- Amiri Baraka
- Charlie Parker
- Lucy Terry
- Paul Robeson
- William Eldon ‘Willie’ O’Ree
- Sarah Vaughan
- Pinckney Benton Stewart Pinchback
- Alex Haley
- Marjorie Joyner
- Paul Lawrence Dunbar
- Bayard Rustin
- Glenn Cashman’s Southland Nonet – Music Without Borders
- Robin Bessier – Other Side of Forever
- George Duke – Dreamweaver
- Pablo Ablanedo Octet – ReContraDoble
- Booker T – Sound The Alarm
- Matt Herskowitz – Upstairs
- Dave Koz and Friends – Summer Horns
- George Benson – Inspiration (A Tribute To Nat King Cole)
- Keith Jarrett – Somewhere
- Terence Blanchard – Magnetic
- JD Allen – Grace
- Gerald Clayton – Life Forum
- Bob James and David Sanborn – Quartette Humaine
- Sasha’s Bloc – Melancholy
- Beata Pater – Red
Henry Ossawa Tanner
The son of a minister in the African Methodist Episcopal Church, Henry Ossawa Tanner was raised in an affluent, well educated African-American family. Although reluctant at first, Tanner’s parents eventually responded to their son’s unflagging desire to pursue an artistic career and encouraged his ambitions. In 1879, Tanner enrolled at the Pennsylvania Academy of Fine Arts, where he joined Thomas Eakins’s coterie.
Tanner moved to Atlanta in 1889 in an unsuccessful attempt to support himself as an artist and instructor among prosperous middle class African-Americans. Bishop and Mrs. Joseph C. Hartzell arranged for Tanner’s first solo exhibition, the proceeds from which enabled the struggling artist to move to Paris in 1891. Illness brought him back to the United States in 1893, and it was at this point in his career that Tanner turned his attention to genre subjects of his own race.
In 1893 most American artists painted African-American subjects either as grotesque caricatures or sentimental figures of rural poverty. Henry Ossawa Tanner, who sought to represent black subjects with dignity, wrote: “Many of the artists who have represented Negro life have seen only the comic, the ludicrous side of it, and have lacked sympathy with and appreciation for the warm big heart that dwells within such a rough exterior.”
The banjo had become a symbol of derision, and caricatures of insipid, smiling African-Americans strumming the instrument were a cliche. In The Banjo Lesson, Tanner tackles this stereotype head on, portraying a man teaching his young protege to play the instrument – the large body of the older man lovingly envelops the boy as he patiently instructs him. If popular nineteenth-century imagery of the African-American male had divested him of authority and leadership, then Tanner in The Banjo Lesson recreated him in the role of father, mentor, and sage. The Banjo Lesson is about sharing knowledge and passing on wisdom.
The exposition-sized canvas was accepted into the Paris Salon of 1894. That year it was given by Robert Ogden of Philadelphia to Hampton Institute near Norfolk, Virginia, one of the first and most prestigious black colleges founded shortly after Emancipation. Hampton lent it the next year to Atlanta’s Cotton States and International Exposition of 1895, where it hung in the Negro Building. Contemporary critics largely ignored the work. Tanner painted another African American genre subject in 1894, The Thankful Poor, but then abandoned subjects of his own race in favor of biblical themes. When Tanner returned to Paris in 1895, he established a reputation as a salon artist and religious painter but never again painted genre subjects of African-Americans.