Henry Ossawa Tanner Charlotte Mason Picture Study Aid

Henry Ossawa Tanner: a Charlotte Mason Picture Study Aid

Rebecca Zipp

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All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, distributed, or
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critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to
Rebecca at [email protected].

Copyright note from the author: I have worked hard on these picture study aids and am happy to provide them to
the homeschooling community at a reasonable price. Please respect the time and e"ort I have put into them, as well
as the attempt I have made to make them a"ordable, and do not redistribute to, share them with, or copy them for
friends, family, co-ops, or anyone else.

I have provided information about the pieces listed in this picture study aid to the best of my ability. If you do see
errors or have more information about a piece that you feel would be a good addition, please let me know! Contact
Rebecca at [email protected]

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Charlotte Mason Picture Study Aid Henry Ossawa Tanner

Contents
A Word on Charlotte Mason Picture Study 4
Recommendations on Implementation 6
Further General Art Reading 10
Henry Ossawa Tanner 11
#e Banjo Lesson 13
Resurrection of Lazarus 14
Portrait of the Artist’s Mother 16
#e Annunciation 17
Christ and His Mother Studying the Scriptures 18
Daniel in the Lions’ Den 19
Flight Into Egypt 20
Resources 22
Sources 23
Images 23
Works Cited 24
Portrait of Henry Ossawa Tanner 25

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Henry Ossawa Tanner Charlotte Mason Picture Study Aid

A Word on Charlotte Mason Picture Study

#e intention of this picture study aid is to equip the home educator with some basic facts and understanding of
various artists and a sampling of their works. It is not meant to be an exhaustive analysis or study of each piece or a
complete biography of the artist.

About picture study, Ms. Mason recommended keeping learning as simple as possible, especially in the younger
years, and put extra emphasis on the images by themselves.

“!ere is no talk about schools of painting, little about style; consideration of these matters comes in
later life, the first and most important thing is to know the pictures themselves. As in a worthy book we
leave the author to tell his own tale, so do we trust a picture to tell its tale through the medium the
artist gave it. In the region of art as else-where we shut out the middleman.” (vol 6 pg 216)

“Definite teaching is out of the question; suitable ideas are easily given, and a thoughtful love of Art
inspired by simple natural talk over the picture at which the child is looking.” (PR Article “Picture
Talks”)

“…we begin now to understand that art is not to be approached by such an acadamised road. It is of the
spirit, and in ways of the spirit must we make our attempt. We recognise that the power of appreciating
art and of producing to some extent an interpretation of what one sees is as universal as intelligence,
imagination, nay, speech, the power of producing words. But there must be knowledge and, in the first
place, not the technical knowledge of how to produce, but some reverent knowledge of what has been
produced; that is, children should learn pictures, line by line, group by group, by reading, not books, but
pictures themselves. A friendly picture-dealer supplies us with half a dozen beautiful little reproductions
of the work of some single artist, term by term. A$er a short story of the artist’s life and a few
sympathetic words about his trees or his skies, his river-paths or his figures, the little pictures are studied
one at a time; that is, children learn, not merely to see a picture but to look at it, taking in every detail.”
(vol 6 pg 214)

#is picture study aid is meant to o"er basic information about the artists as well as ready answers should your
student ask about a particular aspect of a piece and the explanation isn’t readily evident. Ms. Mason emphasized not
focusing on strict academic discourse when doing picture study, but rather simply exposing students to the art
itself:

His education should furnish him with whole galleries of mental pictures, pictures by great artists old
and new;––…––in fact, every child should leave school with at least a couple of hundred pictures by
great masters hanging permanently in the halls of his imagination, to say nothing of great buildings,

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Charlotte Mason Picture Study Aid Henry Ossawa Tanner

sculpture, beauty of form and colour in things he sees. Perhaps we might secure at least a hundred lovely
landscapes too,––sunsets, cloudscapes, starlight nights. At any rate he should go forth well furnished
because imagination has the property of magical expansion, the more it holds the more it will hold. (vol
6 pg 43)

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Henry Ossawa Tanner Charlotte Mason Picture Study Aid

Recommendations on Implementation
For an idea of what she intended for picture study in the younger years (speci$cally for children of “about seven
years of age”), we can reference a PNEU Parent’s Review article on “Picture Talks” that she edited in 1901:

!e picture in this instance was by Margaret Dicksee, and represents the Vicar of Wakefield’s daughters
cutting up the trains of their grand dresses to make waistcoats for their little brothers.

