This is an incomplete list of paintings by American painter Henry Ossawa Tanner (June 21, 1859 – May 25, 1937). Tanner is the first Black artist to have a major solo exhibition in the United States,[1] and the first to have his work acquired for the collection of the White House.[2]
Works
Date Tanner's approximate age
Events of Tanner's life
Description
Artwork name
Details
Picture
1870
11 years old
Drawing was part of Tanner's childhood in elementary school. However, he did not consider himself gifted.[3]
Barnyard Fowl
Attributed to Tanner online.[4] In doubt, considering Tanner decided to paint in 1872.
In 1872 he saw a painter painting a landscape in a park and was inspired to paint.[6] Tanner saw paintings at Earle's Galleries in Philadelphia.[6] He spent summers in Atlantic City.
In 1872 (age 13) he decides to become a marine painter. "Tanner's first known painting" was Harbor Scene.[7] This painting completed with no art education.[5]
Harbor Scene
Private collection. Oil on canvas board glued to Masonite. 14 x 20" (35.56 x 50.8 cm)
undated
Tanner sketches a shipwreck, impresses artist Henry Price, who takes him in to teach him for about a year.[8]
This impressionist painting is not that sketch but came later.
Portrait of a girl; "My Sister Sara" is written on lower right. Tanner had a sister Sarah Elizabeth Tanner who was 9 years old in 1882.[18]
Sister Sara[17] Done while Tanner was at the Philadelphia Academy.
Private collection. Oil on canvas, 16 x 13 in.[17]
c. 1882
23 years old
Tanner can be identified by his signature in these works.
Historical painting for magazine, not used. Three other paintings illustrated the article, called The Witch Hunt, by Louise Stockton, in Our Continent magazine, August 30, 1882, pages 233–235.[19]
The Witch Hunt
Man with a ruffed collar, dated "Paris, '95". Private collection.[20] Oil on canvas, 43.8 x 35.6 cm. (17.2 x 14 in.)[21]
Tanner can be identified by his signature in these works.
Historical painting for magazine, illustrating the article, called The Witch Hunt, by Louise Stockton, in Our Continent magazine, August 30, 1882, pages 233–235.[19][23]
Tanner can be identified by his signature in these works.
Historical painting for magazine, illustrating the article, called The Witch Hunt, by Louise Stockton, in Our Continent magazine, August 30, 1882, pages 233–235.[19][23]
Tanner had been painting lions since at least 1880. He abandoned his project for Androcles and the lion as beyond his current abilities, but continued painting lions in works such as this.[29]
Tanner grew up in Pennsylvania near the house of Nicolas Wynkoop, who built it in 1739. That house would later be owned by "abolitionist" Judge Henry Wynkoop, who freed his slaves.[33] Some of Judge Henry Wynkoop's slaves chose to remain with his family after receiving freedom on his death; a tree became their cemetery marker.[33][34][35]
Picture of a different Wynkoop house in Harlem, Manhattan, New York City dated with signature 1888. Tanner may have painted this as a symbol with civil rights in mind.[33]
While still living in Philadelphia, Tanner did a religious artwork.[23] This was years before The Thankful Poor and Daniel in the Lion's Den (1896).[23] His teacher may have been sending students' work in to magazines.[23]
Beginning January 1891, attending school at the Academie Julian in Paris
Painted in France while attending school. The figure between the two dogs in the background is a pentimento of a gypsy boy, a street performer.[51] Tanner painted the petit savoyard (young Gypsy street performer) into the picture, but later removed it, creating the shadowy image.[51]
Beginning January 1891, attending school at the Academie Julian in Paris
Painted in France while attending school. Appears to be imitating the painting Anguish by August Friedrich Schenck. Tanner's painting is retitled, and painted in a more impressionist style.
Attended Philadelphia Academy of Fine Art about 1879–1885. Struggled to make living as artist. Beginning January 1891, attended school at the Academie Julian in Paris
Place and time painted unknown. Clearly imitating Briton Riviere's Daniel's Answer to the King
untitled. Online labeled Daniel in the Lion's Den[55][56]
Private collection. Oil on canvas, 29 1/2 x 43 in.[56]
Daniel's Answer to the King by Briton Riviere, 1890.
1891
32 years old
First year in France. Summering on west coast of Brittany.
Portrait of a woman apparently from the French West Indies. Her dress marks her as not being of the peasant class. This image is a rare Tanner portrait, one of about 7 known images he painted of a colored person. Impressionist techniques being used in this image.
Tanner arrived in France in January 1891. Summered in Brittany at Pont-Aven and Concarneau.[60] Bois d'Amour is near Pont-Aven.[60] Concarneau is about 15 km from Pont-Aven.[60]
Private collection. Charcoal on paper, 25.5 x 20 cm.[66]
1892
33 years old
Summer 1892 in Brittany.[67] Spring 1893, Paris.[67] Possibly, early summer 1893, Brittany.[67] Spring/Summer 1893 returned to United States.[68] Attended World's Columbian Exposition
Study begun in Brittany in 1892 for painting The Bagpipe Lesson, finished by May 1893.
Summer 1892 in Brittany.[67] Spring 1893, Paris.[67] Possibly, early summer 1893, Brittany.[67] Spring/Summer 1893 returned to United States.[68]
First attempt to get a painting into the Paris Salon, in 1893; it was rejected but later accepted in 1895.[70] Painted with an American painter's eye, not with symbolism or impressionism.[70] Displayed at World's Columbian Exposition, in the exposition catalog.[70]
In 1894 Tanner exhibited paintings titled Lake Monroe and Evening on the St. Johns at Earle's Galleries.[77] The location of either painting is unknown.
Summer 1892 in Brittany.[67] Spring 1893, Paris.[67] Possibly, early summer 1893, Brittany.[67] Spring/Summer 1893 returned to United States.[68] Return to Paris in fall of 1894.[79] Submitted to Paris Salon in spring 1894 as The Music Lesson[70][80]
Date on painting 1893. Early name in newspapers was The First Lesson.[81] Painted to show multiple light sources.[70] Brushwork style links to The Thankful Poor and Spinning by Firelight.[70]
Study for the Young Sabot Maker, 1893. Metropolitan Museum of Art, 1975.27.2. Watercolor and gouache on white wove paper, height: 38.7 cm (15.2 in); width: 25.9 cm (10.1 in.)[89]
Study for the Young Sabot Maker, Paris 1893. Smithsonian American Art Museum, 1983.95.49. Pastel and ink on paper mounted on paperboard, 10 3/8 x 8 3/8.[91]
In the 1895 Paris Salon, he exhibited "pastel of New Jersey coast by moonlight".[99][100] Under matting, this painting had "Paris 1895."[100] Possibly depicts a buoy particular to "Quai d'Issy on the Seine River."[99]
After Daniel in the Lion's Den, Rodman Wanamaker sponsored trips to Palestine/Egypt (January- April 1897, October 1898 - March 1899) to give Tanner the places' look.
Two paintings that are intended to be oriental, but don't have the same look as those found in the 1897, 1898–99, 1908 and 1912 trips. Question to be answered: could these predate Tanner's trips to the Middle East?
untitled painting, in oriental style. Oil on board, 27 1/4" x 21.5"[101]
Mistitled "Forest Scene" at auction. Oil on canvas board, 18" x 13 1/2".[102]
Entered Daniel in the Lion's Den in the 1896 Paris Salon, his third year in the event. This is a photo of that version, which is now lost. Tanner repainted the picture later, in a horizontal layout.
Won a gold medal at Paris Salon 1897, bought by French Government, brought honor to Tanner that he no longer had to submit paintings to a committee before entering them in the Salon.[109]
Raising of Lazarus or Resurrection of Lazarus[107][108]
In Kansas City, Kansas, seeing his family[126][128]
Tanner painted an image of his father that is dated.[126] The image of his mother Sarah Elizabeth Tanner without date has the same red background and is the same size.[126]
After his trip to the Middle East in the spring of 1897, Tanner visited his parents in Kansas City, Kansas in August/September.[127][128] Return to Paris in September.
Visits U.S. in August 1897 after return to Paris from Holy Land. Returns to Paris September 1897 from US.[127] Announces, that after he returns to Paris, he will paint an Eastern type Virgin Mary dressed in clothes from the Holy Land.[127][128][135] Tanner probably did not use Jessie McCauley Olssen (his future wife) for the girl.[136]
Entry in the 1900 Paris Salon and later at Pennsylvania Academy of the Fine Arts's 70th Annual Exhibition (1901), the Minneapolis Society of Fine Arts exhibition (1902) and the Lewis and Clark Centennial Exposition in Portland, Oregon (1905).[143][144]
Mary with infant Jesus (under the blanket and halo.)
