Famous Top 10 Henry Ossawa Tanner Paintings

Henry Ossawa Tanner was an American realist painter of the 19th–20th centuries. He was born on June 21, 1859, in Pittsburgh (USA) and died on May 24, 1937, in Paris, the capital of France. He is considered the first painter of African American heritage to receive worldwide recognition.

Henry’s father was a Methodist minister, Benjamin Tucker, and his mother, Sarah Miller Tanner, was a schoolteacher. The future artist grew up in a family with nine children, and he was the eldest among them. In 1864, the family moved to Philadelphia, and by the age of thirteen, Tanner had already decided he would become an artist. At first, he studied painting independently, visiting the city’s art galleries, and in 1879 he entered the Pennsylvania Academy of the Fine Arts, where he was taught by Thomas Eakins, one of the leading representatives of the realist school.

In 1886, Henry Ossawa Tanner founded his own art school in Philadelphia. After moving to Atlanta, he attempted to establish his own photo studio but was unsuccessful and later took a position as a teacher at Clark University. The artist then moved to France, enrolled at the Académie Julian, and became a member of the American Art Students Club. During this period, Tanner actively explored the European art scene, and modern audiences can discover many of his works through contemporary platforms such as TryArtWork, which highlights the legacy of celebrated artists.

While in Paris, Henry O. Tanner created works on religious themes, including the painting Daniel in the Lions’ Den, which received an award at the Paris Salon in 1896.

During World War I, the artist worked in the Public Information Department of the Red Cross, producing paintings on wartime subjects.

Tanner’s works are distinguished by meticulous attention to detail. Many of his early paintings depict the difficult life of African Americans in the United States. His later works are characterized by religious themes, clearly showing the influence of his father, who was a clergyman.

The Annunciation (1898)

The painting The Annunciation was created in 1898 and today is housed in the Philadelphia Museum of Art.

In this work, Tanner depicts the Annunciation, during which the archangel Gabriel informs Mary of the Immaculate Conception and that she will give birth to Jesus, the Son of God. Likely influenced by the teachings of the African Methodist Episcopal Church in America, the artist portrays Gabriel as a radiant pillar of light and Mary in simple peasant clothing. The room in which Mary receives the news is furnished very modestly: in the corner stands a small bed covered with white sheets. Mary sits on it with her hands folded on her knees and her head slightly bowed. Her expression shows surprise, yet she remains calm, sensing no threat in this divine appearance. Behind the bed hangs a red cloth that covers the wall and the stove. A handmade rug lies on the stone floor, and a blue shawl belonging to Mary is casually thrown over a chest. Simple clay vessels can be seen in the room. The entire setting emphasizes the poverty of this family.

Historians have not found contemporary critics’ reviews of the painting, which was exhibited at the Paris Salon in 1898. However, according to some accounts, it was met with great success, and one artist of the time stated that the work was the painter’s greatest achievement. In 1899, the piece was purchased by Rodman Wanamaker to provide Tanner with income. That same year, on April 5, the painting was seen by John G. Johnson, a well-known Philadelphia collector, who repurchased it from the Pennsylvania Academy for 1,750 dollars. Since the collection belongs to the Philadelphia Museum of Art, this painting became the first work by Henry Ossawa Tanner to be acquired by an American museum.

The Banjo Lesson (1893)

The oil-on-canvas painting The Banjo Lesson was created in 1893 and today is housed in the Hampton University Museum, to which it was donated by Robert C. Ogden.

In the painting, Tanner depicts two Black African Americans in a simple, modestly furnished room. An elderly, gray-bearded man sits on a wooden stool and teaches a young boy to play the banjo. The child is likely his grandson. Objects are scattered across the wooden floor: kindling for a fire, simple household items such as a clay pot, a metal kettle, and other cooking utensils used to prepare the meager meals of the poor. In the background, there is a table covered with a white tablecloth holding a plate, a jug, and a piece of bread. Two small pictures hang on the whitewashed wall, another chair stands nearby, and an old coat hangs by the shelf.

