Edward Mitchell Bannister
Edward Mitchell Bannister | |
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American Barbizon school | |
Spouse | |
Awards | First Prize Philadelphia Centennial 1876 Under the Oaks |
Edward Mitchell Bannister (November 2, 1828 – January 9, 1901) was a Canadian–American oil painter of the
Bannister's style and predominantly
Later in his life, Bannister's style of landscape painting fell out of favor. With decreasing painting sales, he and Christiana Carteaux moved out of College Hill in Providence to Boston and then a smaller house on Wilson Street in Providence. Bannister was overlooked in American art historical studies and exhibitions after his death in 1901, until institutions like the National Museum of African Art returned him to national attention in the 1960s and 1970s.
Biography
Early life
Bannister was born on November 2, 1828, in Saint Andrews, New Brunswick, near the St. Croix River. His father, Edward Bannister, was born in Barbados. His mother, Hannah Alexander, was born in Canada, according to Bannister, "a stone’s throw of my birthplace on the banks of the St. Croix River."[2] Her parents were probably from Barbados.[3][4] Although both of his parents were black,[5] Bannister was sometimes identified as “Mulatto.” At the time, this designation was based on skin color as perceived by the Census taker, and did not reflect self-identity or family history.[6] [7]: 23 [note 1] Bannister's father died in 1832, so Edward and his younger brother William were raised by their mother, Hannah Alexander Bannister.[9] Early on, Bannister was apprenticed to a cobbler, but his drawing skill was already noted among his friends and family.[10]: 67 Bannister credited his mother with igniting his early interest in art. She died in 1844, after which Bannister and his brother lived on the farm of the wealthy lawyer and merchant Harris Hatch.[10]: 17 There, he practiced drawing by reproducing Hatch family portraits and copying British engravings in the family library.[11]
Bannister and his brother found work aboard ships as mates and cooks for several months before immigrating to Boston, sometime in the late 1840s.[12]: 41 In the 1850 US census, they are listed as living at the same boarding house, with the Revaleon family, and working as barbers.[13] The brothers' role as barbers and status as mixed race gave them relatively high standing as middle-class professionals within Boston.[7]: 23–24
Although he aspired to work as a painter, Bannister had difficulty finding an apprenticeship or academic programs that would accept him, due to racial prejudice. Boston was an abolitionist stronghold, but it was also one of the most segregated cities in the US in 1860.[7]: 17 Bannister would later express his frustration with being blocked from artistic education: "Whatever may be my success as an artist is due more to inherited potential than to instruction" and "All I would do I cannot ... simply for the want of proper training."[10]
Bannister received his first oil painting commission, The Ship Outward Bound, in 1854 from an African American doctor,
Through abolitionist newspapers like
Boston activist, artist, and student
Bannister met Christiana Carteaux, a hairdresser and businesswoman born in Rhode Island to African American and Narragansett parents, in 1853 when he applied to be a barber in her salon. Both were members of Boston's diverse abolitionist movement, and barbershops were important meeting places for African American abolitionists.[7]: 23 They married on June 10, 1857,[10]: 23 and she became, in effect, his most important patron.[14]: 103 The couple boarded for two years with Lewis Hayden and Harriet Bell Hayden at 66 Southac Street, a stop on Boston's Underground Railroad (a support network for escaped slaves).[14]: 109
In 1855 William Cooper Nell acknowledged Bannister's rising artistic status in The Colored Patriots of the American Revolution for his The Ship Outward Bound. Bannister also received encouragement to continue painting from artist Francis Bicknell Carpenter.[12]: 42 By 1858, Bannister was listed as an artist in Boston's city directory.[10]: 23 Around 1862, he spent a year training in photography in New York, likely to support his painting practice. He then found work as a photographer, taking solar plates and tinting photos. One of Bannister's earliest commissioned portraits was of Prudence Nelson Bell in 1864,[9] which is around when he found studio space at the Studio Building in Boston. At the Studio Building, he came into contact with other prominent artists, like Elihu Vedder and John La Farge.[7]: 170 Once Bannister was established as an artist, abolitionist William Wells Brown praised him in a 1865 book:
Mr. Bannister possesses genius, which is now showing itself in his studio in Boston; for he has long since thrown aside the scissors and the comb, and transfers the face to the canvas, instead of taking the hair from the head. [...] Mr. Bannister is spare-made, slim, with an interesting cast of countenance, quick in his walk, and easy in his manners. He is a lover of poetry and the classics, and is always hunting up some new model for his gifted pencil and brush.[1]
Bannister was part of Boston's African American artistic community, which included Edmonia Lewis, William H. Simpson, and Nelson A. Primus.[9] He sang as a tenor in the Crispus Attucks Choir, which performed anti-slavery songs at public events, and acted with the Histrionic Club,[9] as well as serving as a delegate for the New England Colored Citizens Conventions in August 1859 and 1865. His name also appears on several public petitions published in The Liberator.
