Podcasts about henry ossawa tanner

Ask: Where have you noticed God today? Listen: “May you Find a Light” by The Brilliance  https://open.spotify.com/track/1Bhq5TNKTHZ8nYVHDF7UlF?si=d7957ef463aa4fbc  Art: The Annunciation (1898) by Henry Ossawa Tanner    Devotional based on the work Shadow and Light: A Journey into Advent, by Tsh Oxenreider

The familiar story of Jesus' nighttime conversation with the Pharisaic leader, Nicodemus, centers on the “birth from above,” a birth that allows us both to see and enter the Kingdom of God. Audible whispers of the One True God as Triune echo throughout the conversational exchange. Although the Church's teaching on the Trinity is so deeply rooted in the Scriptures and the deepest theological reflections of the Church, and although trinitarian teaching is one of the most foundational and distinctive teachings of the Christian faith, it is a doctrine that, while surely acknowledged by orthodox believers, is avoided and neglected. The doctrine of the Trinity is thought to be merely abstract and philosophical, largely detached from day-to-day living. But trinitarian thought is at the center of God's Being, as the God who “loves [us] and gave himself for [us]“ (Gal 2:20). God is love [agape]” (1 John 4:7), and agape love requires an “Other” to whom and for whom One offers Oneself in self-giving, humble, Other-centered service. This God of eternal, loving, communion is the One who gives us new birth, into the kingdom of Father, Son, and Holy Spirit, and into a new family of brothers and sisters in Messiah Jesus. The image associated with this podcast is "Jesus and Nicodemus (a study)" by Henry Ossawa Tanner.

At 2908 W. Diamond Street sits the home of the world-renowned Black painter Henry Ossawa Tanner, who rose to fame in the late 19th and early 20th centuries. In 1976, the home was listed on the National Register of Historic Places, but in the decades after it fell into disrepair, culminating in the City of Philadelphia designating it an “unsafe structure” in 2021. Host Trenae Nuri speaks with Christopher R. Rogers, co-coordinator of the Friends of the Henry O. Tanner House, about how that group is fighting to preserve this piece of Black history, and his tips for getting started in the process of protecting a historic site in Philly. Keep up with efforts to preserve the Tanner House here. Want some more Philly news? Then make sure to sign up for our morning newsletter Hey Philly. We're also on Twitter and Instagram! Follow us @citycastphilly. Have a question or just want to share some thoughts with the team? Leave us a voicemail or send us a text at 215-259-8170. Interested in advertising with City Cast? Find more info here. Learn more about your ad choices. Visit megaphone.fm/adchoices. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Mark Johnson to Savannah in 2015 to serve as the CEO of the Gateway Community Service Board.  Prior to moving to Savannah he spent 17 years in St. Louis serving as a Medical Director for Behavioral Health and providing outpatient care in downtown St Louis.  A few years ago I had the opportunity to hear Mark share his testimony.  I was struck by how little Mark's testimony was about Mark.  It was more annotated bibliography than autobiography—what Mark labeled at as a collection of bits and pieces of formative content that Mark wanted to share.  His offering bristled authors, artists, movies and scripture —especially scripture.   It's not that Mark's life story is not interesting. He has many stories worth telling.  It's just that Mark chose to use his testimony opportunity to share about the works and words that have formed and discipled him.  He put out some breadcrumbs that — with God's Providence and the work of the Holy Sprit—could direct other curious people to a life of growth and wisdom in Christ.  Mark's unique form of testimony reminds of what R.D. Crouse wrote about concerning the communal aspect wisdom within the Church of Christ: “Do not suppose that wisdom is your private possession, your individual achievement; do not think that you are wise just by yourself alone.  We have wisdom only as a common possession.”  In this episode, Mark Johnson shares some of those bits and pieces with us.  Mark offers rich reflections on paintings by Henry Ossawa Tanner and Rembrandt and unpacks scripture passages that have had particular resonance in his approach to psychiatry and family therapy.  God has given Mark has a deeply informed and humble perspective on what it means to be a person, biologically, psychologically, socially and spiritually.  He is also a keen observer and a careful hearer the Word. It is a real gift to hear him share. 