Part I.--!e children looked attentively at the picture and remarked on the quaint pretty dresses of the
girls. Comparing this costume with that of the present day, the teacher impressed on the children that
the picture represents a scene of long ago--perhaps when their grandmother’s grandmother was a little
girl, when there were no railways or steamboats or gas, etc. !e children noticed that the girls were
making waistcoats for two little boys, and remarked on the old fashioned furniture, etc.

!en the picture was taken away and the children described it very accurately and fully from memory.

Part II.--!e teacher told the story of the good Dr. Primrose’s loss of fortune, of his simplicity and
cheerful acquiescence in his lot; then read, with a few verbal alterations, the story of that Sunday
morning when the Vicar’s daughters came down to breakfast as in their prosperous days, with powdered
hair, high heeled shoes, and satin dresses with long trains, in which they meant to go to church,
although they had no carriage.

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Charlotte Mason Picture Study Aid Henry Ossawa Tanner

!e children greatly appreciated Dr. Primrose’s good sense, and his good-humoured way of rebuking his
daughters, and were delighted when they came to the account of the next morning’s scene, illustrated by
the picture. In conclusion, the children narrated the story.

For older students, she outlined the following in Volume 3 (pg 353):

A PICTURE TALK.

Group: Art.
Class III.
Age: 13.
Time: 25 minutes.

OBJECTS.

1. To give the girls some idea of composition, based on the work of the artist Jean Francois Millet.

2. To inspire them with a desire to study the works of other artists, with a similar object in view.

3. To help them with their original illustrations, by giving them ideas, carried out in Millet’s work, as
to simplicity of treatment, breadth of tone, and use of lines.

MATERIALS NEEDED.

See that the girls are provided with paint-boxes, brushes, water, pencils, rulers, india-rubber, and paper.
Photographs of some of Millet’s pictures.
A picture-book by R. Caldecott.

LESSON.

Step 1. Introduce the subject by talking with the children about their original illustrations. Tell them
how our great artists have drawn ideas and inspiration from the work of other artists; have studied
their pictures, copied them, and tried to get at the spirit of them.

Tell them that to-day we are going to study some of the pictures of the great French artist, Millet, some
of whose works Mr. Yates has drawn for us on the walls of our Millet Room, considering them to be
models of true art.

Step 2.-Tell the children a little about the life of Millet (giving them one or two pictures to look at
meanwhile); give only a brief sketch, so that they will feel that he is not a stranger to them. Just talk to
them a little about his early childhood, how he worked in the fields; how he had two great books––the

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Book of Nature and the Bible, from which he drew much inspiration; how later on he went to Paris and
studied the pictures of great artists, Michael Angelo among them.

Step 3. Show the pictures to the girls, let them look well at them, and then draw from them their ideas as
to the beauty and simplicity of the composition; call attention to the breadth of tone, and the dignity of
the lines. Help them, sketching when necessary. to reduce a picture to its most simple form; half-closing
their eyes to shut out detail, help them to get an idea of the masses of tone, etc.

Step 4. Let the children reproduce a detail of one of the pictures, working in water-colour with
monochrome and making their washes simple and flat, reducing the tones to two or three.

Step 5. Su&est to them to study the works of other artists in a similar way, and show them how the
books of R. Caldecott will help them in making their figures look as if they were moving.

And still older students, she recommended this in Volume 3 (pg 354):

Subject: Fra Angelico.

Group: Art. Class IV. Average age: 16 1/2.
Time: 30 minutes.

OBJECTS.

