19th-century african american artists
DESCRIPTION
An introduction to African American painters and sculptors working in the nineteenth century, including Joshua Johnson, Robert Duncanson, Grafton Tyler Brown, Edward Mitchell Bannister, Edmonia Lewis, and Henry Ossawa Tanner.TRANSCRIPT
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19th CenturyAfrican American
Artists
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Joshua Johnson• Son of a white man and black slave
woman in Baltimore, Maryland
• Father purchased him at age 19 in
1764
• Released on condition that he learned
a trade (painting)
• Manumission was signed by Colonel
John Moale, who Johnson would paint
• Learned to paint in a popular “folk”
style
• Left: Grace Allison McCurdy and Her
Daughters, ca. 1806. Corcoran Gallery
of Art
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Joshua Johnson
Mrs. John Moale (Ellin North) and Ellin North Moale, ca. 1798.The Abby Aldrich Rockefeller Folk Art Museum
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Robert S. Duncanson
• Born free in 1821 in Fayette,
New York
• Family members were skilled
house and sign painters
• Moved to Cincinnati to
“make it” as a fine artist
• Abolitionists supported his
painting landscapes
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Robert S. Duncanson
Robert S. Duncanson, View of Cincinnati, Ohio from Covington, Kentucky, 1851. Cincinnati Historical Society.
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Robert S. Duncanson
Frederick Church, Heart of the Andes, 1859. Metropolitan Museum of Art.
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Robert S. Duncanson
Robert S. Duncanson, Land of the Lotus Eaters, 1861. Royal Court of Sweden.
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Robert S. Duncanson
Robert S. Duncanson, Uncle Tom and Little Eva, 1853. Detroit Institute of the Arts.
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Grafton Tyler Brown• First African American to chronicle the
West
• Born 1841 in Harrisburg, Pennsylvania
• Trained as a printer in Philadelphia
• Moved to San Francisco around beginning
of Civil War
• Travelled and chronicled the West as
printer and mapmaker
• Painted landscapes in mid-1880s and
‘90s
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Robert S. Duncanson, Uncle Tom and Little Eva, 1853. Detroit Institute of the Arts.
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Grafton Tyler Brown, Grand Canyon of the Yellowstone from Hayden Point, 1891. Oakland Museum.
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Grafton Tyler Brown, Old Faithful Geyser, Yellowstone National Park, 1887. Stark Museum of Art.
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Edward Mitchell Bannister• Born 1827/1828 in New Brunswick, Canada
• Self-taught as painter
• Moved to Boston and worked in New England
• In touch with contemporary art and poetry
• Influenced by Barbizon School
• Renowned for romantic rural scenes
• Won first-prize at the Philadelphia Centennial
Exposition of 1876
• Founded Providence Art Club in 1878
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Edward Mitchell Bannister, Approaching Storm, 1886. Smithsonian American Art Museum.
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Edward Mitchell Bannister, Driving Home the Cows, 1881. Smithsonian American Art Museum.
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Jean-Francoise Millet, The Angelus, 1857-9. Musee d’Ordsay, Paris.
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Edward Mitchell Bannister, Landscape Near Newport, R.I., 1877. Smithsonian American Art Museum.
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Edward Mitchell Bannister, Newspaper Boy, 1869. Smithsonian American Art Museum.
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Edmonia Lewis• Born 1844 in Greenbush, New York
from Hatian and Native American
parents
• Went to school at Oberlin
• Achieved fame with portraits of anti-
slavery heroes like John Brown and
Colonel Shaw
• First African American sculptor to
achieve international recognition
• Moved to Rome in 1866
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Edmonia Lewis, John Brown, 1878.
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Edmonia Lewis, Robert Gould Shaw, 1866-7.
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Edmonia Lewis, Forever Free, 1866. Howard University Gallery of Art.
• Sculpted after the Civil War
• Classical sculpture in marble
at a big scale taking on the
subject of African American
experience
• Tackling formal problems of
two figures in one work
• Possible allusion to women’s
liberation
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Neo-classicism
• A style inspired by
ancient Greek and
Roman models
• 18th and 19th
Century emphasis
on enlightenment,
reason and civic
life
Horatio Greenough, George Washington, 1840. National Museum of American History.
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Edmonia Lewis, Hiawatha, 1866-7. Edmonia Lewis, The Wooing of Hiawatha, 1866.
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Edmonia Lewis, The Death of Cleopatra, 1876. National Museum of American Art.
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William Wetmore Story, Cleopatra, 1869. Metropolitan Museum of Art.
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Henry Ossawa Tanner
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Henry Ossawa Tanner• Born in Pittsburgh, PA in 1859
• Mother had escaped slavery through
Underground Railroad
• Learned drawing and painting from life by
Thomas Eakins at Pennsylvania Academy
• Painted genre scenes of family life
• Moved to France in 1891
• Began painting Biblical scenes
• First African American elected to National
Academy
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Henry O. Tanner, The Banjo Lesson, 1893. Hampton University Art Collection.
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Henry O. Tanner, The Thankful Poor, 1894. Collection of William H. and Camille Cosby.
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Henry O. Tanner, The Resurrection of Lazarus, 1896. Musee d’Orsay.
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Into the 20th CenturyOur Negro American painter of outstanding success is Henry O.
Tanner. His career is a case in point. Though a professed painter of
types, he has devoted his art talent mainly to the portrayal of Jewish
Biblical types and subjects, and has never maturely touched the
portrayal of the Negro subject. . . . We ought and must have a school
of Negro art, a local and a racially representative tradition. And that
we have not, explains why the generation of Negro artists succeeding
Mr. Tanner had only the inspiration of his great success to fire their
ambitions, but not the guidance of a distinctive tradition to focus and
direct their talents.
Alain Locke, “The Legacy of the Ancestral Arts” (1925)