Activist, Pastor, and Global Leader Evan Mawarire reflects on the role of Christian faith in democratic leadership, specifically looking at three significant Gospel passages that reveal not just Jesus's approach to leadership, but how he teaches his disciples to lead with peace, humility, compassion, and faith.In Mark 4, we find Jesus leading from peace, rest, control, and trust, peacefully sleeping in the midst of a storm, while the disciples prematurely conclude: “Don't you care that we are going to die?” In Mark 10, when two of the disciples play political games for their own glory, Jesus responds with a teaching of humility and a subversive glory—that the greatest will in fact be the servant of all. And in John 13, Jesus displays this humility and compassion by washing the gross and grungy feet of his friends, and teaching Peter that a leader is first a student, and the student isn't greater than their teacher.This episode was made possible in part by the generous support of the Tyndale House Foundation. For more information, visit tyndale.foundation.Show NotesFeatured Artwork: “Study, Christ Washing the Feet of the Disciples 1898”, Henry Ossawa Tanner and “Christ Washing the Disciples' Feet”, Jan Lievens, 1630/35Urgency, peace, and the exit door of fearThe shallow sleep of anxietyJesus calm's the storm:Mark 4:35-41 — 35 On that day, when evening had come, he said to them, ‘Let us go across to the other side.' 36 And leaving the crowd behind, they took him with them in the boat, just as he was. Other boats were with him. 37 A great gale arose, and the waves beat into the boat, so that the boat was already being swamped. 38 But he was in the stern, asleep on the cushion; and they woke him up and said to him, ‘Teacher, do you not care that we are perishing?' 39 He woke up and rebuked the wind, and said to the sea, ‘Peace! Be still!' Then the wind ceased, and there was a dead calm. 40 He said to them, ‘Why are you afraid? Have you still no faith?' 41 And they were filled with great awe and said to one another, ‘Who then is this, that even the wind and the sea obey him?'See also: Luke 8:22-25, Matthew 8:23-27“Don't you care that we are going to die?”Jesus's goal of leadership developmentMark 10:35-45 ****35 James and John, the sons of Zebedee, came forward to him and said to him, ‘Teacher, we want you to do for us whatever we ask of you.' 36 And he said to them, ‘What is it you want me to do for you?' 37 And they said to him, ‘Grant us to sit, one at your right hand and one at your left, in your glory.' 38 But Jesus said to them, ‘You do not know what you are asking. Are you able to drink the cup that I drink, or be baptized with the baptism that I am baptized with?' 39 They replied, ‘We are able.' Then Jesus said to them, ‘The cup that I drink you will drink; and with the baptism with which I am baptized, you will be baptized; 40 but to sit at my right hand or at my left is not mine to grant, but it is for those for whom it has been prepared.' 41 When the ten heard this, they began to be angry with James and John. 42 So Jesus called them and said to them, ‘You know that among the Gentiles those whom they recognize as their rulers lord it over them, and their great ones are tyrants over them. 43 But it is not so among you; but whoever wishes to become great among you must be your servant, 44 and whoever wishes to be first among you must be slave of all. 45 For the Son of Man came not to be served but to serve, and to give his life a ransom for many.'Pastor Evan's work in Zimbabwe's Citizen's movement“Lord, give us a seat at the table that decides the future of this nation.”Prayer: We ask for harvest, God plants a seed.How do we prepare our leaders?Luke 6: “The student is not above the teacher.”Reversing the roles: being served versus servingLeadership is not designed to be comfortablePeople are at their worst when we are in crisis, but this is when we're supposed to see leaders at their best when we're in crisis.Sheep without a shepherdLoss of trust and the Global Trust BarometerLeadership is not just about the right skill set, it's importantly about the right heart set.Washing the feet of the disciplesJohn 13:1-171 Now before the festival of the Passover, Jesus knew that his hour had come to depart from this world and go to the Father. Having loved his own who were in the world, he loved them to the end. 2 The devil had already put it into the heart of Judas son of Simon Iscariot to betray him. And during supper 3 Jesus, knowing that the Father had given all things into his hands, and that he had come from God and was going to God, 4 got up from the table, took off his outer robe, and tied a towel around himself. 5 Then he poured water into a basin and began to wash the disciples' feet and to wipe them with the towel that was tied around him. 6 He came to Simon Peter, who said to him, “Lord, are you going to wash my feet?” 7 Jesus answered, “You do not know now what I am doing, but later you will understand.” 8 Peter said to him, “You will never wash my feet.” Jesus answered, “Unless I wash you, you have no share with me.” 9 Simon Peter said to him, “Lord, not my feet only but also my hands and my head!” 10 Jesus said to him, “One who has bathed does not need to wash, except for the feet, but is entirely clean. And you are clean, though not all of you.” 11 For he knew who was to betray him; for this reason he said, “Not all of you are clean.” 12 After he had washed their feet, had put on his robe, and had returned to the table, he said to them, “Do you know what I have done to you? 13 You call me Teacher and Lord—and you are right, for that is what I am. 14 So if I, your Lord and Teacher, have washed your feet, you also ought to wash one another's feet. 15 For I have set you an example, that you also should do as I have done to you. 16 Very truly, I tell you, servants are not greater than their master, nor are messengers greater than the one who sent them. 17 If you know these things, you are blessed if you do them.HumilityCompassionIt's not easy to leadStarfish Story: “To that one it made a difference.”“Someone who knows how to lead, knows how they have been served themselves.”“Where can plant seeds of impact?”“How do we faithfully look after these sprouting of servant leadership, of people that understand that leadership is about serving are more than it is about being served.”Back to urgency and patience—the only way to plant seeds is to plant now and wait.“Where purpose is not known, abuse is inevitable.”“There are two most important days in your life—the day you were born and the day you discover why.”Patience and the crafting of leadershipAbout Evan MawarireEvan Mawarire is a Zimbabwean clergyman who founded #ThisFlag Citizen's Movement to challenge corruption, injustice, and poverty in Zimbabwe. The movement empowers citizens to hold government to account. Through viral videos, the movement has organized multiple successful non-violent protests in response to unjust government policy. Evan was imprisoned in 2016, 2017, and 2019 for charges of treason, facing 80 years in prison. His message of inspiring positive social change and national pride has resonated with diverse groups of citizens and attracted international attention.Evan has addressed audiences around the world, and Foreign Policy magazine named him one of the 100 global thinkers of 2016. The Daily Maverick Newspaper of South Africa named him 2016 African person of the year. Evan is a 2018 Stanford University Fellow of the Centre for Democracy Development and the Rule of Law. He is a nominee of the 2017 Index on Censorship Freedom of Expression awards and the 2018 Swedish government's Per Anger Prize for democracy actors. He was a 2023 World Fellow at Yale University's Maurice R. Greenberg World Fellows Program.Visit his website or follow him on X.Production NotesThis podcast featured Evan MawarireEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Macie Bridge & Kaylen YunA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/giveThis episode was made possible in part by the generous support of the Tyndale House Foundation. For more information, visit tyndale.foundation.

