PAINTERS.—HENRY O. TANNER
PAINTING has long been a medium through which the artistic spirit of the race yearned to find expression. As far back as in the work of Phillis Wheatley there is a poem addressed to "S. M." (Scipio Moorhead), "a young African painter," one of whose subjects was the story of Damon and Pythias. It was a hundred years more, however, before there was really artistic production. E. M. Bannister, whose home was at Providence, though little known to the younger generation, was very prominent forty years ago. He gathered about himself a coterie of artists and rich men that formed the nucleus of the Rhode Island Art Club, and one of his pictures took a medal at the Centennial Exposition of 1876. William A. Harper, who died in 1910, was a product of the Chicago Art Institute, at whose exhibitions his pictures received much favorable com[104]ment about 1908 and 1910. On his return from his first period of study in Paris his "Avenue of Poplars" took a prize of one hundred dollars at the Institute. Other typical subjects were "The Last Gleam," "The Hillside," and "The Gray Dawn." Great hopes were awakened a few years ago by the landscapes of Richard L. Brown; and the portrait work of Edwin A. Harleston is destined to become better and better known. William E. Scott, of Indianapolis, is becoming more and more distinguished in mural work, landscape, and portraiture, and among all the painters of the race now working in this country is outstanding. He has spent several years in Paris. "La Pauvre Voisine," accepted by the Salon in 1912, was afterwards bought by the Argentine government. A second picture exhibited in the Salon in 1913, "La Misère," was reproduced in the French catalogue and took first prize at the Indiana State Fair the next year. "La Connoisseure" was exhibited in the Royal Academy in London in 1913. Mr. Scott has done the mural work in ten public schools in Chicago, four in Indianapolis, and especially was he commissioned by the city of Indianapolis to decorate two units [105]in the city hospital, this task embracing three hundred life-size figures. Some of his effects in coloring are very striking, and in several of his recent pictures he has emphasized racial subjects.
The painter of assured fame and commanding position is Henry Ossawa Tanner.
The early years of this artist were a record of singular struggle and sacrifice. Born in Pittsburgh in 1859, the son of a minister of very limited means, he received his early education in Philadelphia. For years he had to battle against uncertain health. In his thirteenth year, seeing an artist at work, he decided that he too would become a painter, and he afterwards became a student at the Pennsylvania Academy of Fine Arts. While still a very young man, he attempted drawings of all sorts and sent these to various New York publishers, only to see them promptly returned. A check, however, for forty dollars for one that did not return encouraged him, and a picture, "A Lion at Home," from the exhibition of the Academy of Design, brought eighty dollars. He now became a photographer in Atlanta, Ga., but met with no real success; and for[106] two years he taught drawing at Clark University in Atlanta. In this period came a summer of struggle in the mountains of North Carolina, and the knowledge that a picture that had originally sold for fifteen dollars had brought two hundred and fifty dollars at an auction in Philadelphia. Desiring now to go to Europe, and being encouraged by Bishop and Mrs. Hartzell, the young painter gave in Cincinnati an exhibition of his work. The exhibition failed; not a picture was regularly sold. Bishop and Mrs. Hartzell, however, gave the artist a sum for the entire collection, and thus equipped he set sail for Rome, January 4, 1891, going by way of Liverpool and Paris.
In the story of his career that he contributed to the World's Work some years ago, Mr. Tanner gave an interesting account of his early days in Paris. Acquaintance with the great French capital induced him to abandon thoughts of going to Rome; but there followed five years of pitiless economy, broken only by a visit to Philadelphia, where he sold some pictures. He was encouraged, however, by Benjamin Constant and studied in the Julien Academy. In his early years he had given[107] attention to animals and landscape, but more and more he was drawn towards religious subjects. "Daniel in the Lions' Den" in the Salon in 1896 brought "honorable mention," the artist's first official recognition. He was inspired, and very soon afterwards he made his first visit to Palestine, the land that was afterwards to mean so much to him in his work. "The Resurrection of Lazarus," in 1897, was bought by the French government, and now hangs in the Luxembourg. The enthusiasm awakened by this picture was so great that a friend wrote to the painter at Venice: "Come home, Tanner, to see the crowds behold your picture." After twenty years of heart-breaking effort Henry Tanner had become a recognized artist. His later career is a part of the history of the world's art. He won a third-class medal at the Salon in 1897, a second-class medal in 1907, second-class medals at the Paris Exposition in 1900, at the Buffalo Exposition in 1901, and at the St. Louis Exposition in 1904, a gold medal at San Francisco in 1915, the Walter Lippincott Prize in Philadelphia in 1900, and the Harris Prize of five hundred dollars, in 1906, for the best picture in the[108] annual exhibition of American paintings at the Chicago Art Institute.
