Edward Mitchell Bannister
|Edward Mitchell Bannister|
Rhode Island Black Heritage Society (carte de visite)
New Brunswick, Canada
|Died||January 9, 1901|
|Resting place||North Burial Ground, Providence|
|Residence||Providence, Rhode Island|
Edward Mitchell Bannister (ca. 1828 – January 9, 1901) was a Black Canadian-American Tonalist painter. Like other Tonalists, his style and predominantly pastoral subject matter were drawn from his admiration for Millet and the French Barbizon School.
Bannister was born in St. Andrews, New Brunswick and moved to New England in the late 1840s, where he remained for the rest of his life. While Bannister was well known in the artistic community of his adopted home of Providence, Rhode Island and admired within the wider East Coast art world (he won a bronze medal for his large oil "Under the Oaks" at the 1876 Philadelphia Centennial), he was largely forgotten for almost a century for a complexity of reasons, principally connected with racial prejudice. Bannister began his official career as an artist when an article in the 1867 New York Herald belittled both him and his work, stating ““- the negro has an appreciation for art while being manifestly unable to produce it.” Prior to working as a painter, Bannister worked as barber and tinted photos. In the late 1850s he attended lectures given by D. William Rimmer, a sculptor noted for his accuracy in rendering the human figure. Over the course of his career, Bannister was inspired by the Barbizon school-inspired paintings of William Morris Hunt who had studied in Europe and held numerous public exhibitions in Boston around the 1860s.
With the ascendency of the civil rights movement in the 1970s, his work was again celebrated and collected. In 1978, Rhode Island College dedicated its Art Gallery in Bannister's name with the exhibition: "Four From Providence ~ Alston, Bannister, Jennings & Prophet". This event was attended and commented on by numerous notable political figures of the time, and supported by the Rhode Island Committee for Humanities and the Rhode Island Historical Society. Events like this, across the entire cultural landscape, have ensured that his artwork and life will not be again forgotten. Although committed to freedom and equal rights for Afro-Americans, he chose not to inject those issues into his work, adopting instead a spiritual philosophy and individually expressive style which represented harmony and liberty on a more universal plane.
Although primarily known for his idealised landscapes and seascapes, Bannister also executed portraits, biblical and mythological scenes, and genre scenes. An intellectual autodidact, his tastes in literature were typical of an educated Victorian painter, including Spenser, Virgil, Ruskin and Tennyson, from whose works much of his iconography can be traced. His work was stunning, oftentimes reflecting the composition, mood and influences of French Barbizon painters Jean Baptise mille Corot, Jean Francois Millete, and Charles-Francois Daubigny. He had an affinity for Native American thought which was reflected in the spirituality of his work. Progressively his understanding for color / color mixing improved and the quality of work increased, really digging into naturalistic territory.
As his career matured, Banister accumulated many honors, several from the Massachusetts Charitable Mechanics Association. His two biggest support systems were his mother, who was the catalyst from the very beginning for his passion for the arts, and his wife, who also was an activist. Both strong supporters of abolition, wife Christina lobbied for equal pay for black soldiers during the Civil War and also organized the soldiers’ relief fair in 1864. In 1880 a group of professional artists, amateurs, and art collectors founded the Providence Art Club to stimulate the appreciation of art in the community, one of those people was Edward Mitchell Bannister. Bannister was the only major African American artist of the late nineteenth century who developed his talents without the benefit of European exposure,
The house at 93 Benevolent Street in Providence, where Bannister lived between 1884 and 1899, was owned by Brown University until 2016. Brown renovated the property and restored it to its original appearance, and it was sold to Professor Jeff Huang as part of the Brown to Brown Home Ownership Program.
- The Newsboy [Boston Newsboy] [Newspaper Boy] (1869; Oil; 30 1/8 x 25 inches; SAAM, Washington D.C.)
- River Scene (1883; Oil on canvas; Honolulu Museum of Art)
- Sabin Point, Narragansett Bay (1885; Oil on canvas; Gardner House, Providence, Rhode Island)
- Palmer River (1885; Oil on canvas; Private Collection)
- “The farm landing”. Oil on Canvas,1892, King Gallery of Fine Art.
- “Moon over harbor” Oil on Fiberboard. 1868, Smithsonian American Art Museum.
Boston Street Scene (Boston Common), (1898–99). The Walters Art Museum.
Driving Home the Cows, 1881, Smithsonian American Art Museum
- "Edward Mitchell Bannister". Rhode Island College. Retrieved 2014-03-16.
- Coelho, Courtney (13 May 2015). "Brown to renovate historic Bannister House". News from Brown. Brown University. Retrieved 15 May 2015.
The house at 93 Benevolent Street, once home to African American artist Edward Mitchell Bannister and currently owned by Brown University, will be fully renovated, returned to its original wood exterior ...
- "Newspaper Boy by Edward Mitchell Bannister / American Art". si.edu. Retrieved 2 May 2015.
- "Palmer River". The Athenaeum. Retrieved 5 August 2015.
- Bannister, Edward Mitchell. Edward M. Bannister: A Centennial Retrospective. Newport, R.I.: Roger King Gallery of Fine Art, 2001. OCLC 49568395 Edward M. Bannister: a centennial retrospective. (WorldCat.org)
- Romare Bearden and Harry Henderson, A History of African American Artists from 1792 to the Present, (Pantheon, 1993).
- Holland, Juanita Marie and Corinne Jennings, Edward Mitchell Bannister, 1828-1901, New York, Harry N. Abrams, 1992, ISBN 0810968118
- Perry, Regenia A. Free within ourselves: African American artists in the collection of the National Museum of American Art. Smithsonian Inst., 1992. pp. 23–27.
- Hartigan, Lynda Roscoe. “Edward Mitchell Bannister.” Sharing Traditions: 5 Black Artists in 19.-Century America: Smithsonian Institution Pr., 1985, pp. 69–82.
- Bannister, Edward Mitchell, and Juanita Marie. Holland. Edward Mitchell Bannister, 1828-1901. Kenkeleba House, 1992.
- "Edward Mitchell Bannister." YourDictionary, n.d. Web. 26 October 2017. http://biography.yourdictionary.com/edward-mitchell-bannister.
- BILL VAN SICLEN JOURNAL,ARTS WRITER. "ART SCENE - the Varied Landscape of Edward Bannisters Career." The Providence Journal: L. Nov 01 2001. ProQuest. Web. 26 Oct. 2017 .
|Wikimedia Commons has media related to Edward Mitchell Bannister.|
- Edward Mitchell Bannister at American Art Gallery
- White Mountain Art
- African Americans in the Visual Arts
- Biographical sketch and images at World Wide Art Resources
- Narratives of Art and Identity: The David C. Driskell Collection
- Edward Mitchell Bannister at Find a Grave
- "'The Vault' on Benevolent St. remains closed, for now". The Brown Daily Herald. September 29, 2010. Retrieved 2010-09-30.
- Selections of nineteenth-century Afro-American Art, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Bannister (no. 13-14)