The Henry Ossawa Tanner house in Philadelphia, Pennsylvania was recently listed on the National Trust for Historic Preservation's 11 Most Endangered Historic Places for 2023. For over 50 years, it was home to renowned Black artist Henry Ossawa Tanner, his father Bishop Benjamin Tucker Tanner, and the other successful members of the Tanner family. Listen as Philip interviews Lawn Holland-Moore, the Director of Fellowships and Interpretive Strategies for the NTHP's African American Cultural Heritage Action Fund, where they discuss the need for more Black involvement in historic preservation and the dire need to save the places that tell our stories. To learn more about the 11 Most Endangered Historic Places and how you can get involved: https://savingplaces.org/stories/11-most-endangered-historic-places-2023 --- Send in a voice message: https://podcasters.spotify.com/pod/show/artifactual-journey/message

In this Black History Month episode honoring the legacy of Black creatives, Jenn and Daren share some of their favorite Black creatives from the old school, contemporary times, and present day. In the first segment, Jenn and Daren talk about the legendary and super Black contributions of Ma Rainey and Henry Ossawa Tanner. In the second segment, they share why the works of Audre Lorde and August Wilson are so important to the culture. In the third segment, Jenn and Daren share their pride in how Black youth like Samara Joy and Zara Wade are carrying the torch for Black creativity into the future. Reference Material: * The first African American celebrity artist - https://smarthistory.org/seeing-america-2/henry-ossawa-tanner-sa-periods/ * August Wilson: The Man Behind The Legacy - https://www.centertheatregroup.org/programs/students/learn-about-theatre/august-wilson-monologue-competition/august-wilson-biography/ * George C. Wolfe Says Ma Rainey's Black Bottom Is Still Relevant to Today's America - https://www.them.us/story/george-c-wolfe-ma-raineys-black-bottom-netflix-interview * The Audre Lorde Project - https://alp.org/about/audre * Samara Joy won Best New Artist at the 2023 Grammys. Here's how she got there. - https://www.cbsnews.com/news/samara-joy-jazz-vocalist-best-new-artist-2023-grammys/ * Dwyane Wade Is Standing Up For His Trans Daughter. His Ex-Wife Doesn't Approve - https://www.rollingstone.com/culture/culture-news/dwyane-wade-trans-daughter-name-change-1234623869/ www.ThatBlackCouple.com FB: www.facebook.com/ThatBlackCouple Twitter: www.twitter.com/ThatBlkCouple Instagram: www.instagram.com/thatblkcouple Apple Podcasts: https://itunes.apple.com/us/podcast/that-black-couple-podcast/id1284072220?mt=2 Spotify: https://open.spotify.com/show/2M7GIQlWxG05gGq0bpBwma?si=xSkjzK0BRJW51rjyl3DWvw Stitcher: www.stitcher.com/podcast/that-black-couple SoundCloud: https://soundcloud.com/thatblackcouple Google Podcasts: https://podcasts.google.com/feed/aHR0cDovL2ZlZWRzLnNvdW5kY2xvdWQuY29tL3VzZXJzL3NvdW5kY2xvdWQ6dXNlcnM6Mjc2MDExMzcwL3NvdW5kcy5yc3M Email: ThatBLKCouple@gmail.com Podcast Summary: This is an accidentally funny podcast about the realities of Blackness and adult life. We do “adult” differently. We are That Black Couple. Our goal is to create a space for Black millennials to discuss and embody adult life on their own terms. We aren't beholden to “traditional” gender or parenting roles, queerness is fluid and present in the ways we show up in our relationships and in the world, and we want to build community with other 30-something Black folx who are trying to figure this ish out.