Bannister and Carteaux were devout members of the militant abolitionist Twelfth Baptist Church,[7]: 50 located on Southac Street near their home at the Hayden House. In May 1859, Bannister served as the secretary for the church's meetings to respond to the Oberlin–Wellington Rescue of imprisoned fugitive slaves[15] and, in 1863, to plan celebrations for the Emancipation Proclamation.[16]
During the
The Bannister portrait of Robert Gould Shaw was one of several memorials to Gould Shaw by members of Boston's African American artistic community such as Edmonia Lewis. These artworks, put to the practical purpose of raising money for Black soldiers, contradicted the ideals of
Bannister's activism also took other forms: on June 17, 1865, Bannister marshaled around two hundred members of the Twelfth Baptist Sunday School at a Grand Temperance Celebration on Boston Common. They marched under a banner reading "Equal rights for all men".[19]
Bannister eventually studied at the
Despite his early commissions, Bannister still struggled to receive wider recognition for his work due to racism in the US. Following emancipation and the end of the US Civil War, the abolitionists began to disperse and, with them, their patronage.[8]: 65 Due to increasing competition, Bannister did little to support Primus,[7]: 163 who had come to him seeking an apprenticeship.[9] An article in the New York Herald belittled both Bannister and his work: "The negro has an appreciation for art while being manifestly unable to produce it."[20] The article reportedly spurred his desire to achieve success as an artist.[note 2] At the same time, Bannister had begun to receive more recognition within Boston art circles.[9]
Providence
Supported by Carteaux, Bannister became a full-time painter in 1870, shortly after they moved to
Bannister received national commendation for his work when he won first prize for his large oil Under the Oaks at the 1876 Philadelphia Centennial.[note 3] Even then, the judge wanted to rescind the award after learning his identity until other exhibition artists protested; afterwards, Bannister reflected: "I was and am proud to know that the jury of award did not know anything about me, my antecedents, color or race. There was no sentimental sympathy leading to the award of the medal."[10] Bannister had intentionally submitted his painting with only a signature attached to ensure he would be judged fairly.[10]: 36 As his career matured, he received more commissions and accumulated many honors, several from the Massachusetts Charitable Mechanics Association (silver medals in 1881 and 1884).[9] Collectors and local notables Isaac Comstock Bates and Joseph Ely were among his patrons.[10]: 45
He was an original board member of the Rhode Island School of Design in 1878. In 1880 Bannister joined with other professional artists, amateurs, and art collectors to found the Providence Art Club to stimulate the appreciation of art in the community. Their first meeting was in Bannister's studio in the Woods Building at the bottom of College Hill.[12]: 40 He was the second to sign the club's charter, served on its initial executive board, and taught regular Saturday art classes.[24] He continued to show paintings at Boston Art Club exhibitions, as well as in Connecticut and at New York's National Academy of Design, and exhibited A New England Hillside at the New Orleans Cotton Exposition in 1885.[10]: 45 There, Bannister's work was segregated and ignored by the judging committees. With that experience in mind, Bannister decided not to submit any works to the 1893 World's Columbian Exposition since they would have to be pre-judged in Boston before they could even be sent to Chicago.[10]: 76
In the 1880s Bannister bought a small sloop, the Fanchon, and spent summers sketching, painting watercolors, and sailing Narragansett Bay and up to Bar Harbor in Maine. He would return with his studies and use them as the basis for winter commissions. He supplemented his sailing trips with journeys to exhibitions in New York, but a planned trip to Europe fell through due to lack of money.
