Henry Ossawa Tanner (June 21, 1859 – May 25, 1937) was an American artist who spent much of his career in France. He became the first African-American painter to gain international acclaim. Tanner moved to Paris, France, in 1891 to study at the Académie Julian and gained acclaim in French artistic circles. In 1923, the French government elected Tanner chevalier of the Legion of Honor.
Early life Henry Ossawa Tanner was born in Pittsburgh, Pennsylvania. His father Benjamin Tucker Tanner (1835–1923) became a bishop in the African Methodist Episcopal Church (AME), the first independent black denomination in the United States. He was educated at Avery College and Western Theological Seminary in Pittsburgh, and developed a literary career.The Civil War in America: Benjamin Tucker Tanner, Library of Congress Exhibitions In addition, he was a political activist, supporting abolition of slavery. Henry Tanner's mother Sarah Elizabeth Tanner may have been born into slavery in Virginia. Two different stories have emerged concerning her living in freedom; in one, her father drives the family from Winchester, Virginia to "the free state of Pennsylvania" in an ox cart. In the other, she escapes as a refugee to the North via the Underground Railroad. There she met and married Benjamin Tucker Tanner.
Tanner was the first of nine children; and two of his brothers, Benjamin and Horace, died in infancy. One of his sisters, Halle Tanner Dillon Johnson, was the first woman to be certified to practice medicine in Alabama. His parents gave him a middle name that commemorated the struggle at Osawatomie between pro- and anti-slavery partisans. The family moved from Pittsburgh to Philadelphia when Tanner was a teenager. There his father became a friend of Frederick Douglass, sometimes supporting him, sometimes criticizing. Robert Douglass, Jr., a successful black artist in Philadelphia, was an early neighbor of the Tanner family, and Tanner wrote that he "used to pass and always stopped to look at his pictures in the window." When Tanner was about 13 years old, he saw a landscape painter working in Fairmount Park, where he was walking with his father. He decided that he wanted to be a painter.
Education
Although many white artists refused to accept an African-American apprentice, in 1879 Tanner enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia, becoming the only black student. His decision to attend the school came at a time when art academies increasingly focused on study from live models rather than plaster casts. Thomas Eakins, a professor at the Pennsylvania Academy, was one of the first American artists to promote new approaches to artistic education including increased study from live models, discussion of anatomy in classes of both male and female students, and dissections of cadavers to teach anatomy. Eakins's progressive approach to art education had a profound effect on Tanner. The young artist was one of Eakins' favorite students; two decades after Tanner left the Academy, Eakins painted his portrait.Parry, Ellwood C. III. Three Nineteenth Century Afro-American Artists. Cedar Rapids, IA: Cedar Rapids Art Center, 1980.
At the Academy, Tanner befriended artists with whom he kept in contact throughout the rest of his life, most notably Robert Henri, one of the founders of the Ashcan School. During a relatively short time at the Academy, Tanner developed a thorough knowledge of anatomy and the skill to express his understanding of the weight and structure of the human figure on the canvas.Matthews, Marcia. Henry Ossawa Tanner: American Artist. Chicago: The University of Chicago Press, 1969.
Tanner's artistic studies were disrupted by illness, which was reported in November 1881 and said to have persisted into the following summer, when Tanner spent time recovering in the Adirondack Mountains.
Tanner's teachers included Thomas Eakins (American realism, photography), Thomas Hovenden (American realism), Benjamin Constant (orientalist paintings and portraits, French academic) and Jean-Paul Laurens (history painting, French academic).
Painting style
Tanner painted landscapes, religious subjects, and scenes of daily life in a realistic style that echoed that of Eakins. While works like The Banjo Lesson depicted everyday scenes of African American life, Tanner later painted religious subjects. It is likely that Tanner's father, a minister in the African Methodist Episcopal Church, was a formative influence for him.
Tanner was not limited to one specific approach to painting and drawing. His works reflect at times meticulous attention to detail and loose, expressive brushstrokes in others. Often both methods are employed simultaneously. Tanner was also interested in the effects that color could have in a painting.Kettlewell, James K. The Art of Henry Ossawa Tanner. Glen Falls, NY: The Hyde Collection, 1975. Warmer compositions such as The Resurrection of Lazarus (1896) and The Annunciation (1898) express the intensity and fire of religious moments, and the elation of transcendence between the divine and humanity. Other paintings emphasize cool hues, which became dominant in his work after the mid-1890s. A palette of indigo and turquoise—referred to as the "Tanner blues"—characterizes works such as The Three Marys (1910), Gateway (1912) and The Arch (1919). Works such as The Good Shepherd (1903) and Return of the Holy Women (1904) evoke a feeling of somber religiosity and introspection.
Tanner often experimented with light in his works, which at times adds symbolic meaning. In The Annunciation (1898), for example, the archangel Gabriel is represented as a column of light that forms, together with the shelf in the upper left corner, a cross.
Issues of racism Although Tanner gained confidence as an artist and began to sell his work, he faced racism working as a professional artist in Philadelphia. In his autobiography, The Story of an Artist's Life, Tanner described the burden of racism:
I was extremely timid and to be made to feel that I was not wanted, although in a place where I had every right to be, even months afterwards caused me sometimes weeks of pain. Every time any one of these disagreeable incidents came into my mind, my heart sank, and I was anew tortured by the thought of what I had endured, almost as much as the incident itself.
