From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #6809 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Monday, June 21 2021 Volume 14 : Number 6809 Today's Subjects: ----------------- Congratulations! You can get a $50 Red Lobster gift card! ["Red Lobster O] ---------------------------------------------------------------------- Date: Tue, 22 Jun 2021 03:13:30 +0000 From: "Red Lobster Opinion Requested@healthplane.biz" Subject: Congratulations! You can get a $50 Red Lobster gift card! Congratulations! You can get a $50 Red Lobster gift card! http://healthplane.biz/giaukqafPonePt2aZcpd6S8CDUrpUGNuB9Q-W9yL_jW1Z-ze http://healthplane.biz/fMiOuvPCcC9WVhG2otfQoo5oICcgtNDNKpe3Hes6YzmpdV8N nner's parents valued education, and these views informed his work. Both graduated from Avery College, managed schools, and ensured Tanner himself received a rigorous education. Tanner's father, Benjamin Tucker Tanner, was a bishop in the African Methodist Episcopal Church (AME); the denomination encouraged education among African Americans, and founded colleges. Tanner was further influenced by family friend and educator Booker T. Washington, with whom he shared the belief that skills that could support a living should be passed from one generation to another. Race was another factor that affected Tanner: he was influenced by his father's work, which included lectures on racial identity and church sermons that underscored a sense of racial injustice. Beginning in the summer of 1888, Tanner spent time in Highlands, North Carolina, in the Blue Ridge Mountains where he hoped to earn a living through photography and improve his health. In 1889, he started a photography shop in Atlanta, Georgia, but returned in the summer to Highlands where he took photographs of local African Americans. The Thankful Poor and an earlier painting, The Banjo Lesson, both seem to be based on the same people Tanner had photographed in that period before he moved to Paris in 1891. Both paintings were made after Tanner returned to the United States in the summer of 1893 to recuperate from typhoid fever but before he returned to Paris in 1894. For The Thankful Poor, he made an oil on canvas study (c.?1894), now in the DuSable Museum of African American History in Chicago. Tanner's depictions of African Americans A boy holding a banjo seated on an old man's lap The Banjo Lesson (1893) When Tanner returned to the United States in July 1893, he found that race relations had not improved during the previous two years. Particularly moved by the increasing number of lynchings of African Americans, Tanner became involved in the civil rights movement, and scholars believe he grew more racially aware. He turned towards African-American subject matters for his genre paintings, becoming the first African American to do so. Previous artistic depictions of African Americans mainly came from white painters, but Tanner considered many of these interpretations to be lacking. Thus, he decided to use his intimate knowledge of the subject to paint his own scenes of African-American life. Tanner himself wrote in the third person that: Since his return from Europe he has painted mostly Negro subjects, he feels drawn to such subjects on account of the newness of the field and because of the desire to represent the serious, and pathetic side of life among them, and it is his thought that other things being equal, he who has the most sympathy with his subjects will obtain the best results. To his mind many of the artists who have represented Negro life have only seen the comic, the ludicrous side of it, and have lacked the sympathy with and appreciation for the warm big heart that dwells within such a rough exterior. Tanner's first major genre work featuring African Americans was The Banjo Lesson, which he completed by October 1893. The painting's depiction of a young boy being taught to play the banjo by an old man undermines the banjo's popular association with simplistic black minstrels by instead portraying a "genuine sharing of black cultural tradition." Some critics seemed unaware of Tanner's intention to subvert conventional stereotypes of African Americans. For example, an art writer for the Philadelphia Daily Evening Telegraph, though praising Tanner's artistic technique, referred to the painting's elderly subject as "an old Uncle Ned, bald and venerable." Art historian Naurice Frank Woods believes that such derogatory responses to The Banjo Lesson led Tanner to question whether his paintings could effect any change on the public's perception of African Americans. Nevertheless, The Thankful Poor would see Tanner incor ------------------------------ End of alt.music.moxy-fruvous digest V14 #6809 **********************************************