In 1885, with other art club members, Bannister helped found the Anne Eliza Club (or "A&E Club")—a communal men's discussion group named after the waitress at the Providence Art Club.[12]: 47 Through his teaching there and at the Providence Art Club, he became a mentor to younger Providence artists, like Charles Walter Stetson. Stetson often mentioned Bannister in his personal diaries and once praised him by writing, "He is my only confidant in Art matters & I am his."[10] Rhode Island engineer George Henry Corliss commissioned a painting from Bannister in 1886, as his reputation grew.[10]: 72
Bannister and Carteaux were consistent members of the African American community in Providence. They lived for a time in the boarding house of Ransom Parker, who had participated in the Dorr Rebellion,[14]: 113 and were friends with merchant George Henry, Reverend Mahlon Van Horne, Brown graduate John Hope, and abolitionist George T. Downing, an ally from the Bannisters' political work in Boston.[10]: 27 Carteaux founded the Home for Aged Colored Women, which is known as the Bannister Center today. Edward exhibited his painting Christ Healing the Sick in the home in 1892 and donated his portrait of Carteaux to it as well.[14]: 117 Although he was a respected member of the Providence Art Club,[12]: 40 Bannister's abolitionism likely led to conflict with its mostly white members, who exhibited art with minstrel stereotypes by E. W. Kemble and W. L. Shephard in 1887 and 1893.[7]: 214
Around 1890, Bannister sold the Fanchon to Judge George Newman Bliss.[10]: 75 His largest exhibition of works was held in 1891, when he showed 33 works at the Spring Providence Art Club Exhibition.[10]: 51 Later in the 1890s, Bannister seems to have sold fewer paintings, perhaps due to waning popularity, and exhibited less often. In 1898 Bannister closed his studio and the couple moved to Boston for a year before returning to a smaller home on Wilson Street, Providence, in 1900.[10]: 53
Death
Bannister died of a heart attack on January 9, 1901, while attending an evening prayer meeting at his church, Elmwood Avenue Free Baptist Church. He had experienced heart trouble for some time but had completed two paintings only the previous day. During the service, he offered a prayer and shortly after sat down, gasping. His last words were reportedly "Jesus, help me".[10]: 53
After his death the Providence Art Club held a memorial exhibition in his name that focused on his artistic achievements,[9] without mentioning his contribution to abolitionism.[7]: 218,220 In the exhibition pamphlet, they wrote: "His gentle disposition, his urbanity of manner, and his generous appreciation of the work of others, made him a welcome guest in all artistic circles. [...] He painted with profound feeling, not for pecuniary results, but to leave upon the canvas his impression of natural scenery, and to express his delight in the wondrous beauty of land and sea and sky."[25]
He is buried in the North Burial Ground in Providence, under a stone monument designed by artist Mahler B. Ryder, RISD Illustration professor, and colleagues. In 1975, upon finding Bannister's marker damaged beyond repair, Ryder led a fundraising and design campaign to create a new monument, which stands today.[26] The original marker was placed by Bannister's friends upon his death. The disparity between Bannister's financial difficulties at the end of his life and the support shown by Providence's artists after his death led his friend John Nelson Arnold to say about the memorial: "In the labor incident to this work I was constantly reminded of the remark attributed to the mother of Robert Burns on being shown the splendid monument erected to the memory of her gifted son: 'He asked for bread and they gave him a stone.'"[14]: 118 [12]: 51 .
Carteaux was admitted to her Home for Aged Colored Women in September 1902; she died in 1903 in a state mental institution in Cranston.[14]: 118 She and Bannister are buried together.[14]: 118
Artistic style
The young Bannister advertised himself as a portraitist, but later became popular for his
Historian Joseph Skerrett has noted the influence of the Hudson River School on Bannister, while maintaining that he consistently experimented throughout his career: "Bannister managed to please a conservative New England taste in art while continuing to try new methods and styles."[27] For their mutual affinity with the Hudson River School, Bannister has been compared to his contemporary, the Ohio-based African American painter Robert S. Duncanson.[28] Unlike Hudson River School artists,[12]: 49 Bannister did not create meticulous landscapes[29]: 126 but paid more attention to creating "massive but revealing shapes of trees and mountains" and works more picturesque than sublime.[12]: 49 Bannister also avoided the "nationalist grandeur" often found in Hudson River School paintings.[7]: 177
Bannister often made pencil or pastel studies in preparation for larger oil paintings.
