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Henry Tanner and Booker T. Washington: the Iowa Story Behind the Portrait Jack Lufkin

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Henry Tanner and Booker T. Washington: the Iowa Story Behind the Portrait Jack Lufkin Masthead Logo The Palimpsest Volume 72 | Number 1 Article 3 1-1-1991 Henry Tanner and Booker T. Washington: The Iowa Story Behind the Portrait Jack Lufkin Follow this and additional works at: https://ir.uiowa.edu/palimpsest Part of the United States History Commons Recommended Citation Lufkin, Jack. "Henry Tanner and Booker T. Washington: The oI wa Story Behind the Portrait." The Palimpsest 72 (1991), 16-19. Available at: https://ir.uiowa.edu/palimpsest/vol72/iss1/3 This Article is brought to you for free and open access by the State Historical Society of Iowa at Iowa Research Online. It has been accepted for inclusion in The alP impsest by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. 16 THE PALIMPSEST I Henry Tanner and Booker T. Washington The Iowa Story Behind the Portrait by Jack Lufkin SMALL but active group of black to impress upon our students at Tuskegee — women in Iowa brought about the and on our people throughout the country . creation of a portrait of a preeminent any man, regardless of colour, will be recog­ black leader by a preeminent black nized and rewarded just in proportion as he painterA of the same generation. The painting, learns to do something well — learns to do it owned by the State Historical Society of Iowa, better than someone else.” is a portrait of Booker Taliaferro Washington This message was one that Washington (1856-1915) by noted black artist Henry espoused on his national speaking tours. Ossawa Tanner (1859-1937). Addressing various public groups and chautau- Washington is perhaps best known for his quas, he championed self-help and accom­ success in developing Tuskegee Normal and modation, emphasizing economic opportunity Industrial Institute in Alabama into a flourish­ and education for blacks over civil rights ing and nationally prominent educational advocacy. Washington brought this message to institution for blacks. There, the artist s sister, Iowa as well. In 1904 he visited Buxton, Iowa, Hallie Tanner Dillon, was the campus physi­ where many black miners lived and worked. In cian. Washington visited Tanner in Paris in early March 1911, Washington again came to 1899 while vacationing in Europe and admired Iowa. Sponsored by the Northwest Teachers the painter s success. “My acquaintance with Association in Sioux City, he addressed a Mr. Tanner, he wrote in his popular auto­ crowd of twenty-five hundred on the value of biography, Up From Slavery, “reenforced in black economic efforts and self-help. The Sioux my mind the truth which I am constantly trying City Journal thought his two-hour speech was impressive and called him “a prophet out of the wilderness.” The Iowa Bystander, a Des Left: Portrait of Booker T. Washington, by Henry Moines newspaper owned and operated by Ossawa Tanner. Painted in 1917 for the Iowa Federation blacks, covered Washington’s stay in Des of Colored Women’s Club, the portrait measures 31%" X 25Vh". The oil painting is now on loan from the Moines. Its editors said he infused spirit and Museum Bureau, State Historical Society of Iowa to the optimism in a black community divided by Philadelphia Museum of Art for an exhibit on Tanner. strife and beleaguered by white indifference SPRING 1991 17 and hostility: “It was a pleasure to see us Brown. There she became involved with the together for once. Colored Women’s Clubs, founded a welfare Washington s wife, Margaret, also carried agency called the Richard Allen Aid Society, this message to Iowa. In 1914, as president of and served as a district superintendent of the the National Association of Colored Women, AME Sunday School and later as president of she spoke at St. Paul s African Methodist Epis­ the Des Moines chapter of the National Asso­ copal (AME) Church in Des Moines. There she ciation for the Advancement of Colored Peo­ stressed the importance of charitable activities ple. She also served as business manager for by women’s clubs and the need for racial coop­ the National Association of Colored Women. eration. She also edited the “National Notes” Shortly after Booker T. Washington’s death newsletter for the National Association of Col­ in 1915, Brown wrote to Henry Tanner asking ored Women and through this group worked if he would paint a posthumous portrait of closely with another black leader — Iowan Sue Washington for the Iowa Federation of Col­ Brown. ored Women’s Clubs, over which she pre­ Born in Virginia in 1877, Brown attended sided. Tanner was happy to oblige. “I usually high school in Ottumwa and later moved to ask one thousand to twelve hundred,” he Des Moines with her husband, attorney S. Joe replied, “but would make it for you for $500 if JOURNAL (May 27. (May 1936) JOURNAL SIOUX CITY SIOUX Sue Brown (middle row, far left) at 1936 convention of the Iowa Federation of Colored Women’s Clubs. On behalf of this group. Brown had asked Henry Tanner if he would paint a portrait of black leader Booker T. W ashington. When he agreed. Brown set about to raise the artist’s fee. Brown was assisted by Historical Department curator Edgar Harlan. The federation’s records are kept in the Archives of the State Historical Society of Iowa (Des Moines). 18 THE PALIMPSEST HENRY OSSAWA TANNER PAPERS. ARCHIVES OF AMERICAN ART. SMITHSONIAN INSTITUTION SMITHSONIAN ART. OF AMERICAN PAPERS. ARCHIVES TANNER OSSAWA HENRY Artist Henry Ossawa Tanner, well known for his religious art and paintings such as The Banjo Lesson, painted Booker T. Washington s posthumous portrait in 1917. Tanner lived much of his life in Paris. you wished me. Brown now faced the task of The portrait of Washington is now on loan raising the money. Assisted by Curator Edgar from the State Historical Societv of Iowa to the Harlan of the Historical Department in Des Philadelphia Museum of Art, which has Moines, she set up the Booker T. Washington mounted an exhibit of Tanner’s work. The Memorial Fund. Federation members solic­ Tanner exhibit will later travel to the Detroit ited donations, starting at five dollars each. Institute of Arts, the High Museum of Atlanta, In 1917 the portrait was unveiled at a federa­ and the Fine Arts Museum in San Francisco. tion meeting in Ottumwa and then transferred Meanwhile, a museum exhibit about the by Harlan to the Iowa Hall of History in Des struggle by black Americans for greater free­ Moines. The painting was a respected addition dom and economic opportunity will open to the portrait gallery. Tanner was a recognized in April in the State Historical Building in and successful artist, whose paintings won Des Moines. “Field to Factory is a traveling international prizes and hung in the Louvre, Smithsonian Institution exhibit that chronicles Philadelphia Museum of Art, Carnegie the Great Migration of blacks from the South to Institute, and the Art Institute of Chicago. the East and Midwest. □ Although Tanner’s painting of Washington is not considered among his best, it is a work of considerable historical significance given the eminence of both painter and subject. SPRING 1991 19.
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