The lighting in the room combines a cold blue glow coming through a small window on the left and the warm yellow radiance from the fireplace. With this humble setting, the artist sought to show the harsh life of Black Americans who had to survive under severe poverty.

In this work, Tanner used predominantly dark blacks, grays, and browns, contrasting them with touches of white and yellow. This is likely Tanner’s first realist painting in which he portrays African Americans in their everyday life. The piece challenges prevailing stereotypes held by white Americans in the 19th century, who viewed Black people through biased and distorted imagery. There is no hint of caricature here, nor any expected stereotypical reaction. Instead, the viewer sees simple, nonthreatening individuals who, despite difficult living conditions, are not submissive and possess intelligence and dignity. Tanner’s portrayal of African Americans represented a radical departure from the social perceptions of that time.

The Thankful Poor (1894)

The realist painting The Thankful Poor was created in 1894 and is now owned by the Art Bridges Foundation, established by American billionaire and Walmart heiress Alice Walton.

In this work, artist Henry Ossawa Tanner depicts an elderly African American man and a boy, likely his grandson, sitting at a table and saying grace before a meal. The only source of light in the room is a window with semi-transparent curtains behind the old man, who is seated on a wooden chair. He has his hands clasped in a traditional posture of prayer, with his elbows resting on the table. Opposite him sits the young boy on a stool, pressing one hand to his head as he imitates his grandfather’s prayerful pose. On the table, covered with a gray-and-white cloth, there are two plates, two cups, a large white pitcher, and simple cutlery.

The old man is dressed in a white shirt and a black vest, while the boy wears a beige shirt and a light-colored vest. Despite their poverty, it is clear that these people are trying to look neat and dignified, which reflects their desire for self-respect.

In 1894, The Thankful Poor was exhibited in Philadelphia, where it received numerous positive reviews from critics. This work is considered Tanner’s last genre painting devoted to the lives of African Americans, as he later turned to biblical subjects.

Nicodemus Visiting Jesus by Night (1899)

The painting Nicodemus Visiting Jesus by Night was created by Tanner in 1899 in Jerusalem, during his visit to Palestine. Today it is housed at the Pennsylvania Academy of the Fine Arts in Philadelphia.

This biblical-themed canvas depicts Saint Nicodemus (a well-known Pharisee figure in the Christian world and one of the leaders of the Jews), whom Jesus Christ visited at night to speak with him. The figures are seated on the roof of a building: the old man with a long gray beard sits on a wooden crate, and Jesus sits on a stone parapet. Nicodemus is dressed in traditional Jewish clothing, while his teacher wears a long white robe and a red cloak with a hood. Christ appears to be telling the old man something, reinforcing his words with a gesture of his left hand, bent at the elbow and raised upward. In the background, city houses and a high sheer cliff with green trees are visible. It is a bright night, so all the features of the figures can be clearly seen in the painting. After this nocturnal visit, Nicodemus embraced the Christian faith, having believed the words of the Savior.

In 1899, the work was exhibited at the Paris Salon and was purchased by the Philadelphia Wilstadt collection. That same year, it was named the best figurative painting at the PAFA exhibition and received the Lippincott Prize.

Flight Into Egypt (1899)

The painting The Flight into Egypt was created in 1899 in Paris and today is housed in the Detroit Institute of Arts (USA). After it was completed, the canvas was shown at an exhibition of the Carnegie Institute together with another biblical work by the artist, “Judas.” The biblical subject of the painting is a vivid example of Tanner’s symbolism.

In this work, the artist depicts Saint Joseph, the Virgin Mary, and the infant Jesus (the Holy Family) fleeing into Egypt to save the child’s life. This theme was so important to Tanner that he painted fifteen works devoted to this biblical story.

Henry Ossawa Tanner presented The Flight into Egypt in a universal interpretation so that viewers can see in it good people escaping from oppression and persecution by those in power. The indistinct rendering of the figures in the dim night light makes it impossible to determine their exact racial identity. This allows viewers to form their own opinion about the origins of the characters.