Art historian Traci Lee Costa has argued that a "reductive" emphasis on Bannister's biography has taken attention away from scholarly analysis of his artwork.
Although committed to freedom and equal rights for African Americans, Bannister did not often directly represent those issues in his paintings.[29]: 46 The farms that Bannister painted were reminders of southern Rhode Island's history of chattel slavery, unlike French Barbizon scenes.[8]: 59 In Hay Gatherers, Bannister depicts African American field laborers in a rural landscape. Unlike Bannister's idyllic pastorals, Hay Gatherers represents racial oppression and labor exploitation in Rhode Island, particularly South County where most of the state's plantations were.[10]: 13 The women workers are separated from the field of wildflowers at the painting's lower left and other field workers in the background by stands of trees, suggesting their closeness to freedom even while they are still within the grasp of plantation labor.[8]: 61 Through the geometric composition of Hay Gatherers, which divides the figures and the landscapes into triangular sections, Bannister combined his work on seemingly idealized landscapes with his earlier political art, visible in his humanist portraits such as Newspaper Boy.[33] Bannister's Fort Dumpling, Jamestown, Rhode Island uses a similar triangular composition, whereby people relaxing are juxtaposed against but separated from sailboats in the background, a reminder of the "maritime legacy of slavery".[8]: 67
Bannister often conveyed political meaning in his paintings through allegory and allusion. One of his first commissions, The Ship Outward Bound, might have been a veiled reference to the forced return of
Bannister has been criticized for not often directly representing African Americans, outside of his early portraiture. He and artists like Henry Ossawa Tanner were deemed inauthentic during the Harlem Renaissance for producing works that appealed to white aesthetics.[8]: 70 Many of Bannister's works were commissioned landscapes and portraits that reinforced European ideas,[35] even though his art subtly dismantled racial stereotypes.[36]: 29 In that way, Bannister has been compared to later Bostonian poet William Stanley Braithwaite, whose writing did not clearly reflect his identity.[36]: 29 Bannister's work reflected his desire to excel and contribute to racial uplift, while still needing to depend on white patronage to reach a wider audience.[7]: 13,47 [8]: 69 Art historian Juanita Holland wrote of Bannister's dilemma: "This was a large part of the double bind that [Boston's] black artists faced: they needed to both address and represent an African American identity, while finding a way for their white viewers to look past race to a perception of the work in more universal terms."[7]: 104
Legacy
Bannister was the only major African American artist of the late nineteenth century who developed his talents without European exposure; he was well known in the artistic community of Providence and admired within the wider East Coast art world.
Bannister's art continued to be supported by galleries like the Barnett-Aden Gallery[38][39] and the Art Institute of Chicago.[12]: 338 Following the civil rights movement in the 1960s, his work was again celebrated and widely collected. In collaboration with the Rhode Island School of Design and the Frederick Douglass Institute, the National Museum of African Art held an exhibition titled Edward Mitchell Bannister, 1828–1901: Providence Artist in 1973.[40] The Rhode Island Heritage Hall of Fame inducted Bannister in 1976,[41] and Rhode Island College created the Bannister Gallery in 1978 with an inaugural exhibition Four from Providence : Bannister, Prophet, Alston, Jennings.[42][43]
The New York-based Kenkebala Gallery held two exhibitions of Bannister's work, one in 1992 curated by Corrinne Jennings in collaboration with the
In September 2017, a Providence City Council committee unanimously voted to rename Magee Street (which had been named after a Rhode Island slave trader) to Bannister Street, in honor of Edward and Christiana Bannister.[45] The Providence Art Club unveiled a bronze bust of Bannister made by Providence artist Gage Prentiss in May 2021.[46] As of 2018, art historian Anne Louise Avery is compiling the first catalogue raisonné and a major biography of Bannister's work.[11][47]