Tanner took a second trip to the Holy Land, in 1898–99. Began recurring theme of Joseph and Mary fleeing for Egypt.[146]
Thought to be the study used for Nicodemus in Nicodemus Visiting Jesus. This image was reworked in 1918-1920 and may have changed the look of the subject.
Study for Nicodemus, 1899. Private collection. Oil on canvas mounted on cardboard, 7 1/4 x 9 3/8 in.[156] One of the four paintings photographed by the Harmon Foundation, exhibited by them in 1931.[157][158]
Displayed at the annual exhibition of the Pennsylvania Academy of Fine Arts, 1900, along with Nicodemus and Hills Near Jerusalem. Painting of the death of Judas.[166] Also exhibited 1908 at his solo exhibition.[167]
Nicodemus[171] or Study for Christ Among the Doctors or Portrait of a Bearded Man,[172] undated. Private collection. Oil on canvas, 13 3/4 x 10 5/8 in.[172] Painting was handed down in Tanner's family, through a nephew.
This painting has been called a work of symbolism. Similar to symbolist painting by Franz von Stuck, Sin. Tanner has decapitated Salome with shadow. The blue, sometimes a spiritual color is unpleasant here, speaking of sin, judgement.
Tanner did nude portraits as studies at both the Academy of Fine Arts in Philadelphia and the Academie Julian in Paris. This was published in 1900; its creation date is unknown.[185]
Study around the idea, "And Mary pondered all these things in her heart."[185]
American artists in Paris hold separate year-end exposition, December 1901.[189]
In a 1901 exposition, Tanner entered a work, "woman's head In the firelight".[189] May have no connection to Smithsonian's "Profile of a Woman's head."
Bishop Joseph Crane Hartzell and his wife (Jennie Culver[196]) were instrumental in Tanner's success. They bought his collection of paintings in 1891, to finance his trip to Europe.[195]
Printed October 1902 in the Ladies Home Journal, part of a series of four mothers, "Mothers of the Bible", Sarah, Hagar, Rachel, and Mary.[199]
"And Abraham rose up early in the morning, and took bread, and a bottle of water, and gave it unto Hagar. . . .and sent her away; and she departed and wandered in the wilderness of Beer-sheba--GENESIS XXI, 14."
Study for Rachel from Mothers of the Bible, c. 1898. Smithsonian American Art Museum, 1983.95.31. Charcoal on paper, Sheet: 23 x 13 5⁄8 in. (58.4 x 34.6 cm)[203]
c. 1902-1903
43–44 years old
Printed January 1903 in the Ladies Home Journal,[204] part of a series of four mothers, "Mothers of the Bible", Sarah, Hagar, Rachel, and Mary.[199]
Tanner used his wife Jessie as the model for "many of his studies" for the series, including Mary.[205]
A work of religion centering on Gospel of John (10:14—16). Also a work of racial equality in that Tanner "saw the theme of the good shepherd in terms of racial and social equality, as did his father."[211] Important to him, Tanner would paint the Good Shepherd theme at least 15 times.[212]
Tanner went to the Holy Land in 1898-1899 and to Granada in Dec 1902.[213]
Both places affect this image: the mount of Temptation was painted before this work. In Granada, Tanner encountered El Greco's work and it affected the way he painted people.[213] This painting study is on the back of Salome.[181]
Pastoral scene, Palestine. Private collection, formerly owned by Hampton Institute. Assessed as c. 1895, but prob 1897/1898-1899, when Tanner traveled to Palestine.
1903
44 years old
Tanner took his wife Jessie to Granada, where they lived from January–March 1903[215]
Entered into the 1906 Paris Salon.[220][221] Tanner encounters the paintings of El Greco in Granada and begins to paint people in an "elongated figure style".[191]
"drawn from the Gospel of John (19:25—27)..."[219]Mary, (Jesus' mother in front) and the disciple "whom he loved". The blonde woman is prob. Mary Magdalene; the woman behind the disciple prob Mary the wife of Cleophas.[219]
Return of the Holy Women[218][219] or Le Retour de la Sainte Femme[219] or Return of the Holy Woman[221]
Painting was covered up, placed underneath the canvas of Daniel in the Lion's Den (1907-1918 version) and rediscovered in 1976.[222] Tanner had been receiving strong criticism during this period in the press.[222]
"So went Satan forth from the presence of the Lord, and smote Job with sore boils from the sole of his foot unto his crown... Now when Job's three friends heard of all this evil that was come upon him, they came every one from his own place...So they sat down with him upon the ground seven days and seven nights..." King James Version
Displayed January 1907, Société Internationale de Peinture et Sculpture. Paris.
Christ sits at the table with Mary, while Martha serves dinner. Shadowy figure in background (pentimento) speculated to be Judas (who had criticized Mary for wasting money on perfume, spread on Christ's feet.)[226][227] Possibly deliberate mixing of biblical stories.[227]
Tanner enters into the 19th Annual exhibition of American paintings at the Art Institute of Chicago.[229]
Gospel of John (20:2-6). Peter and John peering into Jesus' tomb, their faces lit by unearthly light. Highlight of Tanner's career, winning Harris Prize, top prize among top competitors.[229]
Study for the Disciple Peter, c. 1905. Smithsonian American Art Museum, 1983.95.38. Conte crayon and charcoal on paper, mounted on paperboard 185/16 x 143/4" (47.15 x 37.47:cm)[229][230]
Tanner's next major picture after The Two Disciples at the Tomb[232] One of two entries for 1906 in the Paris Salon.[220][221]
Wins silver (second place medal) at Paris Salon bought by French government[233] Tanner "designated hors concours" (top honor, his paintings are beyond competition).[233]
This work is painted over the top of another Tanner painting, The Cello Lesson.[194]
The Disciples at Emmaus,[232] or The Pilgrims of Emmaus[231][234]
Musée d‘Orsay, Paris. Oil on canvas, 73 1/2 x 83 1/2".[232]
Christ (left) meets with two of his disciples, Luke and Cleopas, at Emmaus. (Luke 24:13–27).[235]
Entry into the 1905 Paris Salon, one of two entries[238] Displayed at the annual exhibition at the Chicago Art Institute, along with Abraham's Oak Near Hebron.[237]
earlier version of this was 1901 Paris Salon entry.
Multiple versions. Original dates back to 1900 titled "Night," owned by Atherton Curtis.[239] This version owned by Robert C. Ogden was made in 1905.[239] A third version, Fishermen's Return dates to about 1919.[240] A fourth versionFisherman's return was made about 1926.[241] A fifth version, Fishermen returning at night was painted about 1930.[239][242]
Herbert F. Johnson Museum of Art, Cornell University.[239]
Return of the Fisherman, 1905, a "replica of a work originally called Night." Tanner painted this and the original painting very dark, and this online version has been lightened, perhaps beyond what the artist would have preferred.
Return of the Fisherman without digital lightening.
1905
46 years old
Entered in 1905 Paris Salon, (1 of two entries) won a medal.[238][243]
Tanner had a history of painting boats. He combined this with his religious art to illustrate a scene from the bible, the miracle of Jesus walking on water. Jesus is represented here as an indistinct presence on the water. The light is the dim of night, the moon reflecting on the water.
The Disciples See Christ Walking on the Water[252]
Painted over three years (1906–1908).[259] Entered in Paris Salon, May 1908.[258][260][261]
"Then shall the kingdom of heaven be likened unto ten virgins, which took their lamps, and went forth to meet the bridegroom. And five of them were wise, and five were foolish."
Not all the wise virgins are walking...one is on the far left, her lamp on the ground, and she trying to light another's lamp.[262]
The Wise and Foolish Virgins[259] or Behold, The Bridegroom Cometh[258][259] or Les vierges sages et les vierges folles[260]
Location unknown, possibly lost. 10 ft x 15 ft. Exhibited 1908, 1909, 1921.[259]
Tanner displayed a work called Nicodemus in 1908 and 1909 at exhibitions. Photo of the artwork from a 1909 catalog for the Alaska-Yukon-Pacific Exposition of 1909, held in Seattle.[269]
Tanner traveled to Morocco, in March–June 1912, to Algiers in 1908, to "the Near East" Oct 98-March 99, and to Palestine and Egypt with stops on the way home in Naples, Rome, Pisa, Florence, and Venice January–April 1897.