It's the Third Thursday of Advent in the Church Calendar. This week we are following the Daily Office lectionary with an episode Monday through Friday. Our general order and lectionary comes from the Book of Common Prayer Daily Office. We'll sing “Great Are You Lord” by David Leonard, Jason Ingram, and Leslie Jordan. We'll then offer a Prayer of Confession. We'll read Psalm 50 followed by the Gloria Patri. Our Scripture Lesson is Matthew 3:1-12 . We'll say the Apostles' Creed, the Lord's Prayer, and the Collect of the Day. We'll then have a time of prompted prayer. If you have a prayer request please submit it here. Sign up here for the email list. Visit Patreon to give and support Morning Prayer monthly. Go to PayPal to give a one-time gift. Art: The Annunciation by Henry Ossawa Tanner  (1859-1937) Collect of the Day Third Sunday of Advent, Rite Two Stir up your power, O Lord, and with great might come among us; and, because we are sorely hindered by our sins, let your bountiful grace and mercy speedily help and deliver us; through Jesus Christ our Lord, to whom, with you and the Holy Spirit, be honor and glory, now and for ever. Amen. --- Send in a voice message: https://podcasters.spotify.com/pod/show/prayerandworship/message

It's the Third Thursday of Advent in the Church Calendar. This week we are following the Daily Office lectionary with an episode Monday through Friday. Our general order and lectionary comes from the Book of Common Prayer Daily Office. We'll sing “Great Are You Lord” by David Leonard, Jason Ingram, and Leslie Jordan. We'll then offer a Prayer of Confession. We'll read Psalm 50 followed by the Gloria Patri. Our Scripture Lesson is Matthew 3:1-12 . We'll say the Apostles' Creed, the Lord's Prayer, and the Collect of the Day. We'll then have a time of prompted prayer. If you have a prayer request please submit it here. Sign up here for the email list. Visit Patreon to give and support Morning Prayer monthly. Go to PayPal to give a one-time gift. Art: The Annunciation by Henry Ossawa Tanner  (1859-1937) Collect of the Day Third Sunday of Advent, Rite Two Stir up your power, O Lord, and with great might come among us; and, because we are sorely hindered by our sins, let your bountiful grace and mercy speedily help and deliver us; through Jesus Christ our Lord, to whom, with you and the Holy Spirit, be honor and glory, now and for ever. Amen.

Emily Austin talks with Clarence Davis, who is creating the art for the 2022 EDWTN Christmas card, about his lifelong love of creative expression. Additionally, Emily is joined by Shannon Curtis, Pastoral Assistant at St. Patrick's Catholic Church in Memphis, to talk about St. Mary. You can view The Annunciation by Henry Ossawa Tanner here: https://aleteia.org/2017/12/15/a-canvas-that-brings-together-heaven-and-earth-henry-ossawa-tanners-annunciation/ ABOUT THIS SERIES This Fall on Faithfully Memphis, join us for a new series - Behold It Unveiled - that explores the intersection of creativity and spirituality through conversations with artists, musicians, and makers whose faith informs their work. New episodes of Faithfully Memphis are released each Thursday at 8 a.m. on WYXR 91.7 FM and later in the morning on the podcast, available on Apple, Spotify, and other major platforms. August 25: God's Gift | Emily Austin talks with Clarence Davis, who is creating the art for the 2022 EDWTN Christmas card, about his lifelong love of creative expression. Additionally, Emily is joined by Shannon Curtis, Pastoral Assistant at St. Patrick's Catholic Church in Memphis, to talk about St. Mary. Sept. 1: Threading Love | In her first time hosting Faithfully Memphis, the Reverend Lisa McIndoo (Church of the Holy Apostles) chats with Casey Jordan, parishioner at St. Luke's Jackson, about the role creativity plays in his spirituality. Sept. 22: Making Art Work | Josh Horton is a creative entrepreneur focused on the social and economic impact of design and creativity. In this episode, the Reverend Jonathan Chesney (Holy Communion) will talk with him about the upcoming Creative Works conference in Memphis. Oct. 6: Awakening the Senses | For Darrell Willis, founder of Chinesha's Closet, creativity is a big part of self-care – both for himself and for the customers who shop his small batch candles and aromatherapy products. Join the Rev. Jesse Abell (Grace-St. Luke's) as he talks with Darrell about how his creative business kept him buoyed during his cancer journey. Oct. 13: A Joyful Noise | Join the Reverend Hester Mathes (Holy Trinity) in conversation with Jeanne Simmons. A musician recognized for her involvement in a broad array of classical music activities in Memphis, Jeanne has performed with the Germantown Symphony, the Memphis Symphony Orchestra, and numerous productions at Theatre Memphis and The Orpheum Theatre. Oct. 20: Cosmic Reset | In her bio on her website, artist Maggie Russell says that she has "lost count of the blessings" that have materialized in her life since she made artwork her full-time job. In this episode hosted by another Faithfully Memphis newcomer, Rev. Katherine Bush (Calvary Episcopal Church), learn about what inspires Russell to pursue beauty. Oct. 27: Preserving, Celebrating, Advancing | Lar'juanette Williams is an award-winning singer, dancer, actress, writer and arts administrator whose credits include E.R, Chicago Hope, Seinfeld, NYPD Blue, Spy Hard, Ghost of Mississippi, and Night Stand. She is also the Executive Director of Memphis Black Arts Alliance. In this not-to-be-missed episode, learn how throughout the changes in her life, faith has always remained central.