The night lighting and the predominance of blue and green tones lend an air of mystery to the figures and immerse us in the biblical atmosphere created by the artist. This light is also understood as an “expression of the divine presence,” bringing people calm and safety. In addition, Tanner used principles of Impressionism, softening the faces and making the features less defined so that viewers can engage their own imagination — an approach that is often echoed today in high-quality oil painting replicas of spiritual and symbolic subjects. The Holy Family is shown not as exalted, idealized figures, but as ordinary people, devoid of a mystical halo.

Salome (1900)

The painting Salome was created in 1900 and today is housed in the Smithsonian American Art Museum in Washington, D.C., where it was donated in 1975 by Henry Ossawa Tanner’s son, Jesse.

In this work, the artist depicts the Judean princess Salome III, who was not the biological daughter of Herod Antipas, the ruler of Galilee and Perea. The young woman, dressed in a transparent garment through which the contours of her naked body are visible, dances before her stepfather, demanding in return the head of John the Baptist, the Judean preacher.

This painting was somewhat unusual for Tanner, who was generally restrained in his artistic expression. Although he sometimes painted nude bodies as part of his professional studies, nude figures appear in only a few of his works. In this canvas, the erotic scene is offset by the bloodied body lying at the girl’s feet in the lower left corner of the painting.

By using blue tones as a symbolic device, Tanner conveys to the viewer a sense of horror at the crime that has been committed—the murder of a holy man—and the looming divine judgment that follows.

Christ and His Mother Studying the Scriptures (1909)

The painting Christ and His Mother Studying the Scriptures was created in 1909 and is now housed in the Dallas Museum of Art (USA).

In this work, the artist depicts a day in the life of the Virgin Mary and her son, Jesus Christ, where she appears not only as the Mother of the Savior but also as his first teacher, guiding him and passing on her knowledge. In this way, Tanner shows viewers the human side of Jesus, presenting him as an ordinary boy rather than as the Son of God. The atmosphere of the room is calm and peaceful, emphasizing the deep bond and spiritual closeness between mother and child.

With free brushstrokes, the artist makes the figures more vivid and emotional. The Virgin Mary is seated on a stone bench, dressed in blue garments, with her head covered by a light blue veil. With her right arm, she embraces Christ, who stands beside her in white robes and a turban. Together they are intently reading a long scroll. Mary holds it in her hands, while the boy reads, running his finger along the lines of text. With this work on a religious theme, the artist sought to move away from the classical depiction of Jesus Christ in his purely divine aspect, drawing attention instead to the child’s human nature, his thirst for knowledge, and his desire to study the truth. Through this painting, Tanner wished to achieve one main goal: to show people the immediacy and accessibility of what had always seemed unattainable and sacred.

The Two Disciples at the Tomb (1906)

The painting Two Disciples at the Tomb was created in 1906 and is now housed in the Art Institute of Chicago.

While working on this canvas in Paris, the artist sought to convey the scene from the Bible by showing the thoughtful and focused expressions on the faces of the figures. The subject refers to the event described in the Gospel of John, when two disciples of Jesus Christ (John and Peter) come early in the morning to the Savior’s tomb and find it empty. Peter’s somber gaze is directed downward in heavy contemplation. His arms are crossed near his chest, indicating a certain confusion at what he sees. Meanwhile, on John’s face, illuminated by a golden glow, we can discern a sense of wonder and awe, which suggests the divine presence of the Spirit of the Savior.

In this work, Tanner used predominantly dark tones to convey the lack of light in the depths of the cave. Only the divine light of Jesus illuminates the faces of the figures who have come to the tomb.

The Resurrection of Lazarus (1896)

The painting The Resurrection of Lazarus was created in 1896 and today is housed in the Musée d’Orsay in Paris. In 1897 it was exhibited at the Paris Salon and received third prize. During Tanner’s lifetime, it was this work that brought him wide fame and recognition.