House (Wall) in Blue, c. 1908-1912 Private collection, location unknown.Oil on wood panel, circa 1908–12. 331x235 mm; 13x9 1/4 inches. Titled in pencil, upper right verso.[271]
Tanner traveled to Morocco, in March–June 1912, to Algiers in 1908, to "the Near East" Oct 98-March 99, and to Palestine and Egypt with stops on the way home in Naples, Rome, Pisa, Florence, and Venice January–April 1897.
Tanner used watercolors on this trip.[273] This version hung in Fernanda and Rodman Wanamaker's apartment in Philadelphia.[273] The picture includes a woman in western clothing (such as one might wear in Paris or New York).
Visits Algeria in February — March 1908; visits Morocco in March — June 1912
Impressionist landscape. 1908. Another version of Flight into Egypt of which Tanner painted more than 15 versions. Joseph, Mary and Jesus flee to Egypt.
Flight into Egypt: Palace of Justice, Tangier[254] or Palace of Justice, Tangier.[277]
Tanner went to the Near East for the third time in 1908.[273] The trip took him to Constantine, Algeria.[273] Tanner holds an exhibition of his religious paintings in 1908 at the American Art Gallery in New York.[281] It was his first solo exhibition after he grew famous.[282]
Private collection. Oil on canvas, 18 1/8 x 15 1/8 in. (46 x 38.4 cm.)[283]
c. 1908-1912
49–53 years old
Visits Algeria in February — March 1908; visits Morocco in March — June 1912
Painting of woman in style of postcards from Tunisia, Morocco and Algeria.[A] This dress-style represents European fantasy, as women were kept covered in public in North Africa as in other Muslim areas.[285][286]
unnamed image of a woman.
Private collection. Watercolor and Pencil on Paper. Measure 14"in H x 7 1/2"in W and 20 1/2"in[287]
c. 1908-1912
49–53 years old
Visits Algeria in February — March 1908; visits Morocco in March — June 1912
Impressionist landscape. Undated. "suggestions of trees, hills, and a faintly discernible human figure."[288]
Scene of Algiers
Smithsonian American Art Museum. Oil on paperboard, 8 1⁄4 x 10 5⁄8 in. (21.0 x 27.0 cm.)[288]
"The Return of the Holy Woman," with Calvary in the distance, is even more sensitive than the rest. It is so intensely silent.[293]
Return of the Holy Woman[293] or Return of the Holy Women[294] or Return from the Cross[294]
Location unknown.
Return from the Cross or Return of the Holy Women. Names labeled on back of photo from Henry Ossawa Tanner papers, Smithsonian Archives of American Art.[294]
Divine light illuminates Mary and infant Jesus, Joseph looks from shadows. Jesus has halo, Marys veil glows. Light also comes through the doorway, from outside.[300]
Religious work showing cloudlike angels appearing before the shepherds in the dim light of night. Angels in the image possibly include spokesman angel, angels in a choir, trumpeting angels and calvalry angels.[306]
Tanner painted himself into the painting (far right beside the sitting woman.)[320] Both of the women in the painting were also portraits of people Tanner knew.[321]
Newspaper photo of painting, Boston Evening Transcript, Jun 24, 1914[322]
The painting was exhibited in 1913 in Chicago and New York, was a Paris Salon entry for 1914, and in 1915 won a gold medal at the Panama-Pacific Exposition in San Francisco.[323] Later displayed at the Carnegie Institute (1921), a solo exhibition at the Des Moines, Association of Fine Arts (1921), a solo exhibition at Grand Central Art Galleries, New York (1924), and at the Chicago Art Institute in 1928.[323]
Location unknown (possibly lost).[227] The painting Portrait of Mr. Atherton Curtis and his Wife was rumored to be the remains of this painting, cut down to just the portrait.[325]
Another version of Christ in the home of Lazarus by Henry Ossawa Tanner.[324]
Tanner meets Atherton and Louise Curtis in 1897; Tanner and Jessie go to live in the Curtis' artist colony in 1902. Lifelong friendship.[215]
Study for Portrait of Mrs. Atherton Curtis. Smithsonian American Art Museum, 1983.95.33. Charcoal and pastel on paper mounted on paperboard, 18 3⁄4 x 20 in. (47.6 x 50.8 cm).[327]
Private collection. Oil on panel, 13 x 9 1/4 in.[337]
Undated.
Tanner traveled to Morocco, in March–June 1912, to Algiers in 1908.
Image with horseshoe arch or keyhole arch. Light from low sun; light bounces from building-top to make line of light on ground; building-reflected light casts man's shadow.
"[Tanner] made numerous small oil sketches that he brought back to his studio in France, where he developed them into larger paintings on canvas..."[340]
Tanner painted the Miraculous catch of fish, in which Jesus tells the disciples to try one more cast of the net, at which they are rewarded with a great catch.
World War I broke out. Tanner's mother died in August 1914. He had difficulty painting.[364]
"Tanner painted very few works between late 1914 and the latter part of 1918"[364] This is one of very few paintings made in the "early years of the war."[364]
After Tanner took a second trip to the Holy Land in 1898-99 he began using a recurring theme of Joseph and Mary fleeing for Egypt. Tanner might have thought of Christian metaphor for the painting: even in darkness, the path [to God] is visible.[366]
One of several paintings titled The Good Shepherd, "based generally on the Gospel of John (10:14—16)" and the 23rd Psalm.[368]
"I am the good shepherd, and know my sheep, and am known of mine. As the Father knoweth me, even so know I the Father: and I lay down my life for the sheep. And other sheep I have, which are not of this fold: them also I must bring, and they shall hear my voice; and there shall be one fold, and one shepherd." — Gospel of John (10:14—16)
"The Lord is my Shepherd; I shall not want." — 23rd Psalm
Tanner served with the Red Cross during part of World War I.[364]
"American Red Cross Canteen, Toul, France, World War I" [364]
American Red Cross, Washington D.C. Oil on canvas, 143/16 X 16 5/16" (36.04 x 41.43 cm).[364]
A.R.C. Canteen, World War I, 1918. Smithsonian American Art Museum, 1983.95.36. Charcoal on paper mounted on paperboard, sheet: 17 1⁄2 x 22 in. (44.4 x 55.9 cm).[383][384]
1918
59 years old
Tanner served with the Red Cross during part of World War I.[364]
National Gallery of Art, 2014.136.159. Oil on canvas on particle board, 60.33 × 48.26 cm (23 3/4 × 19 in.)[389] Formerly in the Evans-Tibbs collection.[11]
The painting has a date which looks like July 13, 1914. However, it is for the "Celebration of the Dead, held on July 13, 1919, in Paris to honor those who died defending France during World War I."[393] With the war over, Tanner could return to his chosen work.
Stamped in the lower right corner with the contact information of Henry's son Jesse. Likely French countryside as Tanner had painted other French countryside scenes in this manner.
At least 2 versions were made around the theme of Moses' mother hiding him in the bullrushes. The first made galleries from 1908 to 1911, the latter from 1922 to 1924.[167]
Moses in the Bullrushes[404] or The Hiding of Moses[167]
The version at the Newark museum shows a shepard caring for his lost sheep, "a theme based on Matthew's account (18:12—14)."[368]
"How think ye? if a man have an hundred sheep, and one of them be gone astray, doth he not leave the ninety and nine, and goeth into the mountains, and seeketh that which is gone astray? And if so be that he find it, verily I say unto you, he rejoiceth more of that sheep, than of the ninety and nine which went not astray. Even so it is not the will of your Father which is in heaven, that one of these little ones should perish. —Matthew (18:12—14)
(John 20:4—6): John kneels at Jesus' tomb, Peter in the background.[419] Tanner painted this over the circa 1899 painting Judas.[165] Displayed October 1925 at 24th Carnegie Institute International Exhibition.[420]
This work was painted over the top of the 1899 painting Judas.[165]
Michael Rosenfeld Gallery. Oil on board 51 1/2 X 43 1/4" (130.81 x 109.86 cm)[419]
Study for Disciple Kneeling at the Tomb, undated. Smithsonian American Art Museum, 1983.95.32. Charcoal and vine charcoal on paper, 13 1⁄2 x 9 3⁄4 in. (34.4 x 24.8 cm)[421]
Multiple versions. Original dates back to 1900 titled "Night," (lost) owned by Atherton Curtis.[239]A second version owned by Robert C. Ogden Return of the Fisherman was made in 1905.[239] A third versionThe Fishermen's Return was painted about 1919.[240] This fourth version was made about 1926.[241] A fifth version, Fishermen returning at night was painted about 1930.[239][242]
The two cities of Sodom and Gomorrah are engulfed in God's wrath. "The painting's abstraction and simplicity of form evoke a sense of interaction between the physical and spiritual worlds."[428] In this version, Lot and his daughters are nearly invisible, at the lower right.[428]
Study of Two Hands, undated. Smithsonian American Art Museum, 1983.95.45. Charcoal on paper, charcoal on paper, sheet: 7 x 11 3⁄4 in. (17.9 x 30.0 cm).[431]
Landscape of a Middle-Eastern/North African city, with domes and minarets. Could date from 1897 to 1912 if from the period he visited Middle East, or later if painting from memory.
