The Banjo Lesson

There has always been a special place for Henry Ossawa Tanner’s “The Banjo Lesson” in my personal exploration, understanding and connection to art.  “The Banjo Lesson” is a high point in Art History as well as a pleasurable, visual feast for the connoisseur. Tanner executed this work with his usual mastery of technique, light, color and composition. He chose to provide two light sources, emanating from the left and right of the central figures; the soft light from a window and the gentle glow from a fire place. The composition draws the eyes to the central features of the young boy and the older teacher/grand-parent figure. The work emotes with a purity of heart from a tradition dating back to the baroque period. The sentiments are genuine here and Tanner excels.

This particular work (The Banjo Lesson) and Tanner himself were of personal importance simply because after years of creating and studying art in school and independently it failed to expose me to the works of any African Ancestry Artist. I was being denied something that I should have been able to take for granted; the knowledge of visual artists of African descent. A definite and defiant part of me knew these artists existed but I was in some kind of vacuum that was failing to acknowledge any historical or contemporary example of creation or culture.  I had learned of the works of Winslow Homer (The Gulf Stream) and Norman Rockwell (New Kids in the Neighborhood.) These are two works of note that I still enjoy but I needed to experience the creations of great Black Artists for reference and as a connection of spirit. The early seventies were still a time of exclusion for “artists of color.” Books, magazines and videos failed to produce evidence of any Black aesthetic. Yet; I was destined for that element of my life to be remied.

My room-mate at Ferrum College; Addae Jahi,  would  land a job in what was then called the AV (Audio/Visual) Room that changed what seemed almost futile; my search for an African American identity in art. While looking through the AV archives He found a multi-media production devoted to African Americans in art and culture. The production featured the works of many greats ranging across fields. Romare Bearden, Jacob Lawrence and Lois M. Jones were featured as visual artists; I knew nothing of them before. This was a treasure trove to me. It was Tanner’s work that stood head and shoulders above the others from my then point of view. Addae had found something of incalculable value; a thing iconic in nature, my first viewing of “the Banjo lesson.” Tanner was the quintessential African American Artist.  

Since my initial encounter of “The Banjo Lesson” in video I have seen it reproduced in many other forms including: books, posters and digital. I even had the great fortune a few years ago of seeing the original where it resides at Hampton University in my home state of Virginia. I remember climbing the stairway into the gallery; seeing the seminal, distinctive work of Tanner on the opposite wall and then standing before it. I remember within that moment of loosely bridled passion a total rapture, a cosmic blessing, all vanities replete and somehow my existence complete. 

In the Tower: Kerry James Marshall

 

Kerry James Marshall is in “The Tower.” He will be there through December 7^th. Make every effort to get to this revealing art exhibition. “The Tower” for the record is the one at The National Gallery of Art in Washington, DC. The spiral stair case just off the second floor will take you there. You will not be disappointed. Marshall is one of the most successful and sought after artists of the day by museums and by collectors. I’ve also seen his seen his originals at The Smithsonian’s American Collection, the “30 Americans” exhibition at the Corcoran and at   San Francisco MOMA. He always inspires amazes and is at the top of his game. 

 

 

 

 

Marshall’s exhibition is a mini retrospective of sorts that covers many of his series’ including “The Garden Project” paintings and his “Memorabilia” pieces.  There are historical references to much of his art. The African-American experience is central and a “jump off point” for Marshall. One of the exhibit’s newest and most impressive pieces is Marshall’s own envisioning of Homer’s “Gulf Stream.” Homer’s original depicts a Black man adrift at sea; alone and surrounded by terrors and potential threats. The waters are choppy, sharks encircle the small vessel and a typhoon looms in the distance. Marshall by contrast depicts a family in a small yacht, calm waters and a definite sense of optimism pervades; almost to the point of naivety. The two works exist in contrast and speak very much to their respective times and are strong statements wonderfully executed.

 

Marshall who studied with the great draughtsman Charles White has richly gained from that experience. There are approximately twenty drawings by Marshall exhibited here and they are amazing to see. In many ways drawings tell more about the craft and mind of an artist than any other form of expression. The Marshall drawings illuminate this point to an extreme and are treasures unto themselves. Included is also one of Marshall’s drawing/studies for his “Gulf Stream.” In particular this adds an additional depth to an already provocative and meaningful exhibition.   

 

 

To be exhibited at the National Gallery is to be acknowledged as a master of an artist’s chosen form of expression. Marshall’s placement “In the Tower” can be taken as something symbolic. Marshall has stated; “…I’m not trying to teach anybody anything. I’m just sharing some thought that I’ve had with some people.”  I guess he can’t help the teaching part; perhaps he not teaching but we are certainly learning and growing through his artistic vision. Again; seek out this show at all cost. It is to be cherished!