Affirming Blackness: A Rebuttal to Will South’s “A Missing Question Mark: The Unknown Henry Ossawa Tanner” |
Nineteenth-Century Art Worldwide: a journal of ninetheenth-century visual culture
Volume 9, Issue 2 (Autumn 2010)
Naurice Frank Woods, Visiting Assistant Professor of African American Studies
University of North Carolina, Greensboro
George Dimock, Associate Professor of Art History
University of North Carolina, Greensboro
Will South’s recent article proposing a heretofore “unknown” Henry Ossawa Tanner who was conflicted about his African American identity and who, while in France, sought to pass as white demonstrates an impressive mastery of archival sources and a flair for persuasive re-interpretation. It is all the more problematic therefore that he misinterprets the available evidence and thereby diminishes the cultural significance of Tanner’s work. Most ingeniously, South builds an elaborate yet spurious argument by restoring a question mark to Tanner’s declaration “Now am I a Negro?” in a famous epistolary exchange with art critic Eunice Tietjens in 1914. In so doing he refashions the foremost African American artist of the nineteenth century as a tragic mulatto—a man who saw himself “as mostly white,” who worked while in France to “systematically…remove race from the equation of his life,” and was willing “to conceal the African American component of his extraction.” South concludes with a critical appraisal that undermines the integrity of Tanner’s art by claiming that “his achievements, ultimately, were grounded in a life of complex compromise lived in between his blackness and his whiteness.”
With or without the missing punctuation, Tanner’s response to Tietjens resounds as his most important statement on race. It reflects his utter frustration with America’s practice of applying a rule of hypodescent (the “one-drop rule“) that defined him as an innately inferior being and constricted his opportunities as artist and citizen. What Tanner was rejecting in his response to Tietjens was not his race but the American art establishment’s continual labeling of him as “Negro” whenever his talent was evaluated. By way of contrast, the Paris art world showed “steadily increasing interest” in his work, linking him with his fellow countrymen, James McNeill Whistler and John Singer Sargent, without “slight[ing] his art in the exploitation of his race” as was the custom in the U.S. press. Tanner considered himself principally an American artist and he affirmed his right to join the ranks of the cultural elite based on artistic merit and racial equality. Tanner’s life and art challenged his nation’s disingenuous notions of race. When taken in context, his question to Tietjens, “Now am I a Negro?” is far from being a renunciation of his black ancestry and heritage as South would have it. Rather it functions rhetorically as sardonic irony in response to the cruelties and stupidities of white racism…
Read the entire article here.
Tags: George Dimock, Henry O. Tanner, Henry Ossawa Tanner, Henry Tanner, Naurice F. Woods, Naurice Frank Woods, Naurice Woods, Nineteenth-Century Art Worldwide, Will South