1. To show reproductions of some of Fra Angelico’s pictures.

2. By means of them, to point out such distinguishing features as will enable my pupils to recognise
Fra Angelico’s work wherever they may see it.

3. To show in what degree his work holds a place in high art.

LESSON.

Step 1. Give a short sketch of the life of Fra Angelico.

Step 2. Allow time for my pupils to look at the pictures provided, namely, various reproductions of
‘Christ in Glory,’ ‘Saints in Paradise,’ ‘Angels,’ ‘Christ as Pilgrim,’ ‘Annunciation,’ ‘Crucifixion,’ ‘Noll me
tangere,’ ‘Descent from the Cross,’ ‘Transfiguration.’

Step 3. To notice what strikes us most in Fra Angelico’s work––the exquisite jewel-like finish; the pure
open skies and unpretending clouds; the winding and abundant landscapes; the angels; the touches of
white light; the delicacy and grace of form; the colouring; the peace.

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Charlotte Mason Picture Study Aid Henry Ossawa Tanner

Step 4. If high art is to be seen ‘in the selection of a subject and its treatment, and the expression of the
thoughts of the persons represented,’ how far does Fra Angelico come up to this standard?

He unites perfect unison of expression with full exertion of pictorial power. !is will be illustrated by
further reference to the pictures, and by reading some passages from Modern Painters.

Step 5. Allow my pupils time to look again at the pictures, summarising meanwhile by a few questions.

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Henry Ossawa Tanner Charlotte Mason Picture Study Aid

Further General Art Reading

Online Art Collections:

Web Gallery of Art - http://www.wga.hu/
Art cyclopedia - http://www.artcyclopedia.com/
Wikimedia Commons - https://commons.wikimedia.org/wiki/Main_Page
WikiArt - https://www.wikiart.org/
#e Metropolitan Museum of Art - https://www.metmuseum.org/
#e National Gallery of Art - https://www.nga.gov/
#e National Gallery - https://www.nationalgallery.org.uk/

Books:
For younger children, I highly recommend the Mini-Master series by Julie Merberg and Suzanne Bober:
http://a.co/2fuq1Qi
As well as the Touch !e Art series by Julie Appel and Amy Guglielmo:
http://a.co/8GDzzj8
For both younger and older children, the Come Look With Me series by Gladys S. Blizzard is excellent:
http://a.co/cPBe0w3
For great artist-themed art activities for all ages, I recommend Discovering Great Artists: Hands-On Art for Children in
the Styles of the Great Masters by MaryAnn F. Kohl:
http://a.co/f6SoUsO

#ank you for purchasing this picture study aid! If you would like to provide feedback, I would love to get your
su&estions, ideas, or criticisms at http://ahumbleplace.com/go/cmpsa-survey/

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Charlotte Mason Picture Study Aid Henry Ossawa Tanner

Henry Ossawa Tanner from “!e Story of an Artist’s Life,” !e World’s Work, Volume 18 by Henry Ossawa Tanner

My early years, as I recollect, ran the usual course of childish

vicissitudes; but, when I had become a lad of twelve or thirteen, there
occurred a trivial event which was to me of the utmost importance. I was
walking out with my father one $ne a'ernoon in Fairmount Park,
Philadelphia, where we then resided, when I saw for the $rst time a real,
live artist – and at work.
#e subject the artist had chosen was a middle distance hillside with
a magni$cent elm in bold relief. Showing my lack of comprehension of
what the artist was trying to do, I asked my father: “Why does he not have
a spy glass so that he can see that big tree more distinctly? Why does he get
so far away?” It was this simple event that, as it were, set me on $re. Like
many children, I had drawn upon my slate to the loss of my lessons, or all
over the fences to the detriment of the landscape, but never had it crossed

(photograph from 1907 by Frederick Gutekunst my mind that I should be an artist, nor had I ever wished to be. But, a'er
- see also portrait at the end of the book) seeing this artist work for an hour, it was decided on the spot, by me at