Joy talks with Joel (her composer brother) about advent carols, and then reflects on two works of art about the the annunciation: a poem by Denise Levertov and a painting by Henry Ossawa Tanner. 

Navindren Hodges, Bill Hodges Gallery Director , boasts the gallery's collection ranges from 19th-century Black artists Henry Ossawa Tanner to modernist, abstraction icon Norman Lewis to contemporaries Willie Cole and Carrie Mae Weems. Image: Demetrius Oliver, Totem, 2004

It's the re-record! We chat about some shit and then we chat about American Artist Henry Ossawa Tanner (1859 – 1937)! This is a solo artist episode because we just think he deserves his own episode!! ---- As always, check out the 'gram for some of the art we reference: @IMinoredInArtHistoryPod Music Creds: intro is edited Regina Spektor, outro is original audio by Nic Hamersly Audio mixed with Auphonic --- Support this podcast: https://podcasters.spotify.com/pod/show/iminoredinarthistorypod/support

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters' aesthetic experimentation, mirroring the conceit framed by Henry James's depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin's prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin's Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin's understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the third in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Performing Innocence: Primitive / Incipient The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 Moderator: James Smalls, Professor and Chair of Visual Arts, University of Maryland, Baltimore County Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: Projections of different ideas of innocence became entangled in the representation of Black US character in fin-de-siècle Paris. By pairing new research on blackface minstrelsy and painter Henry Ossawa Tanner in the American Art Association of Paris with the displays of Blackness curated by Black intellectuals in the “Exhibit of American Negroes” in the Paris Universal Exposition of 1900, Professor Burns argues that American minstrelsy in Paris built a racialized “primitive” identity that caricatured Black men as effeminate and emasculated, while the latter exhibit constructed innocence grounded in claims of youth, newness, and incipient culture. While the curators staunchly and effectively rejected narratives of primitivism, these tropes of the new simultaneously paralleled and reinforced performances of cultural innocence in the largely white US community in Paris. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Dr. James Smalls is an art historian, with a focus on the intersections of race, gender, and queer sexuality in the art and visual culture of the nineteenth century, as well as the art and visual culture of the black diaspora. He is the author of Homosexuality in Art (Parkstone Press, 2003) and The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts (2006). He has published essays in a number of book anthologies and prominent journals, including American Art, French Historical Studies, Third Text, Art Journal, and Art Criticism. His book chapters and articles include: Menace at the Portal: Masculine Desire and the Homoerotics of Orientalism (2016), The Soft Glow of Brutality (2015), A Teacher Uses Star Trek for Difficult Conversations on Race and Gender (2015), Racial Antics in Late Nineteenth-Century French Art and Popular Culture (2014), Sculpting Black Queer Bodies and Desires: The Case of Richmond Barthé (2013), and Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn (2013). Smalls is currently completing a book entitled Féral Benga: African Muse of Modernism. In 2006, Smalls curated a two-part exhibition at the Baltimore Museum of Art on the art, career, and international influence of the African American artist, Henry Ossawa Tanner. In 2009-2010, he served as the Consulting Editor for the five-volume set of The Grove Encyclopedia of American Art. In 2015 he was appointed to the Advisory Board for The Archives of American Art Journal. Dr. Smalls holds degrees from the University of California, Los Angeles (UCLA), in Ethnic Arts (B. A.), and Art History (M. A., and Ph.D.). He has taught at Rutgers University, Columbia University, and at the University of Paris.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the third in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Performing Innocence: Primitive / Incipient The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 Moderator: James Smalls, Professor and Chair of Visual Arts, University of Maryland, Baltimore County Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: Projections of different ideas of innocence became entangled in the representation of Black US character in fin-de-siècle Paris. By pairing new research on blackface minstrelsy and painter Henry Ossawa Tanner in the American Art Association of Paris with the displays of Blackness curated by Black intellectuals in the “Exhibit of American Negroes” in the Paris Universal Exposition of 1900, Professor Burns argues that American minstrelsy in Paris built a racialized “primitive” identity that caricatured Black men as effeminate and emasculated, while the latter exhibit constructed innocence grounded in claims of youth, newness, and incipient culture. While the curators staunchly and effectively rejected narratives of primitivism, these tropes of the new simultaneously paralleled and reinforced performances of cultural innocence in the largely white US community in Paris. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Dr. James Smalls is an art historian, with a focus on the intersections of race, gender, and queer sexuality in the art and visual culture of the nineteenth century, as well as the art and visual culture of the black diaspora. He is the author of Homosexuality in Art (Parkstone Press, 2003) and The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts (2006). He has published essays in a number of book anthologies and prominent journals, including American Art, French Historical Studies, Third Text, Art Journal, and Art Criticism. His book chapters and articles include: Menace at the Portal: Masculine Desire and the Homoerotics of Orientalism (2016), The Soft Glow of Brutality (2015), A Teacher Uses Star Trek for Difficult Conversations on Race and Gender (2015), Racial Antics in Late Nineteenth-Century French Art and Popular Culture (2014), Sculpting Black Queer Bodies and Desires: The Case of Richmond Barthé (2013), and Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn (2013). Smalls is currently completing a book entitled Féral Benga: African Muse of Modernism. In 2006, Smalls curated a two-part exhibition at the Baltimore Museum of Art on the art, career, and international influence of the African American artist, Henry Ossawa Tanner. In 2009-2010, he served as the Consulting Editor for the five-volume set of The Grove Encyclopedia of American Art. In 2015 he was appointed to the Advisory Board for The Archives of American Art Journal. Dr. Smalls holds degrees from the University of California, Los Angeles (UCLA), in Ethnic Arts (B. A.), and Art History (M. A., and Ph.D.). He has taught at Rutgers University, Columbia University, and at the University of Paris.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters’ aesthetic experimentation, mirroring the conceit framed by Henry James’s depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin’s prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin’s Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin’s understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the third in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Performing Innocence: Primitive / Incipient The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 Moderator: James Smalls, Professor and Chair of Visual Arts, University of Maryland, Baltimore County Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: Projections of different ideas of innocence became entangled in the representation of Black US character in fin-de-siècle Paris. By pairing new research on blackface minstrelsy and painter Henry Ossawa Tanner in the American Art Association of Paris with the displays of Blackness curated by Black intellectuals in the “Exhibit of American Negroes” in the Paris Universal Exposition of 1900, Professor Burns argues that American minstrelsy in Paris built a racialized “primitive” identity that caricatured Black men as effeminate and emasculated, while the latter exhibit constructed innocence grounded in claims of youth, newness, and incipient culture. While the curators staunchly and effectively rejected narratives of primitivism, these tropes of the new simultaneously paralleled and reinforced performances of cultural innocence in the largely white US community in Paris. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Dr. James Smalls is an art historian, with a focus on the intersections of race, gender, and queer sexuality in the art and visual culture of the nineteenth century, as well as the art and visual culture of the black diaspora. He is the author of Homosexuality in Art (Parkstone Press, 2003) and The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts (2006). He has published essays in a number of book anthologies and prominent journals, including American Art, French Historical Studies, Third Text, Art Journal, and Art Criticism. His book chapters and articles include: Menace at the Portal: Masculine Desire and the Homoerotics of Orientalism (2016), The Soft Glow of Brutality (2015), A Teacher Uses Star Trek for Difficult Conversations on Race and Gender (2015), Racial Antics in Late Nineteenth-Century French Art and Popular Culture (2014), Sculpting Black Queer Bodies and Desires: The Case of Richmond Barthé (2013), and Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn (2013). Smalls is currently completing a book entitled Féral Benga: African Muse of Modernism. In 2006, Smalls curated a two-part exhibition at the Baltimore Museum of Art on the art, career, and international influence of the African American artist, Henry Ossawa Tanner. In 2009-2010, he served as the Consulting Editor for the five-volume set of The Grove Encyclopedia of American Art. In 2015 he was appointed to the Advisory Board for The Archives of American Art Journal. Dr. Smalls holds degrees from the University of California, Los Angeles (UCLA), in Ethnic Arts (B. A.), and Art History (M. A., and Ph.D.). He has taught at Rutgers University, Columbia University, and at the University of Paris.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters’ aesthetic experimentation, mirroring the conceit framed by Henry James’s depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin’s prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin’s Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin’s understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.

One highly visible example of French influence on the city of Philadelphia is the Benjamin Franklin Parkway, modeled on the Champs-Élysées. In "Salut!", Lynn Miller and Therese Dolan trace the fruitful, three-centuries-long relationship between the City of Brotherly Love and France. This detailed volume illustrates the effect of Huguenots settling in Philadelphia and 18-year-old William Penn visiting Paris, all the way up through more recent cultural offerings that have helped make the city the distinctive urban center it is today. "Salut!" provides a history of Philadelphia seen through a particular cultural lens. The authors chronicle the French influence during colonial and revolutionary times. They highlight the contributions of nineteenth-century French philanthropists, such as Stephen Girard and the Dupont family. And they showcase the city’s vibrant visual arts community featuring works from the Philadelphia Museum of Art, the Rodin Museum, the Barnes Foundation, and the Joan of Arc sculpture, as well as studies of artists Thomas Eakins, Mary Cassatt, and Henry Ossawa Tanner. There is also a profile of renowned Le Bec-Fin chef Georges Perrier, who made Philadelphia a renowned culinary destination in the twentieth century. Lynn Miller is Professor Emeritus of Political Science at Temple University. Therese Dolan is Professor Emerita of Art History at Temple University's Tyler School of Art and Architecture. Description courtesy of Temple University Press.

