Inspired by his trip south, Alston began his "family series" in the 1940s. Intensity and angularity come through in the faces of the youth in his portraits "Untitled (Portrait of a Girl)" and "Untitled (Portrait of a Boy)". These works also show the influence that African sculpture had on his portraiture, with "Portrait of a Boy" showing more cubist features. Later family portraits show Alston's exploration of religious symbolism, color, form and space. His family group portraits are often faceless, which Alston states is the way that white America views blacks. Paintings such as "Family" (1955) show a woman seated and a man standing with two children – the parents seem almost solemn while the children are described as hopeful and with a use of color made famous by Cézanne. In "Family Group" (c. 1950) Alston's use of gray and ochre tones brings together the parents and son as if one with geometric patterns connecting them together as if a puzzle. The simplicity of the look, style and emotion upon the family is reflective and probably inspired by Alston's trip south. His work during this time has been described as being "characterized by his reductive use of form combined with a sun-hued" palette. During this time he also started to experiment with ink and wash painting, which is seen in work such as "Portrait of a Woman" (1955), as well as creating portraits to illustrate the music surrounding him in Harlem. "Blues Singer #4" shows a female singer on stage with a white flower on her shoulder and a bold red dress. "Girl in a Red Dress" is thought to be Bessie Smith, whom he drew many times when she was recording and performing. Jazz was an important influence in Alston's work and social life, which he expressed in such works as "Jazz" (1950) and "Harlem at Night".