Painter least, that I would be one, and I assure you it was no ordinary one I had in
mind.
Birth: June 21, 1859 Pittsburgh,
A'er I had watched this artist o" the scene that a'ernoon, I eagerly
Pennsylvania
hurried home, and, although it was nearly dark, I that very night shortened
Death: May 25, 1937 Paris, France the skirt of an awning over our kitchen door for canvas, and for
a palette requisitioned the back of an old geography, with a hole jabbed
Style: Realism
through for my thumb. And what a pride this palette was! It seemed to me
that this was the most characteristic, if not the most necessary, piece of
artistic trappings – maybe from the fact that I had seen it before. My enthusiasm would certainly have been
diminished, and the joy exuberance I felt greatly reduced, had I forced to employ anything other than a palette
upon which to mix my colors. It even mattered little when I found out next day that cardboard absorbed my colors
and turpentine almost as fast as they were placed upon it; it was a palette, or looked like one, and that was enough!
It was to me the insignia of an artist, and with this in hand, even before I had colors, I felt already just as I imagined
a great artist must feel.

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Henry Ossawa Tanner Charlotte Mason Picture Study Aid

#e securing of colors and brushes was not so simple a matter – they had to be bought. I was one of a large
family, and my father, a minister in the African Methodist Episcopal Church, was in the throes of buying a home.
However, a long conversation with my mother that night produced $'een cents, and this, early the next morning,
secured from a common paint shop some dry colors and a couple of scra&y brushes. #en I was out immediately
for a sketch. I went straight to the spot where I had seen the artist of the day before. Don’t you suppose a boy, trying
to hold a canvas between his knees and mix dry colors upon a pasteboard palette, might be liable to get things
mixed up? Well I did. Whether I got the most of the paint upon the canvas, upon myself, or upon the ground, it
would be hard to tell. But that I was happy, supremely so, there was no doubt. Coming home that night, I examined
that sketch from all points of view, upside down, and down side up, decidedly admiring and well content with my
$rst e"ort. #ere was one little disconcerting fact, however – it seemed best upside down!
From this time forward, I was all aglow with enthusiasm, working spare times between school hours, and it
soon became the talk of the school — naturally helped on by my boasting — that I was going to be an artist. #e
taunt of some— “An artist! he is always poor and dies in a garret!” — had no depressing e"ect upon me. I was not
going to be that kind of an artist — not one of your “every day kind”; and o" I was to my kingdom in the clouds.

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!e Banjo Lesson
1893
Oil on canvas
124.5 × 90.2 cm
Hampton University Museum, Hampton, Virginia

KEY TOPICS:
• #e piece depicts an elderly man (possibly a grandfather or uncle) seated while teaching a young boy how to play
the banjo. In the background and surrounding the $gures are various objects from every-day life: a pitcher, frying
pan, satchel, coat, plate, kettle, etc. #e lighting comes both from a $re to the right of the picture plane and an
open door or window to the le'.
• When it was exhibited at the Paris Salon in 1894, one critic noted that it was di)cult to actually get to see the
piece because there were so many people around it. It was very well-received, partially due to Tanner’s skill, but
also because it o"ered a rare glimpse, in America or elsewhere, of life in the home of a black family. Most of the
art depicting people of color anywhere at this time was extremely demeaning and racist, or portrayed them
primarily in subservient roles. #is piece is an intimate view of every-day life for black families at this time,
o"ering a unique view into a way of life of which there are few records. 1

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Resurrection of Lazarus
1896
Oil on canvas
96.2 x 121.44 cm
Musée d'Orsay, Paris