In September 2023, a bronze sculpture of Bannister by artist Gage Prentiss was unveiled in Providence's Market Square.[48] Bannister is depicted in life size, sitting on a bench.[48]
House
In 1884 Bannister and Carteaux moved from the boarding house of Ransom Parker to 93 Benevolent Street, and lived there until 1899.[14]: 116 The two-and-a-half-story wooden house was built circa 1854 by engineer Charles E. Paine and is now known as "The Vault" or "The Bannister House".[49] Euchlin Reeves and Louise Herreshoff purchased the house in the late 1930s and renovated it to add a brick exterior.[34] The renovation was made to create consistency with their next-door property, so both houses could hold their "little museum" of antiques. Herreshoff died in 1967 and the porcelain collection filling the Bannister House was donated to Washington and Lee University.[50]
The house is now listed as contributing to College Hill's historical designation. Brown University bought the property in 1989 and used it to store refrigerators.[34] Due to a lack of plans for its preservation and use, the Providence Preservation Society put the Bannister House on its 2001 list of most endangered buildings in Providence.[49] Brown University president Ruth Simmons assured historian and former Rhode Island deputy secretary of state Ray Rickman that the house would be preserved,[51] although the university debated whether to sell the house to a third party.[49]
Because its disrepair and long disuse made the house unsuitable for residence, Brown renovated the property in 2015 and restored it to its original appearance.[52] It was sold in 2016 as part of the Brown to Brown Home Ownership Program—the program specifies that if the house is ever sold, it has to be sold back to the university.[53]
Selected artworks
-
Newspaper Boy, 1869, oil on canvas, Smithsonian American Art Museum
-
Governor Sprague's White Horse, 1869, oil on canvas, Rhode Island Historical Society
-
Fort Dumpling, Jamestown, Rhode Island, c. 1890, private collection
-
Palmer River, 1885, oil on canvas, private collection[54]
-
The Woodsman, 1885, graphite, Providence Art Club
-
Neutakonkanut, 1891, watercolor, Smithsonian American Art Museum
Notes
- ^ Little is known about the Bannister family history. The Bannisters might have been related to the Black Loyalist communities that formed in Nova Scotia after the American Revolution[7]: 15 : the Bannister name appears in the Book of Negroes, a 1783 list of evacuees from New York to Canada.[8]: 71
- ^ The headline and exact dating (c. 1867) of the New York Herald article is unknown, but this story is often repeated in sources. It is possible that the story is apocryphal. An early mention, during Bannister's lifetime, appears in Simmons 1887.
- ^ The location of Under the Oaks is unknown. It was sold to John Duff of Boston for $1500, after the Centennial Exposition.[20]: 13–14 Upon his death in 1880, he left his collection to his daughter Sibbel, wife of New York City physician William M. Bullard. She died in 1906, and in 1914 Bullard sold most of the collection.[22] In 1910 journalist Elisha Jay Edwards tracked the painting down to Bullard's collection.[23] In an 1876 issue of The Christian Recorder, professor J.P. Sampson described it as "a four by six feet picture, representing in the foreground, a herd of sheep along the [stream] while further in the back-ground is a beautiful ascent, with a cluster of oaks, wide spread in their branches, like a great shed; and beneath this shelter can be seen numerous cows and sheep taking shelter from the storm."[10]: 34
References
- ^ from the original on February 25, 2021. Retrieved March 24, 2021.
- ^ Holland and Jennings, Edward Mitchell Bannister, 1828–1901, 17; and Bearden and Henderson, A History of African-American Artists, 41.
- ^ "United States Census, 1880", FamilySearch (https://www.familysearch.org/ark:/61903/1:1:M4SD-165 : Fri Oct 06 23:50:11 UTC 2023), Entry for E.M. Bannister and Christina Bannister, 1880.
- ^ "United States Census, 1900", FamilySearch (https://www.familysearch.org/ark:/61903/1:1:M97T-ZQ2 : Thu Oct 05 00:59:35 UTC 2023), Entry for Edward M Bannister and Christiana Bannister, 1900.
- ^ "An Historical Scrapbook".