In the painting, the artist depicts the eleventh chapter of the Bible (the Gospel of John), where Jesus Christ, before a crowd of people, raises Lazarus, who had been dead for four days. The head of the deceased is supported by an old man with a long gray beard, sitting on the edge of a recess in the floor. To the right of the Savior, one of Lazarus’s sisters, Mary, kneels with her hands clasped around her head. His other sister, Martha, sits to Christ’s left, fixing her gaze on him with a look full of hope and expectation of a miracle. Next to Mary stands an old man with his hands raised upward and his face turned to the sky, symbolizing prayer and gratitude to the Almighty. Other men and women stand behind them, trying to see what is happening. The room is completely filled with onlookers, whose line stretches all the way to the entrance.

To create this work, the artist primarily used dark tones, particularly black and brown, and only certain elements of clothing and the faces of those present are highlighted with lighter touches.

During the artist’s lifetime, the canvas never participated in exhibitions in the United States, as it was purchased at its first showing in France. Only in 2012 was it displayed at the Pennsylvania Academy of the Fine Arts, as part of an exhibition of Tanner’s works titled “Henry Ossawa Tanner: Modern Spirit.”

Daniel in the Lions’ Den (1896 / 1907)

The painting Daniel in the Lions’ Den was created between 1896 and 1907 and received an honorary award at the Paris Salon exhibition.

In this work, the artist depicts the biblical story from chapter 6 of the Book of the Prophet Daniel. It tells how the prophet, despite King Darius’s decree forbidding prayer to anyone other than the king himself, disobeyed and was thrown into a den of lions as punishment. At the same time, the king said that the God whom Daniel worshipped should save him. And the Lord performed a miracle by sending an angel to Daniel, who shut the lions’ mouths and did not allow them to harm him. After a sleepless night, Darius came to the den and asked whether the prophet was still alive. Receiving an affirmative answer, he ordered Daniel to be lifted out of the pit. After that, those who had falsely accused Daniel were thrown to the lions, and the beasts tore their bodies apart. Witnessing this miracle, the king issued a decree commanding everyone to honor the God of the prophet as living and eternal, who can save and perform wonders.

Tanner uses broad, heavy brushstrokes to depict the figure of Daniel, who sits on a stone ledge of the chamber with his hands folded humbly across his knees and his head bowed in prayer. He is dressed in a long white tunic. Nearby, a group of lions walks around, paying no attention at all to their potential victim. In this work, the artist mainly uses a gray-blue palette to render the walls of the chamber and the prisoner himself. The animals are painted in a blurred brownish-green color. There is presumably a window in the room, from which light pours in and illuminates half of Daniel’s figure. Overall, however, the atmosphere in the cell is empty and oppressive.

The Art of Henry Ossawa Tanner and His Influence on 19th–20th Century Painting

Although Henry Ossawa Tanner was born in America, he spent most of his life in France, where he successfully developed his talent as a painter. The majority of his works were created in a realist style, depicting the difficult lives of African Americans in the United States. His collection also includes landscapes and canvases on biblical themes, with subjects drawn directly from the Bible. Religious topics were close to the artist’s heart, as he grew up in the family of a clergyman. For this reason, he often painted scenes from Scripture, seeking the approval of his father, who was a bishop.

In Tanner’s painting style, we can see a variety of approaches. At times he rendered the smallest details with great care and precision, while at other moments he worked with broad, heavy brushstrokes reminiscent of Impressionism. Tanner frequently experimented with lighting in his paintings to introduce a subtle layer of symbolism into his biblical scenes. Viewers who are interested in how other artists of that era explored spiritual and symbolic imagery may also want to look at Famous Top 10 Odilon Redonr Paintings, which offers a different perspective on late 19th-century art.

Over the course of his artistic career, Henry Ossawa Tanner created more than 103 works, although the exact number is still unknown, since his legacy consists not only of oil paintings but also of canvases executed in other painting techniques.