KEY TOPICS:
• #e setting of this piece is a darkened tomb or cave with a large group of people gathered. In the foreground is a
man wrapped in voluminous, white cloth who appears to be sitting upright in a recess in the ground. An older
man with a long gray beard is kneeling behind him and holding up his head. Jesus is seen slightly right from
center, issuing his command (“Lazarus, come forth!”) to the man in the ground. Two women, Mary and Martha,
are kneeling on the *oor around Jesus. Behind them is a group of people showing surprise as Lazarus comes back
to life.
• #e subject is the Biblical story of Jesus raising Lazarus from the dead (John 11:1–44).
• For this painting, Tanner used live subjects. He also chose to include a black man in the crowd of onlookers,
something that had not been done before in well-known religious art covering this topic. 1
• #is painting earned Tanner a medal in the 1897 Paris Salon, an honor that not many Americans had received at
the time. #e French Government also requested to purchase it from him shortly a'er the Salon, which was also
a very high compliment to his art.
• About this piece, Tanner wrote, “In the commencement of winter I finished the ‘Resurrection of Lazarus.’ I had worked
upon it all summer, because, in summer, models are not in such demand, and are willing to make ‘terms,’ and I very much
needed all the ‘terms’ that could be made. In the making of this picture, I was helped by criticism, but several times I felt
somewhat as Voltaire must have felt when he said, ‘I will take care of my enemies if the Lord will deliver me from my
friends.’ I nearly made a shipwreck trying to follow the advice of a friend who counselled [sic] that a canvas that gave as

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much promise ‘as this small-sized should be much larger.’ He prevailed — very likely it flattered my vanity — and I bought
a canvas six by ten feet. A#er working upon quite a long time, I came to the conclusion that I could only make a very much
‘watered’ edition of the smaller one and I recommenced work upon my “first love,” accepting radical criticism with more
caution.” 2

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Portrait of the Artist’s Mother

1897
Oil on canvas
74.3 x 100.3 cm
Philadelphia Museum of Art

KEY TOPICS:
• In this piece, we see a woman sitting in a rocking chair in the right side of the picture plane. She is wearing a
dark dress with white fabric at the wrists. Behind her in the chair, a piece of white fabric or a shawl is draped
over the side and spills out on to the *oor. In her right hand is a fan and her le' hand is raised to support her
face. She appears to be looking at the only light source in the room, possibly a window. In the background can be
seen a wide drapery and the bottom of a picture frame.
• Tanner’s inspiration for this image was James McNeill Whistler’s “Arrangement in Grey and Black No.1” (or
“Whistler’s Mother”). (see below-right) 3
• In the lower-right corner, Tanner wrote, “To my dear
mother, H. O. Tanner.” 3 He remained close to his
parents throughout his life and they o'en provided
him with both emotional and $nancial support as he
pursued his painting career. 2

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!e Annunciation
1898
Oil on canvas
144.8 x 181 cm
Philadelphia Museum of Art

KEY TOPICS:
• #e setting in this piece is a bedroom. A girl is setting on a disheveled bed, behind which are pieces of fabric
hung from the ceiling, as if she has just awoken from sleep. #e blankets as well as the robe in which she is
wrapped spill o" of the bed and onto the *oor. #e girl is looking timidly to the le' side of the painting, her
hands tightly clasped in her hands. To the right of the girl and the bed is a platform built into the wall on which
sits a small oil lamp and a clay vase. Below that, a piece of blue fabric, a color normally associated with Mary, is
draped over a bench or chest. On the *oor is a rug with geometric patterns. In the le' side of the piece, where
Mary’s eyes are drawn and by far the brightest object in the room, is a tall column of light that seems to intersect
a high shelf on the wall.
• #e term “Annunciation” is derived from the Latin word annuntiatio which means “announcement.” #is is a
common subject throughout art history.
• Tanner painted this piece not long a'er he returned from his $rst trip to the Middle East in February of 1897.
#e authenticity he injects in the painting from the depiction of Mary to the Middle Eastern architectural
elements gives testament to his observations during this trip and is a sharp change from many paintings created
up to this point with this subject. 2

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Henry Ossawa Tanner Charlotte Mason Picture Study Aid