- ^ Hochschild, J. L., & Powell, B. M. (2008). Racial reorganization and the United States Census 1850–1930: Mulattoes, half-breeds, mixed parentage, Hindoos, and the Mexican race. Studies in American Political Development, 22(1), 59-96.
- ^ OCLC 46802253.
- ^ OCLC 62766073.
- ^ a b c d e f g h i j Holland, Juanita Marie (2006). "Edward Mitchell Bannister". Encyclopedia of African-American Culture and History. Macmillan Reference USA. Archived from the original on August 13, 2021. Retrieved September 13, 2020.
- ^ ISBN 0-87427-083-9.
- ^ a b Webb, Steven (February 28, 2021). "Call him an 'activist artist': Giving New Brunswick-born painter E.M. Bannister his due". CBC.ca. Archived from the original on March 4, 2021. Retrieved June 10, 2021.
- ^ OCLC 799475571.
- ^ "Edward Bannister: United States Census, 1850". Family Search. Retrieved January 6, 2021.
- ^ a b c d e f g h i Lancaster, Jane (November 2001). "'I Would Have Made Out Very Poorly Had It Not Been for Her': The Life and Work of Christiana Bannister, Hair Doctress and Philanthropist". Rhode Island History Journal. 59: 103–122.
- ^ "Oberlin Rescuers: Meeting of Colored Citizens of Boston". The Liberator. Vol. 29, no. 23. June 10, 1859. p. 90. Archived from the original on January 9, 2021. Retrieved January 7, 2021.
- ^ "Emancipation Day". The Liberator. Vol. 33, no. 52. December 25, 1863. p. 207. Archived from the original on January 9, 2021. Retrieved January 7, 2021.
- ^ ISBN 978-1-55849-722-1.
- ^ S2CID 160840665.
- ^ "The Seventeenth June". The Boston Post. Vol. 66, no. 143. June 19, 1865. p. 5. Archived from the original on August 13, 2021. Retrieved January 6, 2021.
- ^ from the original on June 4, 2020. Retrieved September 13, 2020.
- ^ "Seril Dodge House II". Guide to Providence Architecture. Providence Preservation Society. Archived from the original on June 27, 2021. Retrieved June 27, 2021.
- ^ "Duff, John". Archives Directory for the History of Collecting. The Frick Collection. Retrieved June 16, 2022.
- ^ E. J. Edwards, "New News of Yesterday: The Negro Who Painted A Prize" in Evening Journal (Wilmington, DE), August 26, 1910, 4.
- OCLC 213276666.
- ^ Edward Mitchel Bannister: Memorial Exhibition, Providence Art Club, May 1901. Providence, Rhode Island: Providence Art Club. 1901.
- ^ "Bannister - Newspapers". www.bannister.info. Retrieved February 2, 2024.
- JSTOR 44213838.
- ^ Appiah-Duffell, Salima (February 26, 2015). "African American Artists and the Hudson River School". Unbound. Smithsonian Libraries and Archives. Archived from the original on December 18, 2020. Retrieved January 12, 2021.
- ^ OCLC 2318292.
- The Walters Art Museum. Archivedfrom the original on September 20, 2020. Retrieved September 13, 2020.
- ^ OCLC 1004362008. Archivedfrom the original on July 14, 2021. Retrieved July 14, 2021.
- ^ Raynor, Vivien (December 13, 1992). "Moody Observations of Nature". The New York Times. Archived from the original on March 17, 2017. Retrieved March 24, 2021.
- ^ Wagner, Anne Prentice (January 2012). "Newspaper Boy" (PDF). Smithsonian American Art Museum. Archived (PDF) from the original on August 13, 2021. Retrieved January 4, 2021.
- ^ a b c Sweren, Evan (February 27, 2015). "For Sale: the Bannister House". The Brown Daily Herald. Archived from the original on August 11, 2020. Retrieved January 6, 2021.
- ^ Robinson, Shantay (January 9, 2020). "Black Art: Ghettoizing Art or Creating Space?". Black Art in America. Archived from the original on November 27, 2020.
- ^ OCLC 1136281222. Archivedfrom the original on August 13, 2021. Retrieved March 24, 2021.
- from the original on January 7, 2021. Retrieved January 5, 2021.