Stations of the Cross: Station 1 "If Jesus were traveling the streets of Oregon, what would he notice? As he walked through the acres of blighted forests from wildfires, would he weep?" Narrated by the Rev'd Shana McCauley, Canon for Cathedral Life at Trinity Episcopal Cathedral in Portland. In this episode: Music: Improvisations by Katie Burk (Organ Scholar at Trinity Cathedral) Poetry: "Jesus is Condemned" by James Matthew Wilson Art: The Savior by Henry Ossawa Tanner, ca. 1900–1905  All art featured in this audio pilgrimage series is drawn from "Stations of the Cross at SAAM," developed by Victoria Emily Jones of Art & Theology, and is part of the collection at the Smithsonian American Art Museum in Washington DC. View full Stations of the Cross at SAAM.  --- This series of weekly audio reflections will help you learn to link the divine with your daily life. How might Jesus’ final hours feel different when juxtaposed with a walk in the neighborhood, or in a quiet corner at home, or while driving to pick up take-out? Pause a few times a week for scripture, prayers, and music led by Trinity clergy and priests from across the Diocese of Oregon.  New Stations drop every Monday, Wednesday, and Friday morning, through Holy Week. Be sure to click subscribe! --- Follow us on Facebook, Instagram, and Twitter, and learn more about this open & welcoming community, including upcoming events, at trinity-episcopal.org. To support this podcast and all our work, which is supported in part by the generosity of our listeners, visit trinity-episcopal.org/give

For our final episode both of February and of Season 2, we have a special treat! We're celebrating Black History Month with an episode devoted to the talents of artists and composers of African American descent. Unfortunately, these creators often don't enter conversations about the art and music that we love to talk about in this podcast, so we hope this episode can help to give them the spotlight they deserve!    Find our playlist of this episode's music here!  Or go to the music section below to find the full works!    Art:  Robert S. Duncanson (1821-1872): A View of Asheville, North Carolina  (1850) Henry Ossawa Tanner (1859-1937): Daniel in the Lion's Den (1907-1918)  Jacob Lawrence (1917-2000): The Builders (1947)    Music:  George Theophilus Walker (1922-2018): Concerto for Piano and Orchestra William Grant Still (1895-1987): Symphony No. 1, "Afro-American" (1930) Florence Price (1887-1953): Violin Concerto No. 2 (1952) 

Andy and JT celebrate the lives of some unsung heroes in the African American community. These are individuals that lived lives worthy of being known today and they each take time to share these powerful stories. Andy's hero is Henry Ossawa Tanner, an accomplished painter. JT's hero is Vivien Thomas, the man now credited for the breakthrough in heart surgery. ----more----[2:08] - Shoutout to Yasuke the African samurai[3:18] - JT's unsung hero: Vivien Thomas[11:38] - Doing post-doctorate work on a janitor's salary[14:56] - Falling out[16:24] - Legacy[18:00] - Takeaways[19:40] - How do you interpret Dr. Blalock's actions?[24:01] - Andy's unsung hero: Henry Ossawa Tanner[26:11] - Started painting[27:54] - Painting biblical scenes[32:30] - He had a sincere and enduring faith that shaped his art[35:00] - Life long struggles to create a space for himself[36:55] - He wanted to love his country----more----Like Something The Lord Made (Article)Something The Lord Made (Movie)Daniel in the Lions Den (Painting)Resurrection of Lazarus (Painting)Portrait of Henry O Tanner's Mother (Painting) 

  We've reached the end of Season 5 and as this unbelievable year comes to a close, I'll be taking some time off to figure out what's next for the show. It's been a huge pleasure bringing you all the great stories I found and sharing the incredible variety of works in the Gallery. And talking to the occasional guest like Bruce Campbell and Sandy Bellamy was great! I think what made this season special, though, was learning with you about the incredible Black artists of the Evans-Tibbs Collection. I was familiar with Henry Ossawa Tanner and Alma Thomas but finding out about the work and life of Margaret Burroughs and Edward Loper was amazing. We really only scratched the surface, so if you want to find out more about these and other Black artists, here are a few resources: Evans-Tibbs Collection exhibition Digitized Evans-Tibbs archive items Archive of American Art Finally, I want to thank everyone at the Gallery who have provided so much help and encouragement. I'll continue to be on Instagram @alonglookslowart, so look for me there! SHOW NOTES (TRANSCRIPT) “A Long Look” theme is “Ascension” by Ron Gelinas (YouTube) The post End of Season 5 appeared first on A Long Look.

