Beauford Delaney (1901 - 1979). Beauford Delaney 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. 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 white families. 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 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. The Delaneys attended Knoxville's Austin High School, and among Beauford's early works was a portrait of Austin High principal Charles Cansler. 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. 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. 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 moneythis 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. 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 landscapehis 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.