The Thankful Poor by Henry Ossawa Tanner

Henry Ossawa Tanner, 1894, Oil On Canvas, Art Bridges

The portrait is serene and reverent: a grandfather with his grandson seated at a modest table, about to eat a simple meal together, pausing to give thanks. I am moved by the peaceful quality of the image, the simplicity and pragmatism of the items shown, the gentle glow of daylight from the window, and especially, the complete focus of the old man and young boy absorbed in prayer. The Thankful Poor emanates a sense of quiet fortitude, mutual respect, and genuine gratitude.

Painted in 1894 by Henry Ossawa Tanner, this artwork is a beautiful representation of the quiet moments shared between family members from different generations. The elderly gentleman exudes dignity as he mod- els a life of grace and faith for his grandson. Meanwhile, the child exhibits patience and restraint as he honors his grandfather’s wishes and prays to the Divine. There is a stillness that feels sacred. The painting depicts a comforting expression of love between two family members who clearly care deeply for each other.

Tanner was born in Pittsburgh in 1859 and grew up in Philadelphia. His father was a former slave who be- came a bishop in the African Methodist Episcopal Church. His mother had escaped slavery through the Un- derground Railroad. Tanner grew up in a household that valued education and counted educators like Booker T. Washington as close family friends. When he was about 12, inspired by a landscape painter working in Philadelphia’s Fairmount Park, Tanner decided to pursue a career in art.

In many ways he and his family were groundbreakers. Tanner became the first black student at the Pennsyl- vania Academy of Fine Arts. One of his sisters became the first woman certified to practice medicine in the state of Alabama. At the age of 41, Tanner won the coveted Lippincott Prize for his oil painting Nicodemus Visiting Jesus.

When he was thirty-two Tanner went to France to study. He ended up living there the rest of his life, dying in Paris in 1937 at the age of seventy[seven. In France he enjoyed an art career that flourished, bringing him acclaim from around the world. His Resurrection of Lazarus was purchased by the French government and eventually added to the Louvre. During his sixties, he was awarded high honors in both France and the United States. During the Clinton administration many years after Tanner’s death, one of his works, Sand Dunes at Sunset, Atlantic City, became the first painting by an African American artist to be added to the White House’s permanent collection.

The Thankful Poor offers us many insights. It shows that material wealth is not needed to be rich in spirit. In fact, it is often our struggles that lead to us turning to spiritual sustenance and, ultimately, inner growth. The pair in the painting may not have much, but they have what they need. Most of all, they have an unshakable inner faith and a love for each other to not only sustain them, but also enrich them. Tanner’s painting is an important reminder that our greatest riches are found not in what we own, but in our relationships and the heart.

Snap the Whip by Winslow Homer

Winslow Homer, 1872, Oil on Canvas, Butler Institute of American Art, Youngstown

Winslow Homer, one of the most renown 19th-century American artists, painted Snap the Whip, one of his most beloved paintings, only a few years after the United States’ horrific Civil War.

In this painting nine young boys are playing the popular kids’ game, Snap the Whip, in front of a small, red schoolhouse. Their clothes—the caps, suspenders, knickers—reflect late 1800s American attire. Their bare feet exude childhood freedom. They are pulling and tugging one another with fun, free abandonment. Their faces are illuminated by the soft light peeking through the clouds. They are the focal point of the entire composition. The landscape, including the mountains, trees, and flowers, are tangible. The painting speaks of pure innocence and simplicity.

Growing up in the 1950s and 60s, though a century later, I remember playing kickball, hide-and-go-seek, and tag in the cul-de-sac where I lived as a very young child. I remember roaming through acres of trees and streams playing Tarzan with my brother. I spent hours crawling through culverts, never wondering what small varmint could be crawling around in there. I could ride my bike all day with friends, knowing I just needed to be home for dinner. I felt no fear. My parents felt free to give my brothers and me free rein to explore and play.

Today, schools are surrounded by gates. Security systems have been placed in many schools nationwide. Children cannot go on a bike ride without their parents knowing exactly where they are at every moment. A child must be accompanied by an adult when trick-or-treating. A child no longer has freedom to simply “be” a child.

I’m hopeful that this won’t forever be the norm, that the current climate of fear and apprehension gives way to an air of optimism and freedom, a chance to let our children experience the world around them on their terms. Yes, safety is important, but there’s a thin line between protecting our kids and holding them back. When we collectively learn to respect others, and especially to protect children, treating every child as if we adults are responsible for their well-being (which I believe we are), perhaps the world will become a safe place for youngsters to explore and discover.

Children embody innocence and the promise of our planet’s future. In portraying rural simplicity and the joy that kids often find so readily when playing together, Homer reflected on the peaceful, carefree moments of childhood, even in the midst of challenges that surfaced in a complex post-Civil War world.