The Good Shepherd in the Atlas Mountains or The Good Shepherd, c. 1936. Private collection, Oil and tempera on board, 9 1/4 x 13 in. (23.5 x 33.02 cm.)[432]
Study for Return from Crucifixion, signed 1933. Smithsonian American Art Museum, 1983.95.37. Pencil and conté crayon on paper mounted on paperboard, 15 1/8 x 14 1/8 in.[448]
^European photographers such as Lehnert & Landrock or Nuredin & Levin made images in North Africa. They created postcards, including images in which local women and girls were posed topless and fully-nude. The photographers had to resort to hiring models, because most women that they encountered would have nothing to do with men outside of their families.[285]
McElroy, Guy C (1989). "1: The Foundations for Change 1880-1920". African-American artists, 1880-1987: selections from the Evans-Tibbs Collection. Seattle: University of Washington Press. pp. 22–31.<
Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. ISBN978-0-8478-1346-9.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 64–67. ISBN978-0-8478-1346-9.
^Kriston Capps (19 June 2022). "Some art has a story to tell". Philadelphia Tribune. Rae Alexander-Minter, grandniece of the great 19th-century realist painter Henry Ossawa Tanner...An original oil painting, "Seascape — Jetty" (circa 1876-79), hangs in Alexander-Minter's living room, an example of Tanner's idyllic landscapes
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 68–69. ISBN978-0-8478-1346-9.
^ abcdefghijMcElroy, Guy C (1989). "1: The Foundations for Change 1880-1920". African-American artists, 1880-1987: selections from the Evans-Tibbs Collection. Seattle: University of Washington Press. pp. 22–31.
^Tanner, Henry Ossawa (July 1909). "Story of an artist's life I."The World's Work. 18 (3): 11665. While a flock of sheep is the personification of peace, docility, and all that is quietude, from my (unscientific) study, I have come to the conclusion that one sheep has none of the qualities of a flock of sheep, no, not one, except, it may be, their stupidity. One sheep is not "sheepish"; no, he is the most stubborn, balky, run-away, befuddled animal you can imagine. I have had other animals to serve as models, but never an animal that furnished so many alarms by day and night as that "peaceful" sheep. He was escaping from his stable (stable, by courtesy), breaking his tether, trespassing in neighbors' gardens, and eating down the very things they prized the most; or he was the very contradiction of all activity, refusing to be led to pasture and causing a giggling crowd to collect as if by magic. To the question of those on the outside who could not see what was going on, it was: "Oh! it's Henry Tanner's sheep."
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 170.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 171.
^ abcdefLouise Stockton (30 August 1882). Albion W. Tourgée (ed.). "In the Days of Witchcraft". Continent; an illustrated weekly magazine. Philadelphia: Our Continent Publishing Company. pp. 233–235. [note:]The magazine story was written by the "author of Dorothea," which it doesn't name. That person was Louise Stockton.
^"Past auctions". artnet.com. Artist:Henry Ossawa Tanner (American, 1859–1937) Title: A man with a ruff, 1895–1895 Medium: Oil on Canvas Size: 43.8 x 35.6 cm. (17.2 x 14 in.)
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 76–79. ISBN978-0-8478-1346-9.
^Russ, Valerie (17 November 2022). "A Landmark's Future". Philaladelphia Inquirer. The painting of wind-whipped dunes under a hazy sunset hangs today in the Green Room at the White House. It was the first painting by a Black artist to be part of the White House's permanent collection.
^ abcdefghMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 80–82. ISBN978-0-8478-1346-9.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 71–73. ISBN978-0-8478-1346-9. he began a historical scene of Androcles and the lion (see cat. no. 12). Tanner abandoned it as beyond his talent, and apparently returned to simpler presentations such as Lion Licking Its Paw
^ abc"Basic Detail Report: Wynkoop House, Old Haarlem". New Britain Museum of American Art. Recent research, however, has demonstrated that subjects such as "Wynkoop House" were important to the core of Tanner's symbolic civil-rights messages...Tanner emphasized the tree in the foreground of "Wynkoop House"...
^Geyer, Virginia B (Fall 1976). "Further Notes on Henry Wynkoop". Buck's County Historical Society Journal. Buck's County Historical Society. With the help of several slaves, Wynkoop produced the finest champagne and cider in his cellars, the cider finding a ready market in Philadelphia. Without the help of slaves during Wynkoop's many absences, a farm as large as Vredens Berg would have been difficult to operate. He treated his slaves so well that although he gave them their freedom, most of them remained on the farm, and according to legend were buried under a tree near the Vredens Berg mansion.
^LaVO, Carl (15 February 2021). "LaVO: The story of Bucks County Judge Henry Wynkoop, the 'good tall judge' and key figure in American Revolution". Phillyburbs.com. Wynkoop freed his nine slaves at his death on March 25, 1816. That was 36 years after Pennsylvania abolished slavery by freezing the slave population and giving slave holders a grace period to free captives — a process called manumission. Wynkoop's thoughts on the matter are unknown. His freed slaves remained with the family.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 176.
^Tanner, Henry Ossawa (July 1909). "Story of an artist's life I."The World's Work. 18 (3): 11666. I at last secured an order to photograph a small cottage, and in twenty-four hours I had the money in my "inside pocket." I made photos of the whole immediate region, a most lovely country, and, as no photographer had ever visited it before, they were a success, and my hard times — very hard times — vanished as the mountain mists before the sun.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 39, 126. ISBN978-0-8478-1346-9.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 180.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 102–103. ISBN978-0-8478-1346-9.
^"Henry Ossawa Tanner Lot 41: Henry Ossawa Tanner, (American, 1859-1937), Woman from the French West Indies, c. 1891". The artist arrived in Paris, France at this time and spent the summers on the west coast in Brittany. There, he adopted a predominately green palette with an emphasis on vertical brushstrokes as can be seen in the Woman from the French West Indies...we are looking at an image of a light-skinned woman from one of the islands of the French West Indies-Martinique, Guadeloupe or Dominica. This claim is supported by her costume and headdress.
^ abcdefghMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 104–105. ISBN978-0-8478-1346-9.
^ abcdeMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 98–101. ISBN978-0-8478-1346-9. students learned to analyze and observe form and light by working from professional models.
^Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 182.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. pp. 38, 90. Tanner began studies in 1893 for another picture of Breton life, The Young Sabot Maker... in the first part of 1893, Henry came down with typhoid fever... [quoting Tanner:] 'When I was well enough to travel, I returned to Philadelphia for a convalescence'...
^ abcdMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 183.
^ abcdefghMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 39, 90, 110–113. ISBN978-0-8478-1346-9.
^ abcdeMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 106–107. ISBN978-0-8478-1346-9.
^ abcd"Henry O. Tanner, N.A. (US/French, 1859-1937)". Live Auctions. Feeding Chickens, African-American Township, Philadelphia Pennsylvania" is an historically significant and rare African American scene by Tanner to be offered at auction.
^"Winter Estates Auction: December 4-6, 2015". 19 November 2015. Published on Nov 19, 2015, page 279, [Item] 1187 Henry Ossawa Tanner, N.A. (American French, 1859-1937), "Feeding Chickens, African-American Township-Philadelphia, Pennsylvania", ca. 1890s, oil on canvas, abraded signature and date lower left, 14" x 24".
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 184.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 35. ISBN978-0-8478-1346-9.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 36. ISBN978-0-8478-1346-9.
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 39. ISBN978-0-8478-1346-9.
^ abc"Art Notes". The Philadelphia Inquirer. Philadelphia, Pennsylvania. 23 September 1894. p. 12. H. O. Tanner, the colored artist of this city, whose picture, "The Bagpipe Lesson," was exhibited at the Academy during the last exhibition, sailed for Paris yesterday. He expects to remain abroad about three years.
^"Art Notes". The Philadelphia Inquirer. Philadelphia, Pennsylvania. 29 April 1894. p. 11. Mr. Tanner has just sent his "Banjo Lesson" which was exhibited at Earles' some time ago, to the Paris Salon. He will go to Paris himself some time in the fall, and will remain there two or three years.
