MS01.01.03.B02.F10.037

As late as the 1965, a similar statement was made by two popular art critics in a book called VANGUARD ARTISTS which began the chapter on "Negro Artists" by stating:

"It is significant that on close interrogation - and with all good will - our artists were unable to identify a single top-flight Negro painter or sculptor now at work in the United States."

While it is noteworthy of the critic to be truthful about his intentions in art, few artists of color, perhaps beginning with the career of Edward Mitchell. Even though Bannister disproved these predjudiced opinions in his work, and did not receive the promotion that it about desired. He was singled out by men of good will as being one of the most important painters to come from the state of Rhode Island and one of the major American artists whos works are faithful in their technique to the stylistic design of the Barbizon tradition. His work has been singled out as being worthy of inclusion in major exhibitions which show the mark of accomplishment of 19th century American artists.

Bannister, like Duncanson, did not create a body of work which echoed in any manner the social predicament of the Black man in American society. He chose instead to work from nature capturing the shimmering glow of clouds hovering over Narragasett Bay. In this sense he was an artist dedicated to a romantic interpretation of nature. His Portrait of Christiana Carteux, his wife of 45 years, whose societal interest in the equalization of Black soldiers pay in the Union Army to that of whites during the Civil War which put her ahead of her time in matters pertaining to civil rights, and a recently rediscovered Portrait of A Mulatto Boy, are among the few works found by the artist that have black subjects.

Rosenberg, H. & Fleigel, N., The Vanguard Artist. New York, 1965, P.

*Bannister, believe that an objective search has been made in pursuit of the work of competent [?]