- ^ Abbot, Janet Gail (2008). The Barnett Aden Gallery: A Home for Diversity in a Segregated City (PDF) (PhD). Pennsylvania State University. pp. 3–5. Archived (PDF) from the original on July 5, 2021. Retrieved March 24, 2021.
- ^ Mann, Lina (August 7, 2020). "Diversity in White House Art: Alma Thomas". White House Historical Association. Archived from the original on July 14, 2021. Retrieved July 14, 2021.
- JSTOR 3334690.
- ^ "Edward Mitchell Bannister". Rhode Island Heritage Hall of Fame. Archived from the original on February 25, 2017. Retrieved August 12, 2021.
- ^ "Edward Mitchell Bannister". Rhode Island College. 2021. Archived from the original on June 27, 2021. Retrieved June 26, 2021.
- OCLC 81435712.
- Gilbert Stuart Birthplace & Museum. June 4, 2018. Archivedfrom the original on August 13, 2021. Retrieved September 13, 2020.
- ^ Mitra, Mili (November 1, 2017). "Mitra '18: In Support of Bannister Street". The Brown Daily Herald. Archived from the original on November 2, 2017. Retrieved September 13, 2020.
- ^ Botelho, Jessica A. (May 12, 2021). "Providence Art Club Showcases Bronze Bust of Prolific Black Co-founder". WJAR. Archived from the original on June 10, 2021. Retrieved June 10, 2021.
- ^ "Artist: Bannister, Edward Mitchell (1828–1901)". Catalogues Raisonnés in Preparation. International Foundation for Art Research. Archived from the original on July 24, 2018. Retrieved September 13, 2020.
- ^ a b Russo, Amy (September 8, 2023). "City unveils statue of Black painter Edward Bannister. Here's the story behind it". The Providence Journal. Retrieved September 9, 2023.
- ^ a b c Rufa, Zach (September 29, 2010). ""The Vault" on Benevolent St. Remains Closed, for Now". The Brown Daily Herald. Archived from the original on June 22, 2011. Retrieved September 30, 2010.
- ^ Fuchs II, Ron (January 28, 2014). "The Reeves Collection Of Ceramics At Washington And Lee University". InCollect. Archived from the original on January 9, 2021. Retrieved June 26, 2021.
- ^ Downing, Neil (March 1, 2009). "Black Contributions Kept Alive". The Providence Journal. Archived from the original on January 15, 2021. Retrieved January 7, 2021.
- ^ Coelho, Courtney (May 13, 2015). "Brown to Renovate Historic Bannister House". News from Brown. Brown University. Archived from the original on March 25, 2019. Retrieved May 15, 2015.
The house at 93 Benevolent Street, once home to African American artist Edward Mitchell Bannister and currently owned by Brown University, will be fully renovated, returned to its original wood exterior ...
- ^ Young, Shawn (February 25, 2016). "Brown reveals Bannister House after completed renovations". Brown Daily Herald. Retrieved August 31, 2021.
- ^ Gagosz, Alexa (May 25, 2021). "Painting by Edward Mitchell Bannister, a Black Artist and Cultural Leader in R.I., Sold for $277k". The Boston Globe. Archived from the original on May 26, 2021. Retrieved May 26, 2021.
Further reading
- Edward M. Bannister: A Centennial Retrospective. Newport, Rhode Island: Roger King Gallery of Fine Art. 2001. OCLC 49568395.
- Gonzalez, Aston (2020). "Freedom and Citizenship: Conflicting Views of Wartime". Visualizing equality: African American champions of race, rights and visual culture. Chapel Hill: The University of North Carolina Press. ISBN 978-1-4696-5996-1.
- Grant, John N. (Summer 2002). "Edward Mitchell Bannister: The New Brunswick Years". ArtsAtlantic. 20 (2): 17–23.
- Ott, Joseph K. (August 1965). "The Barbizon School in Providence". Edward Mitchell Bannister, 1828–1901, an Exhibition Sponsored by the Olney Street Baptist Church. Providence, Rhode Island: Olney Street Baptist Church.
- Simmons, William J. (1887). Men of Mark: Eminent, Progressive and Rising. Cleveland: Rewell. pp. 1127–1131.