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 116–120. ISBN978-0-8478-1346-9.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 116–120. ISBN978-0-8478-1346-9. Especially in the background, the brushwork of The Banjo Lesson is much looser, and strokes of color are more assertive ... Tanner used this technique in two other large figure pieces (cat. nos. 28 [The Thankful Poor], 29 [Spinning by Firelight]) painted during his Philadelphia stay, but he abandoned it after his return to France; the effect is distinctive enough to suggest the definitive changes both in Tanner's location and in his artistic direction
^ abc"ARTISTSARTISTS HENRY OSSAWA TANNER AMERICAN PAINTER". [about the Thankful Poor]:Here the influence of Impressionism is evident in both the softening and loosening of the brushstrokes used to render certain items including the wall and tablecloth as well as the importance of light which streams through the window casting a glow on the figures and their meal
^"Study for The Thankful Poor". Google Arts and Culture. DuSable Museum of African American History, Chicago, United States
^ abcdMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 189.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia, Pennsylvania: Philadelphia Museum of Art. pp. 128–131.
^Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 190.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia, Pennsylvania: Philadelphia Museum of Art. pp. 114–115.
^ abAnna O. Marley. "Introduction Henry Ossawa Tanner: Modern Spirit". In Anna O. Marley (ed.). Henry Ossawa Tanner: Modern Spirit. University of California Press. p. 193.
^"Sale 2169 - Lot 1". Mutual Art. Henry Ossawa Tanner (1859–1937) The Annunciation to the Shepherds. Oil on canvas, circa 1895. 325x400 mm; 12 3/4x15 7/8 inches. Signed in oil on the verso. Provenance: private collection, Chevy Chase, MD.
^ ab"American Art at Auction". Asbury Park Press. Asbury Park, New Jersey. 14 February 2009. p. 29. Other notables include a pair of oils on canvas by Henry Ossawa Tanner, the father of modern African- American art. These works, "The Annunciation to the Shepherds" ($60,000 to $90,000 estimate) and "Adoration of the Golden Calf' ($40,000 to $60,000), both circa 1895, reflect the artist's early exploration of Biblical subjects.
^ ab"Collection History". Hampton University Museum. Retrieved 25 July 2023. [Note: A photo on the page referenced shows The Banjo Lesson displayed between Landscape in Moonlight and Adoration of the Golden Calf.]
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 39. ISBN978-0-8478-1346-9. 1895 May. Paris, Salon. Intérieur Bretagne [Brittany Interior], Le Jeune Sabotier [The Young Sabot Maker], pastel of New Jersey coast by moonlight.
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 93. ISBN978-0-8478-1346-9. His efforts were rewarded again by the Salon jury - The Young Sabot Maker, Brittany Interior, and a pastel called New Jersey Coast by Moonlight were exhibited, but did not attract the attention of the critics. The latter work is probably the picture now titled Marshes in New Jersey and inscribed "Paris 1895" (Washington, D.C., National Museum of Art).
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 197.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 258–259. ISBN978-0-8478-1346-9.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 200.
^ abcde"Interior of a Mosque, Cairo". Museum of Fine Arts, Boston. ...in Cairo, Tanner visited numerous mosques, many as yet unidentified: as Tanner put it, "the number of mosques is so great that to remember the names in one day or so is next to impossible." Despite Tanner's uncertainty, the location of Interior of a Mosque, Cairo has been identified as the madrasa of Sultan Qaitbey, a Mamluk-dynasty complex originally containing a mosque, a school, and a mausoleum, built between 1472 and 1475.
^ abMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 201. Interior of a Mosque, Cairo, 1897. Oil on canvas, 20 1/2 x 26 in.
^ abc"Conversations Considered". Smithsonian. Henry Ossawa Tanner 1859–1937, United States Study of an Arab 1897 Oil on board 33 x 24 cm (13 x 9 1/2 in.) Collection of Camille O. and William H. Cosby Jr. Photograph by Frank Stewart
^ ab"LOT #557: Henry Ossawa Tanner, Arab Musician". Kaminsky Fine Art, Auctions, Appraisals. [note pasted to back of frame:] Purchased by my mother while in France while on the "Grand Tour" Painted by Henry Ossawa Tanner
^ abcdeMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 158–159. ISBN978-0-8478-1346-9.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 160–161. ISBN978-0-8478-1346-9.
^Helen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. pp. 99, 106. [Discusses artwork illustrated in the article; process of elimination and context pairs this quote with the picture:] The picture reproduced is the "Still Hunt," which was seen in Chicago last year [1899]...Even those who did not grasp the significance of his "Annunciation," shown at the same time, admired the vigor and strength of handling in this.
^ abcdefghijkMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 140–141. ISBN978-0-8478-1346-9. Perhaps to celebrate his recent Salon triumph, in the summer of 1897 Tanner visited his parents in Kansas City...During this stay he painted the two small, bust-length portraits of his parents, showing them against dark red backgrounds.
^ abcdefg"H. O. Tanner's Paintings". The Inter Ocean. Chicago, Illinois. 15 August 1897. p. 30. Henry O. Tanner...reached this country from Paris about two weeks ago and is now in Philadelphia, visiting his family...Tanner's next Salon picture will be "The Annunciation." His plan is to make the Virgin Mary very Eastern in type, or not unlike some of the women one might see in Jerusalem today. He brought back from his trip to the Holy Land materials for costumes that will doubtless be useful...He will commence a large painting for the Paris exposition of 1900 after finishing "The Annunciation." Mr. Tanner will return to the French capital, where he has lived for the last three years, about the middle of September.
^ abcdefgh"No Color Line in Paris". The Inter Ocean. Chicago, Illinois. 20 August 1897. p. 1. No Color Line in Paris. Henry O. Tanner, the Famous Colored Painter Will Return to That City.
Kansas City, Mo., August 19—Special Telegram—Henry O. Tanner, the negro artist, a son of Bishop Benjamin T. Tanner, who is spending his vacation in Kansas City, Kan., with his parents, is making preparation for his return to Paris early in September, to resume his work with his brush. Mr. Tanner likes Paris, because of the companionship of artists, and he will probably spend the rest of his lifetime there; still, he glories in the fact that he is an American citizen, and he will retain that title as long as he lives. During his stay at home he has been painting portraits of his parents. When be returns to Paris he will begin working on another biblical painting, "The Annunciation," which he hopes will surpass his "Raising of Lazarus," which made him famous as an artist.
^ abcdeMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 142–143. ISBN978-0-8478-1346-9. While visiting his parents in Kansas City, Kansas, in 1897, Tanner painted a large portrait of his mother, Sarah Elizabeth Miller Tanner...seated in an armchair, in profile against a background of carefully balanced geometric shapes...
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 162. ISBN978-0-8478-1346-9. The young Jewish peasant sit[s] on the edge of a couch, wearing the common striped cotton of the Eastern women of the poorer class, a costume which they have kept to the present day, no halo or celestial attributes about her, and only the flood of golden light to herald the approach of the angel.
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 162–165. ISBN978-0-8478-1346-9.
^Société des artistes français. Salon (1879). Catalogue illustré du Salon de 1898. Paris: L. Baschet. 1918 TANNER (H.-O.), boulevard Saint-Jacques, 51. — L'Annonciation
^Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 204.
^ abBearden, Romare; Henderson, Harry (Harry Brinton) (1993). A history of African-American artists : from 1792 to the present. New York: Pantheon Books. p. 96. ISBN9780394570167. During the summer of 1898, just after the success of The Annunciation, Tanner met a young opera singer of Swedish-Scottish descent from San Francisco, Jessie MacCauley Olssen, who had been studying music in Germany with her sister.
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 174–175. ISBN978-0-8478-1346-9.
^ abcDaniel Burke (Spring 1988). "Henry Ossawa Tanner's "La Sainte-Marie"". Smithsonian Studies in American Art. 2 (2). The University of Chicago Press on behalf of the Smithsonian American Art Museum: 65–73. doi:10.1086/smitstudamerart.2.2.3108951. JSTOR3108951. S2CID194080163. The large tabernacle frame in which the painting was first exhibited at the spring Salon of 1900 still bears a label with its entry number (1252), and another label indicating Tanner's previous Salon medal
^Catalogue illustré de Salon de 1900. Paris: L. Baschet. 1879. 1252 Tanner (H.-O.), boulevard Saint-Jacques, 51. — La Sainte-Marie [note 1252 is the painting's entry numner or identity within the Salon]
^ abc"Camden Show Celebrates Century of Black Art". Courier-Post. Camden, New Jersey. 22 March 1992. p. 81. The most interesting is Tanner's portrait of his wife, Head of a Girl in Jerusalem. The gold-orange coloring and characterful expression point to Tanner's mature work.
^ abcdefghMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 168–171. ISBN978-0-8478-1346-9.
^Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 212.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 209.
^Helen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. p. 105.
^ abcdMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. pp. 130–131.
^ abcdefgMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 41. ISBN978-0-8478-1346-9.
^Christ and Nicodemus. Harmon Foundation Collection. National Archives. Collection H: Harmon Foundation CollectionSeries: Artworks by Negro Artists NAID: 559136 Local ID: H-HN-TAN-22 Photographs and other Graphic Materials 3 Images... Subjects and References People Tanner, Henry Ossawa, 1859-1937
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 32.
^ abHelen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. p. 104. The landscape reproduced is some of Mr. Tanner's summer's work at Czernay la Ville, an hour's ride from Paris, and proves that if he had chosen to remain simply a landscape painter, as he began, he would have achieved more than ordinary success. This spot, famous as the home of Voltaire in his later years, and from which he addressed so many of his charming letters to women, seems to have inspired Mr. Tanner to do some extremely good work, both in landscapes and biblical compositions.
^ ab"Art at Home: Apple Collage". Georgia Museum of Art. Henry O. Tanner (American, 1859 – 1937), "Still Life with Apples," 1890s. Oil on canvas. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2011.604
^"Georgia Museum of Art receives collection by African-American artists". UGA Today, University of Georgia. 11 January 2012. Larry D. and Brenda A. Thompson donated an extensive collection of African American artwork to the Georgia Museum of Art. It includes Henry O. Tanner's "Still Life with Apples
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 45–51. ISBN978-0-8478-1346-9.
^"An Afro-American Artist". Times Union. Brooklyn, New York. 13 September 1902. p. 15. The Death of Judas" is a weird and uncanny subject and is quaintly original in its conception. The first impression is that of smiling landscape with a sweep of the grey-green foliage of olive trees. Suddenly one becomes conscious of the figure of the traitorous disciple hanging to a tree in the dim gray wood, while a couple of peasants with horrified expressions gaze upon the ghastly object.
^Helen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. pp. 102–103. The picture upon which Mr. Tanner is now working will be the largest one he has yet painted, and is perhaps the most ambitious in many respects. The subject is "Christ in the Temple."
^ abcdeHelen Cole (June 1900). "Henry O. Tanner, Painter". Brush and Pencil. Vol. 6, no. 3. Chicago: Brush and Pencil Publishing Companey. p. 106. [Note: Near this picture is the following text, which could possibly be about the picture, from its inclusion nearby to it. However, the picture is titled Study.]
One picture, which I hope will be exhibited in Chicago some time, is an illustration of this passage in Scripture, "And Mary pondered all these things in her heart." It is a very simple composition, less dramatic than most of his biblical subjects, but full of deep significance and spirituality. His charcoal studies were admired, even before it was known that he had such skill as a painter. In the schools he carried away many honors, and was considered a "strong man" at Julien's before his first salon picture. Even now what gives his work its solidity and character is the absolutely good drawing in it.
^ abcdeAnna O. Marley. "Introduction Henry Ossawa Tanner: Modern Spirit". In Anna O. Marley (ed.). Henry Ossawa Tanner: Modern Spirit. University of California Press. pp. 34–35. Although this painting was long thought to be lost, Tanner in fact painted over La Musique, a portrait of his wife playing the cello, with his Emmaus (1905). The later painting was so well received that it was purchased by the French government.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 152–153. ISBN978-0-8478-1346-9.
^Société des artistes français. Salon (1902). Ludovic Basket (ed.). Catalogue illustré du Salon de 1902. Paris: L. Baschet. p. 147. 1545 TANNER (H.-O.), boulevard Saint-Jacques, 51. — La musique
^ ab"An Afro-American Artist". Times Union. Brooklyn, New York. 13 September 1902. p. 15. He is now busy on his picture intended for the coming Salon. In this he has made quite a new departure. The canvas is called "The Duo." There are two feminine figures, both portraits from life. The principal one is represented as performing on the violoncello. The model was a handsome young woman, the artist's wife, and the one seated at the piano is his sister-in-law, Miss Olsson, a pretty young girl. The painting is a very attractive one, the salon with its elegant appointments and the two musicians in their sombre black gowns. Nor must the violoncello, with its rich coloring be forgotten; it is a treasure over two hundred year old.
^ abMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 35.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 63, 144–145. ISBN978-0-8478-1346-9. To raise funds for his trip, Mrs. Hartzell suggested an exhibition of Tanner's work in her hometown of Cincinnati...When, despite this critical interest, nothing sold from the exhibition, Bishop and Mrs. Hartzell bought the entire collection for a sum sufficient to permit Tanner to travel to Europe.
^ abcdefgLeja, Michael (2012). "11: Reproduction Troubles, Tanner's "Mothers of the Bible" for the Ladies' Home Journal". In Marley, Anna O. (ed.). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. pp. 147–156.
^Henry Ossawa Tanner (January 1903). "Mothers of the Bible: Mary". The Ladies' Home Journal. The Mothers of the Bible—By H. O. Tanner THE LAST OF A SERIES OF FOUR GREAT BIBLICAL PAINTINGS: MARY "-but his mother kept all these sayings in her heart." —St. Luke II, 19 THIS is the second time that these or words of similar purport are recorded of Mary, thus giving us a hint of what must have been the condition of her mind after two remarkable events in the youthful days of her son Jesus: First, after the visit of the shepherds; and second, after the return from Jerusalem, when Jesus was twelve years old, which is the subject of this picture. We can imagine what her feelings must have been after she had found her young son in the Temple asking and answering questions of the learned men of the day and remembered that of Him it had been said," He shall be great, and shall be called the Son of the Highest: and the Lord God shall give unto Him the throne of His father David: and He shall reign over the house of Jacob forever; and of His kingdom there shall be no end." Did the thought ever pass through Mary's mind that her son Jesus was the promised Messiah? Did she ever in a small way realize the position of all coming ages to her, Mary, the mother of Jesus? I think not; with true motherly character she had forgotten "blessed art thou, among women" and remembered only "He shall be great." To all the family she rendered loyal motherly conduct, but to Him-Jesus-was her life bound by unutterable hopes, hopes so sacred that they could not be lisped, not even to Joseph-"but His mother kept all these sayings in her heart." The physical characteristics of the child Jesus will always remain a point of discussion. No artist has ever produced a type, nor ever will, that has in it all that the varying minds of all time will acknowledge as complete. It was my chance in Jerusalem to run across a little Yeminite Jew. Where could a better type be found than this swarthy child of Arabia, of purest Jewish blood-nurtured in the same land, under the same sun, and never, neither he nor his ancestors, having quitted its (at times) inhospitable shores?
^ abcdeMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 182–183. ISBN978-0-8478-1346-9.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 180–181. ISBN978-0-8478-1346-9.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 172. ISBN978-0-8478-1346-9.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 45, 56, 166. ISBN978-0-8478-1346-9. December 31, 1902,...resided in Granada for several months... Tanner seems to have adopted the elongated figure style of El Greco...can be seen in Salomé (fig. 48) and in an unfinished work on its verso, Moses and the Burning Bush...We spent six months painting around Jerusalem and the Dead Sea...Here it was that I made a study of the Mount of Temptation from which I afterward painted 'Moses and the Burning Bush.'
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 19, 42, 97. ISBN978-0-8478-1346-9. Around this time [end of 1897] he met Atherton Curtis, a wealthy expatriate with a fortune derived from patent medicine who would become a lifelong friend and financial benefactor, ...1902 August—November. Henry and Jessie reside with patrons and friends Atherton and Louise Curtis at Mount Kisco, New York, in small community planned by Curtises...Tanner's good friend Atherton Curtis, who helped with educational expenses for his son, Jesse
^ abcdefghiMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 184–186. ISBN978-0-8478-1346-9.
^ abSociété des artistes français. Salon (1906). Ludovic Basket (ed.). Catalogue illustré du Salon de 1906. Paris: L. Baschet. 1573 Tanner (H.-O.). — Le pèlerin d'Emmaus. 1574 — Le retour de la Sainte Femme
^ abc"An American Negro Who Leads France in Art". The Buffalo Times. Buffalo, New York. 10 June 1906. p. 19. Tanner has had paintings on the Salon line for a number of years. This season he is represented by two — The Pilgrim of Emmaus and The Return of the Holy Woman.
^ abcdefMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 187–189. ISBN978-0-8478-1346-9.