In the hope of earning enough money to travel to Europe, Tanner operated a photography studio in Atlanta during the late 1880s. The venture was unsuccessful. During this period Tanner met Bishop Joseph Crane Hartzell, a trustee of Clark College (now Clark Atlanta University). Hartzell and his wife befriended Tanner, became his patrons, and recommended him for a teaching job at the college.Matthews, Marcia (1994). Henry Ossawa Tanner: American Artist. Chicago: The University of Chicago Press. p. 36. . Tanner taught drawing at Clark College for a short period.
1891 Tanner set out for Rome by way of Liverpool and Paris on the ship City of Chester on 4 January 1891. He found Paris to his liking and discovered the Académie Julian, where he began his studies in France. He also joined the American Art Students Club. Paris was a welcome escape for Tanner; within French art circles, race mattered little. Tanner discovered the Paris Salon and set a goal to get his artwork accepted.
The Banjo Lesson
On a return visit to the United States in 1893, Tanner presented "The American Negro in Art", an essay, at the World's Congress on Africa in Chicago, and painted The Banjo Lesson, one of his most recognized works that began as a series of sketches of Black people living in Appalachia.Khalid, Farisa. "Henry Ossawa Tanner, The Banjo Lesson. SmartHistory. The Center for Public Art History. https://smarthistory.org/tanner-banjo/ The painting shows an elderly black man teaching a boy, assumed to be his grandson, how to play the banjo. The image of a black man playing the banjo appears throughout American art of the late 19th century.Woods, Naurice Frank Jr., Ph.D. Insuperable Obstacles: The Impact of the Creative and Personal Development of Four Nineteenth Century African American Artists. The Union Institute, 1993.
Life in Paris Except for occasional brief returns home, Tanner spent the rest of his life in Paris. He acclimated quickly to Parisian life, and became friends with Atherton Curtis. He was part of a community of artists in Mount Kisco, New York for six months in 1902, at the behest of Curtis, and returned the following winter.
In Paris, Tanner continued his studies under renowned artists such as Jean Joseph Benjamin Constant and Jean-Paul Laurens.Bruce, Marcus C. Henry Ossawa Tanner. New York: Crossroad Publishing, 2002. With their guidance, he began to establish a reputation in France. He settled at the Étaples art colony in Normandy. There he was introduced to many artists whose works would affect his approach to art. At the Louvre, he encountered and studied the works of Gustave Courbet, Jean-Baptiste Chardin and Louis Le Nain.Shaw, Thomas M. What Manner of Men? A Reconsideration across the Synapses of Art History of Three Paintings and their Images of Men of African Descent. Lanham, MD: University Press of America, 1997. These artists had painted scenes of ordinary people in their environment, and the influence in Tanner's work is noticeable. That of Courbet's The Stone Breakers (1850; destroyed) can be seen in the similarities in Tanner's The Young Sabot Maker (1895). Both paintings explore the themes of apprenticeship and manual labor.
Earlier, Tanner had painted marine scenes of man's struggle with the sea, but by 1895 he was creating mostly religious works. His shift to painting biblical scenes occurred as he was undergoing a spiritual struggle. In a letter he wrote to his parents on Christmas 1896, he stated, "I have made up my mind to serve Him [God] more faithfully."Woods, Naurice Frank. "Embarking on a New Covenant: Henry Ossawa Tanner's Spiritual Crisis of 1896." American Art, vol. 27, no. 1, 2013, pp. 94–103. JSTOR, www.jstor.org/stable/10.1086/670686. A transitional work from this period is the recently rediscovered painting of a fishing boat tossed on the waves, which is held by the Smithsonian American Art Museum.Details on the museum site
Tanner's painting Daniel in the Lions' Den was accepted into the 1896 Salon. Later that year he painted The Resurrection of Lazarus (1896, Musée d'Orsay, Paris) that was purchased by the French government after winning the third-place medal at the 1897 Salon. Upon seeing The Resurrection of Lazarus, Rodman Wanamaker, an art critic and a "major patron of contemporary religious art," offered to pay all the expenses for Tanner to visit the Middle East. Wanamaker felt that any serious painter of biblical scenes needed to see the environment firsthand and that a painter of Tanner's caliber was well worth the investment. Tanner accepted Wanamaker's offer.Richmond-Moll, Jeffrey. Souvenir from the Holy Land: On Henry Ossawa Tanner’s Abraham’s Oak. Smithsonian American Art Museum. https://americanart.si.edu/blog/art-bites-tanners-abrahams-oak For four months in 1897 and, again, for six months in 1898-1899, he trekked a popular tourist route through Palestine and North Africa, pitching his tent in the arid region.
Tanner did not exhibit at the Salon in 1907, due to eye strain, but in 1908 entered The Wise and Foolish Virgins which he worked on in 1906, 1907 and finished in 1908. Newspapers don't record a Salon entry for 1909; but he focused his 1908 energy on a one-man exhibition of his artwork in New York, and the 1909 papers continued to talk about that event. Tanner may have avoided displaying at the Salon 1910, 1911, 1912, and 1913.