 52, and just as the centre 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. Richard Wright, James Baldwin, Chester Himes, Ralph Ellison, William Gardner Smithand Richard Gibson 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." City flag City coat of arms Motto: Fluctuat nec mergitur (Latin: Tossed by the waves, she does not sink) Paris Eiffel tower as seen from the esplanade du Trocadéro. ... Richard Wright is the name of several people, including: Richard Wright, African-American author Richard B. Wright, Canadian author Richard Wright, keyboard player with Pink Floyd Richard Wright, England football goalkeeper Richard Wright, American politician This is a disambiguation page — a navigational aid which lists other pages that might... Chester Bomar Himes (July 29, 1909 – November 12, 1984) was a famous African American writer. ... Ralph Ellison (March 1, 1913[1] – April 16, 1994) was a scholar and writer. ... All around me are familiar faces Worn out places, worn out faces Bright and early for their daily races Going nowhere, going nowhere And their tears are filling up their glasses No expression, no expression Hide my head I want to drown my sorrow No tommorow, no tommorow And I...

Europe would be 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."^[8]

His years in Paris would lead to a dramatic stylistic shift from the "figurative compositions of New York life to abstract expressionist studies of color and light."^[9] American post-World War II art movement. ...

“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.”^[10] An ideology is a collection of ideas. ...

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.” Figurative art describes artworks - particularly paintings - which are clearly derived from real object sources, but are not necessarily representational. ...

Mental deterioration

By 1961, heavy drinking had begun to impair Delaney's often fragile mental and physical health. (Heartney 1994) Periods of lucidity were interrupted by days and sometimes weeks of madness.^[11] This pattern would continue for the remainder of his life.

Continued poverty, hunger and alcohol abuse fuelled 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.”^[12]

He returned briefly to the United States in 1969, to see his family, dogged by mental illness. He believed malicious people would come 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.”^[13]

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 loosing 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, at St Anne’s, on March 25,1977.

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."

Since his death

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 1994 retrospective, Beauford Delaney: the New York Years (1929-1953), at the Philippe Briet Gallery, that Delaney's work was again exhibited in New York.

An article appeared in response to the 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.”^[14]

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.”^[15]

Delaney’s work has now been exhibited by, among others, the Philadelphia Museum of Art, Harvard University Art Museum, Art Institute of Chicago, Knoxville Museum of Art, Minneapolis Institute of Arts, and the Smithsonian American Art Museum.

External links

Works:

• Greene Street, oil on canvas, 1946
• Can Fire in the Park, oil on canvas, 1946
• Jazz Quartet, oil on canvas, 1946
• Self Portrait, Yaddo, 1950
• Untitled, gouache on paper, 1960
• James Baldwin, pastel on paper, 1963
• Selected Paintings, Beauford Delaney: from New York to Paris, Exhibition Website

Notes

1. ^ Journal of Beauford Delaney, quoted in Leeming 1998:13.
2. ^ Joseph Delaney, [1] 1978.
3. ^ Journal of Beauford Delaney, quoted in Leeming 1998:32.
4. ^ Canterbury 2004.
5. ^ Leeming 1998:36.
6. ^ Neuman 2005.
7. ^ Biographer, David Leeming, quoted in, Neely 1997.
8. ^ Journal of Beauford Delaney, quoted in Leeming 1998:127.
9. ^ Canterbury 2004.
10. ^ Adrienne Childs, University of Maryland.
11. ^ Leeming 1998.
12. ^ James Baldwin, December 4, 1963.
13. ^ Journal of Beauford Delaney.
14. ^ Heartney 1994.
15. ^ James Baldwin, from The Price of the Ticket, 1985.

References

• Baldwin, James 1964 Introduction to the Exhibition of Beauford Delaney opening December 4, at the Gallery Lambert, reprinted in Beauford Delaney: A Retrospective, Studio Museum of Harlem, 1978
• Canterbury, Patricia Sue 2004 Beauford Delaney: from New York to Paris, University of Washington Press
• Delaney, Joseph 1978 Beauford Delaney, My Brother, from Beauford Delaney: A Retrospective, Studio Museum of Harlem, 1978
• Heartney, Eleanor 1994 Whatever happened to Beauford Delaney? - Philippe Briet Gallery, New York, New York, Art in America
• Leeming, David 1998 Amazing Grace: a life of Beauford Delaney, Oxford University Press
• Miller, Henry1945 The Amazing and Invariable Beauford Delaney, reprinted in Beauford Delaney: A Retrospective, Studio Museum of Harlem, 1978
• Neely, Jack 1995 No Greater Lover, Metropulse, Volume 5, Number 8
• Neely, Jack 1997 A Tale of Two Brothers, Metropulse, Volume 7, Number 13, April 3-10
• Neumann, Caryn E. 2005 An Encyclopedia of Gay, Lesbian, Bisexual, Transgender & Queer Culture
• Smithsonian American Art Museum Biography of Beauford Delaney