Christ and His Mother Studying the Scriptures

1909
Oil on canvas
123.82 x 101.6 cm
Dallas Museum of Art

KEY TOPICS:
• In this piece we see a boy standing beside a seated woman. #ey are holding up a long scroll that unravels to the
ground on either side of them. Both are dressed in robes: the boy in white with fabric wrapped around his head
and the woman in a deep blue robe as well as a lighter blue head scarf. To the le' and behind the boy, a large clay
pot sits on a bench and behind both, blue fabric covers the wall.
• #e models are Tanner’s son, Jesse, on the le', and his wife, Jessie,
seen to the right.
• #ere is speculation that Tanner’s inspiration for this painting
came from watching his own son learn to read as well as Luke
4:16-19: “He went to Nazareth, where he had been brought up, and on the
Sabbath day he went into the synagogue, as was his custom. He stood up
to read, and the scroll of the prophet Isaiah was handed to him. Unrolling
it, he found the place where it is written: ‘!e Spirit of the Lord is on
me, because he has anointed me to proclaim good news to the poor. He has
sent me to proclaim freedom for the prisoners and recovery of sight for the
blind, to set the oppressed free, to proclaim the year of the Lord’s favor.’”

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Daniel in the Lions’ Den

1917
Oil on paper mounted on canvas
104.46 × 126.84 cm
Los Angeles County Museum of Art

KEY TOPICS:
• #e setting in this piece is a large, darkened room. A man is seen on the le' side of the painting, partially framed
in light coming from an overheard window. His hands are bound at his wrists and around him are gathered
several lions. To the right in the background appears to be a tall door with an opening at the top covered in
ironwork as well as light from another opening not seen in the painting. At the bottom of the light coming in
from above that surrounds the man, there is the small outline of someone’s head as they look into the room.
• #e subject is the Biblical story of Daniel in the lions’ den (Daniel 6). #e shadow of the man’s head in the light
might possibly be that of King Darius when he checks on Daniel a'er his night in the lions’ den.
• #is is a version of another painting Tanner did on the same subject in 1896 that won him honorable mention at
the 1896 Paris Salon, but has since been lost. 4

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Flight Into E"pt

1923
Oil on canvas
73.7 x 66 cm
Metropolitan Museum of Art, New York

KEY TOPICS:
• In this piece, the setting is a Middle Eastern town at night. In the center are three $gures: one riding on a donkey
and holding an infant, the other walking alongside them, and another leading them. #e third $gure is holding a
bright lantern painted in a stark light which is also the only source of light in the piece. To the le' is a wooden
door with a high arch above it and behind the $gures is another archway leading into the night outside the town.
#e $gures are dressed in long robes and dramatic shadows can be seen on the walls behind them.
• #is is Tanner’s interpretation of the story from Matthew 2:12-14 in which Joseph (standing beside the donkey)
and Mary (riding the donkey) *ee to Egypt a'er Joseph receives a warning in a dream that Herod is searching for
Jesus in order to kill Him.
• #is was one of many paintings Tanner made with a Biblical subject. In the late 1800s, he traveled to Egypt and
Palestine twice and said about the second trip, “We spent six months painting around Jerusalem and the Dead Sea, and
this gave me an insight into the country and the character of the people that my shorter previous visit had only whetted my
appetite for.” 2
• Of this piece, he wrote, “Nor do I forget a ride on stormy Christmas night to Bethlehem. Dark clouds swept the moonlit
skies and it took little imagination to close one’s eyes to the flight of time and see in those hurrying travelers the crowds that
hurried Bethlehemward on the memorable night of the Nativity, or to transpose the scene and see in each hurrying group a
‘Flight into E&pt.’” 2

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• Tanner had strong opinions about religious painting and especially about his contemporaries who also chose this
theme. He wrote, “Religious art has come to mean an uninteresting, inartistic production. Who is to blame that this is
true? !e large number of painters of very mediocre attainments who have painted religious pictures because they have
found that the selection of such subjects has enabled them to draw more attention to themselves than would their mediocre
rendering of any other subject. !is has made many artists place an equality sign between religious art and mediocrity.
Religious pictures must measure up to the requirements of good art or they can never command respect. !e want of high
ideals in religious art will, as in other things, be fatal.” 2

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Resources
For further information on the life of Henry Ossawa Tanner, I highly recommend reading the artist’s own words. In
1909, he wrote an article for the magazine !e World’s Work about his experiences as an artist. You can view his
submission here (on page 11769):

https://play.google.com/store/books/details?id=H#YAAAAYAAJ

For some background on his family and what life was like for African Americans living in the United States in the
1800s, Henry Ossawa Tanner: American Artist by Marcia M. Mathews was particularly interesting as it included
excerpts from both Henry and his father’s diaries detailing the many stru&les and prejudices they faced.

