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.
2. 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
3. Joshua Johnson
Mrs. John Moale (Ellin North) and Ellin North Moale, ca. 1798.
The Abby Aldrich Rockefeller Folk Art Museum
4. 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
5. Robert S. Duncanson
Robert S. Duncanson, View of Cincinnati, Ohio from
Covington, Kentucky, 1851. Cincinnati Historical Society.
9. 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
10. Robert S. Duncanson, Uncle Tom and Little Eva, 1853. Detroit Institute of the Arts.
11. Grafton Tyler Brown, Grand Canyon of the Yellowstone from Hayden Point, 1891.
Oakland Museum.
12. Grafton Tyler Brown, Old Faithful Geyser, Yellowstone National Park, 1887. Stark
Museum of Art.
13. 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
19. 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
22. 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
23. 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.
29. 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
30. Henry O. Tanner, The Banjo Lesson, 1893. Hampton University Art Collection.
31. Henry O. Tanner, The Thankful Poor, 1894. Collection of William H. and Camille Cosby.
32. Henry O. Tanner, The Resurrection of Lazarus, 1896. Musee d’Orsay.
33. Into the 20th Century
Our 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)