Mr. Tanner's later life has been spent in Paris, with trips to the Far East, to Palestine, to Egypt, to Algiers, and Morocco. Some years ago he joined the colony of artists at Trepied, where he has built a commodious home and studio. Miss MacChesney has described this for us: "His studio is an ideal workroom, being high-ceilinged, spacious, and having the least possible furniture, utterly free from masses of useless studio stuff and paraphernalia. The walls are of a light gray, and at one end hangs a fine tapestry. Oriental carved wooden screens are at the doors and windows. Leading out of it is a small room having a domed ceiling and picturesque high windows. In this simply furnished room he often poses his models, painting himself in the large studio, the sliding door between being a small one. He can often make use of lamplight effects, the daylight in the larger room not interfering." Within recent years the artist has kept pace with some of the newer schools by brilliant experimentation in color and composition. Moonlight scenes appeal[109] to him most. He seldom paints other than biblical subjects, except perhaps a portrait such as that of the Khedive or Rabbi Wise. A landscape may attract him, but it is sure to be idealized. He is thoroughly romantic in tone, and in spirit, if not in technique, there is much to connect him with Holman Hunt, the Pre-Raphaelite painter. In fact he long had in mind, even if he has not actually worked out, a picture entitled, "The Scapegoat."
The early years of this artist were a record of singular struggle and sacrifice. Born in Pittsburgh in 1859, the son of a minister of very limited means, he received his early education in Philadelphia. For years he had to battle against uncertain health. In his thirteenth year, seeing an artist at work, he decided that he too would become a painter, and he afterwards became a student at the Pennsylvania Academy of Fine Arts. While still a very young man, he attempted drawings of all sorts and sent these to various New York publishers, only to see them promptly returned. A check, however, for forty dollars for one that did not return encouraged him, and a picture, "A Lion at Home," from the exhibition of the Academy of Design, brought eighty dollars. He now became a photographer in Atlanta, Ga., but met with no real success; and for[106] two years he taught drawing at Clark University in Atlanta. In this period came a summer of struggle in the mountains of North Carolina, and the knowledge that a picture that had originally sold for fifteen dollars had brought two hundred and fifty dollars at an auction in Philadelphia. Desiring now to go to Europe, and being encouraged by Bishop and Mrs. Hartzell, the young painter gave in Cincinnati an exhibition of his work. The exhibition failed; not a picture was regularly sold. Bishop and Mrs. Hartzell, however, gave the artist a sum for the entire collection, and thus equipped he set sail for Rome, January 4, 1891, going by way of Liverpool and Paris.
In the story of his career that he contributed to the World's Work some years ago, Mr. Tanner gave an interesting account of his early days in Paris. Acquaintance with the great French capital induced him to abandon thoughts of going to Rome; but there followed five years of pitiless economy, broken only by a visit to Philadelphia, where he sold some pictures. He was encouraged, however, by Benjamin Constant and studied in the Julien Academy. In his early years he had given[107] attention to animals and landscape, but more and more he was drawn towards religious subjects. "Daniel in the Lions' Den" in the Salon in 1896 brought "honorable mention," the artist's first official recognition. He was inspired, and very soon afterwards he made his first visit to Palestine, the land that was afterwards to mean so much to him in his work. "The Resurrection of Lazarus," in 1897, was bought by the French government, and now hangs in the Luxembourg. The enthusiasm awakened by this picture was so great that a friend wrote to the painter at Venice: "Come home, Tanner, to see the crowds behold your picture." After twenty years of heart-breaking effort Henry Tanner had become a recognized artist. His later career is a part of the history of the world's art. He won a third-class medal at the Salon in 1897, a second-class medal in 1907, second-class medals at the Paris Exposition in 1900, at the Buffalo Exposition in 1901, and at the St. Louis Exposition in 1904, a gold medal at San Francisco in 1915, the Walter Lippincott Prize in Philadelphia in 1900, and the Harris Prize of five hundred dollars, in 1906, for the best picture in the[108] annual exhibition of American paintings at the Chicago Art Institute.
