Romanticism is a movement in the arts and literature that originated in the late 18th century, focusing on inspiration, subjectivity, and the primacy of the individual. There are a few different stylistic characteristics of Romanticism, but the specific area I will focus on is the representation of landscapes by the artist Edward Mitchell Bannister that show his awe of nature in all its grandness.

Edward Mitchell Bannister was born in 1828 in the town of St. Andrew, New Brunswick, and lost his father when only four years old. He attended the local grammar school in his hometown and received a better education than many persons in his position. From early childhood he seems to have had an interest in painting, which showed itself in the school room and at home. He often drew portraits of his classmates and teachers. Bannister immigrated to the United States sometime in the 1840s when he became a cook for a ship and even a barber, before he really began to focus on art from the 1850s onwards. As a painter, Bannister appears to be heavily influenced by the Hudson River and American Barbizon Schools. In 1870 he moved to Providence, Rhode Island where his art career started to develop. Six years later he became the first Black artist to win a national award in the United States. His painting Under the Oaks (1876) took first prize at the Philadelphia Centennial Exhibition. Bannister would continue painting through the end of his life in 1897.[1]

Unfortunately, the present location of his award winning Under the Oaks is unknown, but it may be comparable to another work produced in 1876 called Oak Trees.  This work remains a popular image and is currently housed within the Smithsonian American Arts Museum collection. A large collection of Edward Bannister’s artworks is located in the Smithsonian digitized for viewing online. Oak Trees focuses on a man wandering through the untouched beauty of nature. In addition to Oak Trees, other works from this time period such as Tree Landscape (1877) also show this theme. The work depicts large open fields with trees in the foreground, a dark stormy sky, and cattle in the distance. It was painted in an impressionistic style in dark hues. The painting was made with only a few shades of green and gray, which is hard to believe because of its complexity.[2] The work presents a good example of Romanticism and its focus on the awe that nature could inspire. A large majority of Bannister’s works depict these kinds of incredibly beautiful stormy or pastoral landscapes.

The same feeling or mood is conveyed in many of Bannister’s pictures; each represent nature to explore a sublime feeling or produce a sense of idyllic calmness. Many images from this time have one or many trees as the main focal point of the picture. The subject matter of many shows a clear influence from Romanticism, where the subject matter is the raw power of nature, while all of his landscapes were painted increasingly in the style of Impressionism with gestural brushstrokes and impasto.

Bannister’s finished oil paintings have received increased attention, but less well-known are the artist’s studies. Watercolor Study from Scrapbook is a watercolor practice painting that shows a small section of trees. It was made by Bannister in 1890. This watercolor is a clear window into the rest of Edward’s artwork and the themes that he was interested in conveying. The influence of Romanticism is notable in Bannister’s subject matter, while Impressionistic en plein air techniques are evident in Bannister’s process. His watercolor and charcoal studies that were produced while hiking outdoors can provide an interesting insight into his final paintings. Edward Mitchell Bannister’s Watercolor study from scrapbook might be easily compared to many of his other finished oil works. Later works such as Swale Land (1898), a landscape oil painting, feature the same earthy tones as his watercolor study, but in the final work Bannister refines his brushstrokes for a finished style. 

Edward Mitchell Bannister’s Watercolor study provides us with information about his artistic career. His watercolor study gives insight into his practice of going out into nature to paint the environment he saw with his own eyes, a process he continued well into his later career in the 1890s. Eight years after he made Watercolor Study, he made Swale Land and it is noticeably clear to see how his work developed through practice and refinement in the studio.

Approaching Storm (1886) is another wonderful painting that includes a figure within a landscape. The work represents a man doing his best to walk against the wind, and shows how small we as humans are when compared to nature. The storm that is approaching is very ominous and threatening. It gives the feeling that something bad is about to happen. The man painted is smaller and nearly off to the side whiles the storm looms overhead, its scale giving a sense of power to the storm. The dark and gloomy colors used in the distance are perfect for the oncoming storm. The subject matter of man battling against the elements was particularly popular in 19th century landscapes.

Apple Tree in Meadow gives a clear view as to where Edward Mitchell Bannister was heading with his art, as his style started to tend more towards Impressionism in the later 19th century. Impressionism is characterized by small yet visible brush strokes. Apple Tree in Meadow is made with very many tiny brush strokes of pure pigment that all come together to make the entire picture. Bannister would go on to use the style of Impressionism, evident already in his watercolor sketches, in many of his later works. While he is now best known for scenes of nature, throughout his career Bannister did not only paint landscapes. Sad Memories is a charcoal drawing that shows a woman sitting with a child by herself. It is possible that it may be an image of the artist’s wife, Christine Carteaux, a fellow abolitionist and activist who financially supported Bannister throughout his career. It was made later in his career, around the same time as his Watercolor study, and contains many similar characteristics and techniques as his Impressionistic charcoal studies for landscape paintings. While his style was set and perfected incredibly early on, he clearly continued to experiment with a more Impressionistic style.[3]

A landscape painted during the movement of Romanticism can bring upon a sense of dread or absolute calm. Edward Mitchell Bannister managed to explore and show the raw power of nature as well as its beauty within his works. I am a noticeably enthusiastic fan of drawing/painting nature. In his work you can see his progression into Impressionism, which is something I hope to achieve in my own practice. Studying Edward Mitchell Bannister and his many landscape artworks is an immense help to me.

Notes:

[1] Edward Mitchel Bannister: Memorial Exhibition, Providence Art Club, May 1901. Providence, Rhode Island: Providence Art Club. 1901. Accessed: https://archive.org/details/edwardmitchelban00bann

[2] "Tree Landscape,” Smithsonian Institution, https://americanart.si.edu/artwork/tree-landscape-1049

[3] 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.

References 

Appiah-Duffell, Salima (February 26, 2015). "African American Artists and the Hudson River School". Unbound. Smithsonian Libraries and Archives. Accessed via: https://blog.library.si.edu/blog/2015/02/26/african-american-artists-and-the-hudson-river-school/#.YUJBlJ1Kg2w. Archived from the original on December 18, 2020. Retrieved January 12, 2021.

"Edward Mitchell Bannister". Rhode Island Heritage Hall of Fame. Accessed via: http://www.riheritagehalloffame.org/inductees_detail.cfm?iid=219. Archived from the original on February 25, 2017. Retrieved August 12, 2021.

Bannister, Edward Mitchell. Edward Mitchel Bannister: Memorial Exhibition, Providence Art Club, May 1901. Providence, Rhode Island: Providence Art Club. 1901. Accessed via: https://archive.org/details/edwardmitchelban00bann

Edward Mitchell Bannister at American Art Gallery Accessed via: http://americanartgallery.org/artist/home/id/136"Edward Mitchell Bannister".

 Holland, Juanita Marie To Be Free, Gifted and Black: African American Artist, Edward Mitchell Bannister The International Review of African American Art; Jan 1, 1995; 12, 1; pg. 4

Citation: Smith, Jordan. “Edward Mitchell Bannister: The Power of Nature.” Journal of Art & Theatre, vol. 1, no.1 (2022): 33-43.