The Thankful Poor, 1894
Born June 21, 1859 in Pittsburgh, Pennsylvania, Henry Ossawa Tanner was an African-American artist. He was the first African-American to enroll in the prestigious Pennsylvania Academy of the Fine Arts in 1880, where he studied with Realist painter Thomas Eakens and was the only black student at that time. Tanner's work was characterized by an approach that synthesized elements of Impressionism, his Academic Classical training and genre subject matter that was influenced by his Methodist upbringing to include religious themes and a deep appreciation of the landscape. Just a boy during the The American Civil War years, Tanner experienced racism throughout his early life and as an artist in Philadelphia into his twenties, leading to his decision to leave America for Paris to study at the esteemed Académie Julian in 1891. Emboldened by this vibrant cosmopolitan society Tanner grew into his own style with greater depth. He became a highly esteemed Black artist in his time. Spending most of his time in Paris, he was awarded chevalier of the Legion of Honor, a highly recognized title.
In The Thankful Poor, Tanner creates a solemn atmosphere with muted, neutral tones that is hypnotic in spite of itself. The cool almost purple light on the hands and face of the older man in shadow suggests a life of hard work and suffering, while the young boy is bathed in warm light from the window, not yet aware of the hardships he will encounter later in life yet perhaps suggesting hope that his future will be brighter. The old man sits in a tall chair to imply a certain authority while the young boy sits on a wooden box. Even the walls themselves seem to vibrate with a sombre energy in Tanner's brushstrokes. Note the way Tanner paints the corner in muted warm greys that allow the man's white hair to pop off the painting. The simplicity of the table setting...a couple of plates, modest amount of food...the texture of the tablecloth is incredible. He uses an effortless blend of complementary warms and greens with just the right amount of opaque highlights to indicate the shimmer in the fabric. You can feel the silence in this moment, and it is powerful.
The Seine, ca.1902
Paris has a magic light at sunset that few cities in the world possess, and here Tanner seizes it as if with little effort. Note his large brushstrokes in the sky and water, and he manages to correctly mix the right hues of pink, orange and yellow. His training is evident here that the sky itself is the subject in all landscape painting. However, it is the cool silhouettes of the architecture in the distance that help create the scene. Even the boat and figure off to the right create a sense of presence that is palpable despite the hurried brushwork. If Monet had seen this painting he definitely would have been impressed by its power and mood...Tanner immerses us in that golden glow and we are standing in that spot, not wanting the moment to end.
Portrait of the Artist's Wife, ca. 1897
I love the spontaneity of this portrait, and yet it has profound depth and presence. Her skin up close is splotchy brushwork yet squint, and it is spot on. Note the changes in color temperature from her face to her nack to her arm, and yet it all blends together seamlessly. The frilly textures of her dress are a swift dance of greys, warm and green tones mixed with white and it is effortless. Note also his characteristic background brushwork of muted whites and greys on warm that builds the moment of this thoughtful portrait of his wife. Inspiring.
Christ and his disciples on the Sea of Galilee, ca. 1910
This appears to be a study but it could be Tanner experimenting with the brush. Tanner fashioned his own sense of nocturnes and with water, it is pure magic. Having seen the ocean on a cruiseship and photographing it, I know that he studied its particular tones and darks with remarkable depth and precision. The rich blues here are magnetic. How they dissolve into the floor of the boat and the figures inside. The crisp whites of the sky lead our eye out of the painting and yet return back to the water and the boat in an endless circle. This would have been a powerful finished work.
Study Of A Bearded Man, ca 1900's
An example of Tanner's Academic work most likely from his studies with Eakins in Philadelphia. Incredible depth and character. Tanner knew a portrait that doesn't speak is not a portrait. br>
Tanner is a highly underrated genius whose understanding of light and color are invaluable studies for any artist, regardless of skill level. A true poet of color.
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