^"Mary and Marth - Bible Story". www.biblestudytools.com. 9 September 2021. The Bible Story of Mary and Martha comes from Chapter 10 of the Gospel of Luke...Mary and Martha are two sisters with incredibly different focuses. While Mary soaks in the moments with Jesus, Martha can't think past the cooking and cleaning.
^ abcdefMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 190. ISBN978-0-8478-1346-9.
^ abcdefMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 192–194. ISBN978-0-8478-1346-9. The painting, "The Two Disciples at the Tomb," has carried off honors from an exhibition of unusual merit. The 350 pictures hung are all from artists of acknowledged ability. Quite a number have won prizes at other shows, while still a larger number had previously appeared at the walls of the exacting salons of Paris.
^ abMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 219.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 192–194. ISBN978-0-8478-1346-9. Fig. 71 Henry O. Tanner, The Disciples at Emmaus, 1906, oil on canvas, 73'/2 X 83'/2", Musée d'Orsay, Paris
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 43. ISBN978-0-8478-1346-9. 1906 May. Paris, Salon. Les Pélerins d'Emmaus [The Disciples at Emmaus], Le Retour de la Sainte Femme [Return of the Holy Women]; former awarded second-class medal and purchased by French government. Tanner designated hors concours.
^ abc"Mr. Stone Reviews Paintings". The Topeka Daily Capital. Topeka, Kansas. 6 November 1905. p. 4. Henry O. Tanner...whose painting of 'David in the Lion's Den', was exhibited at the St. Louis exposition, is represented by two excellent canvases, 'The good Samaritan' and 'Abraham's Oak Near Hebron'...
^ abSociété des artistes français. Salon (1905). Ludovic Basket (ed.). Catalogue illustré du Salon de 1905. Paris: L. Baschet. 1782 TANNER (H.-O.), rue Notre-Dame-des-Champs, 70 bis. — Le bon Samaritain 1783 — Le Christ lavant les pieds de ses disciples
^ abcdefghijklMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 195–197. ISBN978-0-8478-1346-9.
^ abcdefBaade, Brian; Kerr-Allison, Amber; Giaccai, Jennifer (2012). "12 Pursuit of the Ideal Effect: The Materials and Techniques of Henry Ossawa Tanner". In Marley, Anna O. (ed.). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. pp. 159–160.
^ abcdefMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 267.
^ ab"Jury is judging Academy pictures". The Philadelphia Inquirer. Philadelphia, Pennsylvania. 19 Nov 1905. p. 31. This year he forwards to Philadelphia the canvas already on exhibition at Carnegie Institute, and another, "Christ Washing the Feet of the Disciples," which received a medal in the spring salon in Paris. The picture shows six of the disciples seated with more or less regularity and one, standing by a door to the right, while at the left Christ kneels before the basin of water and holds the wet cloth in his hand.
^Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 221.
^"Items from the art museums". The Brush and Pencil. 17 (1): 23. January 1906. Announcement has been made of the purchase of five paintings by the Fine Arts Committee of the Carnegie Institute, which will form part of the permanent exhibit...and Henry O. Tanner, formerly of Pittsburg, and now of Paris...'Judas Covenanting With the High Priests'...
^"Bishop Tanner Here". Pittsburgh Post-Gazette. Pittsburgh, Pennsylvania. 8 June 1907. p. 3.
^ abcdeLudovic Basket (ed.). Catalogue illustré du salon de 1910. Paris. pp. Entries 1747 and 1748. [note: Catalog by the Société des Artistes Français, not the Société nationale des beaux-arts] 1747 TANNER (H.-O.), H. C., rue Notre-Dame-des-Champs, 70 bis. — Les trois Marie approchant du tombeau. 1748 — La fuite en Egypte.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 222.
^ abcdefgMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 210–211. ISBN978-0-8478-1346-9.
^"Son of Colored Bishop Wins Honors in France". The Tacoma Daily Ledger. Tacoma, Washington. 13 September 1908. p. 32. He has painted among other important works "Peter After the Denial"...
^ abc"Tanner Paintings Here". The New York Times. New York, New York. 6 December 1908. p. 49. At last year's Salon Mr. Tanner was represented by his "Behold, the Bridegroom Cometh," a canvas on which he has worked during the better part of three years...a large-sized canvas...15 feet long by 10 feet high, and containing twelve life-size figures. 'In this picture," said Mr. Tanner, I have endeavored to give a new interpretation of the parable of the wise and foolish virgins. I have tried to put in a more modern touch, to be less literal in my interpretation than the old masters who handled the same subject. Another result which I have also sought is to have the clothes of each one of the wise virgins represent, in a way, different religious beliefs, in spite of the fact that they all wear the conventional garments usually seen in such pictures.'
^ abcdeMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 18–19, 155–157. ISBN978-0-8478-1346-9. Tanner set the price of his enormous picture The Wise and Foolish Virgins (see fig. 50) at $15,000 because it was "the result of three years work... during part of 1906 and all of 1907, Tanner tackled the most ambitious undertaking of his career — The Wise and Foolish Virgins (fig. 50), also known as Behold! The Bridegroom Cometh.
^ abSociété des Artistes Français. Ludovic Basket (ed.). Catalogue illustré du salon de 1908. Paris. pp. Entry 1745 and page 147. [note: There are two different Paris Salon Catalogs in 1908; on the title pages, one is by the Société nationale des beaux-arts and the other by the Société des Artistes Français. Tanner is found in the latter catalog.] 1745 Tanner (H.), H. C., rue Notre-Dame-Des-Champs, 70 bis. — Les vierges sages et les vierges folles.
^Société des artistes français. Salon (1879). Ludovic Basket (ed.). Catalogue illustré du Salon de 1898. Paris: L. Baschet. p. 147. [image of painting:] Tanner (H.). H. C. "Les vierges sages et les vierges folles"Wise and foolish virgins
^Tanner, Henry Ossawa (July 1909). "Story of an artist's life II. Recognition". The World's Work. 18 (3): 11774. in "Behold! the Bridegroom Cometh' I hoped to take off the hard edge too often given to that parable; how generally the wise virgins are made good but cold and unlovable; how I attempted to show that they were sympathetic for their sisters in distress, and that this sympathy was one of their beauties, in a marked degree, by the figure on the left on her knees — with her own lamp "bright burning" at her side — trying to bring to life the smoking lamp of her friend — in fact, interpreting the whole parable in keeping with our knowledge of the goodness of God and what He considers goodness in us.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 203. ISBN978-0-8478-1346-9.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 19, 45, 47, 49, 51, 284. ISBN978-0-8478-1346-9.
^ abcdRisen, Clay (22 June 2022). "Vivian Hewitt, Who Amassed a Major Collection of Black Art, Dies at 102". New York Times. Henry Ossawa Tanner's "Gate in Tangiers" (circa 1910) is among the acknowledged masterworks in the Hewitts' collection.Credit...The Harvey B. Gantt Center for African-American Arts + Culture
^ abcdefghijkMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 208–209. ISBN978-0-8478-1346-9.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 244.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 224.
^ abcdMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 224.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 212–213. ISBN978-0-8478-1346-9.
^"Two American Painters". The Sun. New York, New York. 18 December 1908. p. 6. We admired much more the vigorous presentment of the old bearded Jew in turban entitled "A Jerusalem Type"
^"Henry O. Tanner's Great Success in Religious Painting". The Winnipeg Tribune. Winnipeg, Manitoba, Canada. 13 February 1909. When, after seventeen years of self-exile and continually increasing fame, he decided to give to the land of his birth an exhibition of the works he has produced it was with comparative difficulty that Mr, Tanner, like other artists whose works had passed from their ownership, was able to assemble a coherent and adequate collection. His was not one of those "one-man" exhibitions designed to dispose of the unsold pictures of the exhibitor, with scores of canvases exhumable from the studio dust for any emergency that shows the possibility of a dollar. None of his paintings that have been acquired by the French government could be made available, and he was compelled to depend upon the good will of his patrons in America, owners who, in the years past, have enhanced their galleries with his works and have treasured them with a careful guardianship, which the appeal of the artist alone could suffice to relax.
^ abSarah Sentilles (5 October 2017). "Colonial Postcards and Women as Props for War-Making". Washington Post. these photographers wanted to take pictures of Algerian women as they'd imagined them... But when they reached the country, they encountered women whose bodies could not be seen. Veiled from head to toe, with only their eyes visible...Though the photographs...were staged, they were captioned as if they documented life in Algeria...The images reveal not Algerian women but the colonial photographer's fantasies about them.