For children, I recommend Henry Ossawa Tanner: His Boyhood Dream Comes True by Faith Rin&old.

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Sources

Images
Page 6: Dicksee, Margaret. A Sacrifice of Vanities. 1898, http://www.bonhams.com/auctions/22294/lot/62/

Page 11: Gutekunst, Frederick. Henry Ossawa Tanner. 1907, https://farm2.static*ickr.com/

1181/3173872466_ab954f1db7_b.jpg

Page 13: Tanner, Henry Ossawa. !e Banjo Lesson. 1893, https://uploads2.wikiart.org/images/henry-ossawa-tanner/

the-banjo-lesson-1893.jpg

Page 14: Tanner, Henry Ossawa. Resurrection of Lazarus. 1896, https://static.mfah.com/app/images/94a4574e-

a302-4e3b-a1a4-e8e43472df75.jpg

Page 16: Tanner, Henry Ossawa. Portrait of the Artist’s Mother. 1897, https://commons.wikimedia.org/wiki/
File:Henry_Ossawa_Tanner,_American_(active_France)_-_Portrait_of_the_Artist%27s_Mother_-
_Google_Art_Project.jpg

Page 16: Whistler, James Abbot McNeill. Arrangement in Grey and Black No. 1, 1871. https://commons.wikimedia.org/
wiki/File:Whistlers_Mother_high_res.jpg

Page 17: Tanner, Henry Ossawa. !e Annunciation. 1898, https://commons.wikimedia.org/wiki/

File:Henry_Ossawa_Tanner,_American_(active_France)_-_#e_Annunciation_-_Google_Art_Project.jpg

Page 18: Tanner, Henry Ossawa. Christ and His Mother Studying the Scriptures. 1909, https://commons.wikimedia.org/
wiki/File:Henry_Ossawa_Tanner_-_Christ_and_His_Mother_Studying_the_Scriptures_(c.1909).jpg

Page 18: Tanner, Henry Ossawa. Jesse and Jessie Tanner. 1909. https://i0.wp.com/www.aaa.si.edu/assets/images/
tannhenr/reference/AAA_tannhenr_29606.jpg

Page 19: Tanner, Henry Ossawa. Daniel in the Lions’ Den. 1917, https://commons.wikimedia.org/wiki/
File:Daniel_in_the_Lions%27_Den_LACMA_22.6.3.jpg

Page 20: Tanner, Henry Ossawa. Flight Into E&pt. 1923, https://commons.wikimedia.org/wiki/
File:Daniel_in_the_Lions%27_Den_LACMA_22.6.3.jpg

Page 25: Eakins, #omas. Portrait of Henry O. Tanner. 1900, https://commons.wikimedia.org/wiki/

File:Eakins,_Henry_Ossawa_Tanner_1902.jpg

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Henry Ossawa Tanner Charlotte Mason Picture Study Aid

Works Cited

1 Patton, Sharon F. African-American Art. Oxford University Press, 1998.

2Tanner, Henry Ossawa. !e World's Work. Ed. Walter Hines Page and Arthur W. Page. Vol. 18. New York:
Doubleday, Page & Company, 1909.

3Philadelphia Museum of Art. "Portrait of the Artist's Mother." Philadelphia Museum of Art. 8 April 2017 <http://
www.philamuseum.org/doc_downloads/education/object_resources/103024.pdf>

4Los Angeles County Museum of Art. Daniel in the Lions' Den | LACMA Collections. 19 April 2017 <http://
collections.lacma.org/node/228961>

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