Mr. Tanner's later life has been spent in Paris, with trips to the Far East, to Palestine, to Egypt, to Algiers, and Morocco. Some years ago he joined the colony of artists at Trepied, where he has built a commodious home and studio. Miss MacChesney has described this for us: "His studio is an ideal workroom, being high-ceilinged, spacious, and having the least possible furniture, utterly free from masses of useless studio stuff and paraphernalia. The walls are of a light gray, and at one end hangs a fine tapestry. Oriental carved wooden screens are at the doors and windows. Leading out of it is a small room having a domed ceiling and picturesque high windows. In this simply furnished room he often poses his models, painting himself in the large studio, the sliding door between being a small one. He can often make use of lamplight effects, the daylight in the larger room not interfering." Within recent years the artist has kept pace with some of the newer schools by brilliant experimentation in color and composition. Moonlight scenes appeal[109] to him most. He seldom paints other than biblical subjects, except perhaps a portrait such as that of the Khedive or Rabbi Wise. A landscape may attract him, but it is sure to be idealized. He is thoroughly romantic in tone, and in spirit, if not in technique, there is much to connect him with Holman Hunt, the Pre-Raphaelite painter. In fact he long had in mind, even if he has not actually worked out, a picture entitled, "The Scapegoat."
"The Annunciation," as well as "The Resurrection of Lazarus," was bought by the French government; and "The Two Disciples at the Tomb" was bought by the Chicago Art Institute. "The Bagpipe Lesson" and "The Banjo Lesson" are in the library at Hampton Institute. Other prominent titles are: "Christ and Nicodemus," "Jews Waiting at the Wall of Solomon," "Stephen Before the Council," "Moses and the Burning Bush," "The Mothers of the Bible" (a series of five paintings of Mary, Hagar, Sarah, Rachel, and the mother of Moses, that marked the commencement of paintings containing all or nearly all female figures), "Christ at the Home of Mary and[110] Martha," "The Return of the Holy Women," and "The Five Virgins." Of "Christ and His Disciples on the Road to Bethany," one of the most remarkable of all the pictures for subdued coloring, the painter says, "I have taken the tradition that Christ never spent a day in Jerusalem, but at the close of day went to Bethany, returning to the city of strife in the morning." Of "A Flight into Egypt" he says: "Never shall I forget the magnificence of two Persian Jews that I once saw at Rachel's Tomb; what a magnificent 'Abraham' either one of them would have made! Nor do I forget a ride one stormy Christmas night to Bethlehem. Dark clouds swept the moonlit skies and it took little imagination to close one's eyes to the flight of time and see in those hurrying travelers the crowds that hurried Bethlehemward on that memorable night of the Nativity, or to transpose the scene and see in each hurrying group 'A Flight into Egypt.'" As to which one of all these pictures excels the others critics are not in perfect agreement. "The Resurrection of Lazurus" is in subdued coloring, while "The Annunciation" is noted for its effects of[111] light and shade. This latter picture must in any case rank very high in any consideration of the painter's work. It is a powerful portrayal of the Virgin at the moment when she learns of her great mission.
Mr. Tanner has the very highest ideals for his art. These could hardly be better stated than in his own words: "It has very often seemed to me that many painters of religious subjects (in our time) seem to forget that their pictures should be as much works of art (regardless of the subject) as are other paintings with less holy subjects. To suppose that the fact of the religious painter having a more elevated subject than his brother artist makes it unnecessary for him to consider his picture as an artistic production, or that he can be less thoughtful about a color harmony, for instance, than he who selects any other subject, simply proves that he is less of an artist than he who gives the subject his best attention." Certainly, no one could ever accuse Henry Tanner of insincere workmanship. His whole career is an inspiration and a challenge to aspiring painters, and his work is a monument of sturdy endeavor and exalted achievement.
Mr. Tanner has the very highest ideals for his art. These could hardly be better stated than in his own words: "It has very often seemed to me that many painters of religious subjects (in our time) seem to forget that their pictures should be as much works of art (regardless of the subject) as are other paintings with less holy subjects. To suppose that the fact of the religious painter having a more elevated subject than his brother artist makes it unnecessary for him to consider his picture as an artistic production, or that he can be less thoughtful about a color harmony, for instance, than he who selects any other subject, simply proves that he is less of an artist than he who gives the subject his best attention." Certainly, no one could ever accuse Henry Tanner of insincere workmanship. His whole career is an inspiration and a challenge to aspiring painters, and his work is a monument of sturdy endeavor and exalted achievement.
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