^"Photography and the Politics of Representing Algerian Women". binghamton.edu. Archived from the original on January 28, 2013. Retrieved June 18, 2012. the scholar Malek Alloula analyzed photographic postcards of Algerian women, which staged erotic images of the "off-limits" harem of the early twentieth century. In Alloula's collection The Colonial Harem, the author points out that the postcards no longer represent Algeria or the Algerian women, but the "Frenchman's phantasm of the Oriental female and her inaccessibility behind the veil in the forbidden harem".
^ abc"Tanner's Exhibition". The Colorado Statesman. Denver, Colorado. 23 January 1909. p. 1. "The Return of the Holy Woman," with Calvary in the distance, is even more sensitive than the rest. It is so intensely silent.
^ abcdefghijMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 220–223. ISBN978-0-8478-1346-9.
^ abcdMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 227.
^ abcdMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 226.
^ abcde"MMA Permanent Collections". Muskegon Museum of Art. Henry Ossawa Tanner American, 1859 –1937 The Holy Family, ca. 1910 Oil on canvas Muskegon Museum of Art. Hackley Picture Fund Purchase, 1911.1
^ abcdeMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 21, 42, 204. ISBN978-0-8478-1346-9.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 218–219. ISBN978-0-8478-1346-9.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 216–217. ISBN978-0-8478-1346-9.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 46. ISBN978-0-8478-1346-9. [note: photo of Tanner's son Jesse in sailor costume holding boat in 1911]
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 245.
^ abcde"Tanner Painting Comes to Market". The Philadelphia Inquirer. Philadelphia, Pennsylvania. 14 October 2000. p. 11. But Tanner also painted religious themes. The work to be sold Tuesday falls into that category. The 54-by-79-inch oil on canvas depicts Jesus seated at an altar table with 16 shrouded women behind him; he holds a chalice and wears a crown of thorns. It is signed and dated "H.O. Tanner, Paris 12."
^"African American Art Soars". National Post. Toronto, Ontario, Canada. 13 March 2004. p. 42. In October, 2000, a recently discovered painting by Henry Ossawa Tanner, one of the first African-American artists to make a name in both the United States and Europe, sold for $560,000.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 207. ISBN978-0-8478-1346-9.
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 140. ISBN978-0-8478-1346-9. Apparently Tanner painted only two self-portraits, once depicting himself as an onlooker in Chamber Music...shown at the Salon in 1902, and later as Lazarus in the large painting Christ at the Home of Lazarus..., his Salon entry of 1914.
^"Pittsburgh's Painter Takes Paris". Boston Evening Transcript. Boston, Massachusetts. 24 June 1914. p. 20. The Lazarus...is a freely conceived and executed portrait of the artist himself; and those who should know confidently affirm that thet Mary and the Martha...are likewise portraits.
^ abMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 47, 49, 51, 53. ISBN978-0-8478-1346-9.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. p. 140. ISBN978-0-8478-1346-9. Tanner...painted a modest, possibly unfinished double portrait of his patrons Mr. and Mrs. Atherton Curtis... He later used this image in a curious painting in which he placed the Curtises with the figure of Christ in another version of Christ at the Home of Lazarus
^Barbara Gold (31 August 1969). "Tanner: 'Nearly Forgotten'". The Baltimore Sun. Baltimore, Maryland. p. section d page 3. For a while his painting of "Mr. and Mrs. Atherton Curtis At Dinner" was a popular topic for Paris gossip. Tanner, so the rumors went, had included Jesus Christ eating at the table with the couple. They, or so the stories said anyway, considered sitting at the table with the Saviour sacrilegious and ordered the picture cut-down..
^ abcdefgMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 231–234. ISBN978-0-8478-1346-9.
^Mosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 228–230. ISBN978-0-8478-1346-9.
^"Pittsburgh's Painter Takes Paris". Boston Evening Transcript. Boston, Massachusetts. 24 June 1914. p. 20. The "Mary" represents a woman with a Jewish—or is it an Indian?—cast of countenance, holding a tiny Oriental lamp, which serves dimly to light the canvas.
^ abcdefMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 240–241. ISBN978-0-8478-1346-9.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 251.
^ abcdefghiMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 260–263. ISBN978-0-8478-1346-9.
^"The Good Shepherd". Harmon Foundation Collection. National Archives. Collection H: Harmon Foundation CollectionSeries: Artworks by Negro Artists NAID: 559134 Local ID: H-HN-TAN-13 Photographs and other Graphic Materials 3 Images... Subjects and References People Tanner, Henry Ossawa, 1859-1937
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 233.
^ abc"Flight Into Egypt". Smithsonian National Museum of African American History and Culture.
^"Flight into Egypt". Harmon Foundation Collection. National Archives. Collection H: Harmon Foundation CollectionSeries: Artworks by Negro Artists NAID: 559133 Local ID: H-HN-TAN-7 Photographs and other Graphic Materials 3 Images... Subjects and References People Tanner, Henry Ossawa, 1859-1937
^ abc"Landscape". North Carolina Museum of Art. 11 March 2021.
^ abcdeMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 256–257. ISBN978-0-8478-1346-9.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 261.
^"Henry Ossawa Tanner Lot 94: Attr. Henry Ossawa Tanner, Gouache on Paper". Invaluable.com. Attributed to Henry Ossawa Tanner (American, 1859-1937), Gouache on Paper, The Destruction of Sodom and Gomorrah on one side, landscape on obverse behind glass. Double sided paper board panel. Signed lower right, HO Tanner. Approximately 14.5 x 18.5 inches. Provenance: John O'Brien, Janesville, Wisconsin. Currently from a private collection in Westmount, Quebec.
^"Destruction of Sodom and Gomorrah". Harmon Foundation Collection. National Archives. Collection H: Harmon Foundation CollectionSeries: Artworks by Negro Artists NAID: 559135 Local ID: H-HN-TAN-16 Photographs and other Graphic Materials 3 Images... Subjects and References People Tanner, Henry Ossawa, 1859-1937
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 262.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 266–267. ISBN978-0-8478-1346-9.
^ abcdefMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 268–270. ISBN978-0-8478-1346-9.
^Marley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 268.
^ abcdMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 271–273. ISBN978-0-8478-1346-9.
^ abcMarley, Anna O., ed. (2012). Henry Ossawa Tanner: Modern Spirit. Berkeley: University of California Press. p. 266.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 274–275. ISBN978-0-8478-1346-9.
^ abc"Henry Ossawa Tanner (1859–1937) At the Gates (Flight into Egypt)". Swann Galleries. Henry Ossawa Tanner (1859–1937) At the Gates (Flight into Egypt). Oil on panel, circa 1926-27. 610x483 mm; 24x19 inches. Signed in oil, lower left. Provenance: Grand Central Art Galleries, New York; J. J. Haverty, Atlanta (1929)... He purchased At the Gates and The Road to Emmaus from the Grand Central Art Galleries, New York, NY in July 1929 for $1,250. Haverty was an important patron of Tanner's - he owned five paintings by Tanner.
^ abcNaurice Frank Woods Jr. (6 July 2017). Henry Ossawa Tanner: Art, Faith, Race, and Legacy. Taylor & Francis. ISBN9781315279480. Tanner replaced the inherent message of peasant piety in Thankful with a universal message of concern for the less fortunate through the lens of the faithful believer....Tanner painted a scene in The Poor Ye Have with You Always in which a man, likely a beggar, stands in front of the home of a woman with an outstretched hand...The woman, from her doorway, gazes at him as if contemplating her response to someone in obvious need...
^ abcdefgMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 280–283. ISBN978-0-8478-1346-9.
^ abcMosby, Dewey F. (1991). Henry Ossawa Tanner. Philadelphia Museum of Art. Philadelphia; New York: Philadelphia Museum of Art; Rizzoli International Publications. pp. 284–286. ISBN978-0-8478-1346-9.
^ abc"Study for Mary, Return from the Crucifixion". Bill Hodges Gallery. Study for Mary, Return from the Crucifixion HHenry Ossawa Tanner (1859–1937) Study for Mary, Return from the Crucifixion Oil on Artist Board 13 ¾ x 10 ½ in. (34.9 x 26.7 cm (Sold)
^ abc"Lot 15 Henry Ossawa Tanner (1859-1937) Return from the Cross 39 7/8 x 29 7/8in (101.3 x 75.9cm)". Bonham's. Henry Ossawa Tanner (1859-1937) Return from the Cross signed 'H.O. Tanner.' (lower right) oil and tempera on board 39 7/8 x 29 7/8 in Painted circa 1934-35. Footnotes Provenance The artist, Paris, France. Private collection, cousin-in-law of the above, by descent. By descent to the present owner, son of the above, January 1999.
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