Edward Mitchell Bannister

Edward Mitchell Bannister was an influential African American artist recognized for his significant contributions to the American art scene in the 19th century.

Bannister was an integral member of Boston's African American artistic community. He showcased his musical talents as a tenor in the Crispus Attucks Choir, using their performances to deliver anti-slavery songs at public gatherings. Furthermore, Bannister took on the responsibility of a delegate for the New England Colored Citizens Conventions in August 1859 and 1865, advocating for the rights and interests of his community.

Biography of Edward Mitchell Bannister

Edward Mitchell Bannister was born in 1828 in Saint Andrews, New Brunswick, near the St. Croix River. Following his mother's death, Banister and his brother resided on the farm of the wealthy lawyer and merchant Harris Hatch. During this time, he honed his drawing skills by replicating Hatch family portraits and copying British engravings in the family library.

In the late 1840s, Bannister and his brother secured employment as mates and cooks aboard ships for several months before eventually immigrating to Boston. According to the 1850 US census, both of them were listed as residing at the same boarding house, along with the Revaleon family, working as barbers.

In 1854, Bannister received his first oil painting commission titled "The Ship Outward Bound" from an African American doctor, John V. DeGrasse. Impressed by Bannister's talent, DeGrasse later commissioned him to paint portraits of him and his wife.

Bannister crossed paths with Christiana Carteaux, a hairdresser and enterprising woman born in Rhode Island to African American and Narragansett parents. They actively participated in Boston's diverse abolitionist movement. Their shared commitment to the cause led to a deep connection, culminating in their marriage in 1857. 

In 1855, William Cooper Nell recognized Bannister's growing artistic reputation in his work "The Colored Patriots of the American Revolution" for Bannister's painting "The Ship Outward Bound." Additionally, artist Francis Bicknell Carpenter provided Bannister with encouragement and support to persist in his artistic pursuits.

Edward Mitchell Bannister studied at the Lowell Institute, where he forged a lasting friendship with painter John Nelson Arnold. Their bond endured over the years, and they eventually became founding members of the esteemed Providence Art Club.

Encouraged by Carteaux's support, Bannister embraced a full-time career as a painter in 1870. Initially, he secured a studio in the Mercantile National Bank Building before relocating to the Woods Building in Providence.

In 1878, Bannister served as one of the original board members of the Rhode Island School of Design. Subsequently, in 1880, he collaborated with fellow professional artists, art enthusiasts, and collectors to establish the Providence Art Club. In 1891, Bannister showcased his most extensive exhibition of artworks, featuring 33 pieces displayed at the Spring Providence Art Club Exhibition.

On January 9, 1901, Bannister passed away due to a heart attack while attending an evening prayer meeting at the Elmwood Avenue Free Baptist Church.

Edward Mitchell Bannister's Art Style

Bannister gained popularity for his remarkable landscapes and seascapes. Additionally, he ventured into painting biblical, mythological, and genre scenes. Bannister's art style echoed the composition, atmosphere, and influences of esteemed French Barbizon painters such as Jean-Baptiste-Camille Corot, Jean-François Millet, and Charles-François Daubigny.

He masterfully employed contrasts of dark and light, creating dynamic diagonals or circles that divided the composition. Notably, Bannister's paintings stood out for their subtle use of color to capture shadows and atmosphere alongside their expressive and free brushwork. 

Despite his dedication to the cause of freedom and equal rights for African Americans, Bannister seldom depicted those issues directly in his paintings. Bannister's artistic endeavors reflected his desire to excel and contribute to racial uplift. However, he faced the reality of relying on white patronage to attain broader recognition and reach a wider audience for his work.