The praise addressed to our Lord's mother was reinforced when he spoke about her being blessed because she embraced the Word of God, meaning the will of God. Everything hung in the balance when the Angel Gabriel announced God's plan of redemption. The universe was waiting for her response. This is a meditation preached by Fr. Eric Nicolai at Lyncroft hospitality centre in Toronto, on Oct 10, 2020. See other meditations at www.youtube.com/ericnicolai Music from Handel's opera, Rinaldo. The aria Lascia ch'io pianga, played the guitar by Bert Alink. Thumbnail painting by Henry Ossawa Tanner (1859–1937), The Annunciation, at the Philadelphia Museum of art.

Henry Ossawa Tanner became one of America's most famous Black artists by depicting dream-like Bible scenes like this one. Click here to see it on the Gallery's site. Clicking the image on their page will open a viewer that allows you to zoom in and pan around. In today's episode we'll find out how he went from working in a flour mill to a successful artistic career in Paris and what he has in common with another artist, Richard Norris Brooke. And we discover a mystery about one of his early works! SHOW NOTES (TRANSCRIPT) “A Long Look” theme is “Ascension” by Ron Gelinas youtu.be/jGEdNSNkZoo Episode theme is “Virtutes Instrumenti” by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4590-virtutes-instrumenti License: http://creativecommons.org/licenses/by/4.0/ Artwork information https://www.nga.gov/collection/art-object-page.195513.html https://www.khanacademy.org/humanities/art-1010/american-art-to-wwii/symbolism-america/a/tanner-angels-appearing-before-the-shepherds https://www.antiquesandthearts.com/henry-ossawa-tanner-and-his-influence-in-america/ Tanner Bio https://www.nga.gov/collection/artist-info.1919.html https://en.wikipedia.org/wiki/Henry_Ossawa_Tanner#cite_ref-eoaah_6-0 https://americanart.si.edu/artist/henry-ossawa-tanner-4742 Tanner painting technique https://www.youtube.com/watch?v=hWxErF_nzd4 Slow Art Day http://www.slowartday.com The post The Good Shepherd by Henry Ossawa Tanner appeared first on A Long Look.

In This Episode, Darlene discusses the following: The importance of celebrating music especially during these trying times.  The significance of art and some small gems of museums which are the homes of masterpieces.    Key Takeaways: Music can elevate and distract. Just listening to music can transform your mood.  Art Museums are all around us and some gems are not well known.  Henry Ossawa Tanner, a gifted man was able to rise above major obstacles by using his artistic gifts.    Connect with Darlene Corbett: Website: DarleneCorbett.com Book: Stop Depriving the World of You: A Guide for Getting Unstuck   Please visit my website, sign up for my newsletter and receive the first few chapters of my book, Stop Depriving The World of You. My book is also now on Audible.    Please get ready to be a part of my next endeavor for those who are 50 plus (45 plus are included if they are committed). I cannot wait to share.       

"But those who do what is true come to the light, so that it may be clearly seen that their deeds have been done in God." ~ John 3:21 Image: Nicodemus Visiting Jesus, Henry Ossawa Tanner, 1899, Pennsyvania Academy of the Fine Arts, Philadelphia PA, US. --- Send in a voice message: https://anchor.fm/bob-johnson9/message Support this podcast: https://anchor.fm/bob-johnson9/support

For most Americans, there’s a list of arts that they might be able to rattle off if pressed to name them off the top of their heads. Picasso. Michelangelo. Leonardo da Vinci. Name recognition does go a long way, but such lists also highlight what many of us don’t know-- a huge treasure trove of talented artists from decades or centuries past that might not be household names, but still have created incredible additions to the story of art. It’s not a surprise that many of these individuals represent the more diverse side of things, too-- women, people of color, different spheres of the social or sexual spectrum. This season on the ArtCurious podcast, we’re covering the coolest artists you don’t know. This week: Henry Ossawa Tanner. Please SUBSCRIBE and REVIEW our show on Apple Podcasts! Twitter / Facebook/ Instagram SPONSORS The Great Courses Plus: Enjoy a free trial of unlimited content Care/Of: Get 50% off your first vitamin/supplement purchase Learn more about your ad choices. Visit megaphone.fm/adchoices

Rewriting the narrative that “mixed people aren’t black.” They very much so are. More on this subject coming on a future episode. I made a few mistakes with the dates, Henry Ossawa Tanner lived between 1859 - 1937 and is the first African American painter to garner international fame. You can find out more about Henry Ossawa Tanner with a quick google search.

Receiving Grace in God’s Work, Week 2Ephesians 2:1-10 Study for Christ & Nicodemus on a Rooftop by Henry Ossawa Tanner (1923)

Black History Month: Henry Ossawa Tanner by Museum of the Bible

W.E.B. DuBois described spirituals as “the most original and beautiful expression of life and longing yet born on American soil.” But visual culture also has much to tell us about the spirituality of African diaspora peoples in America. This series will explore spirituality as it is addressed in paintings, sculptures and photographs created by African-American artists associated with the Harlem Renaissance, and some of their forebears. February 11: People of Faith We begin by looking at the paintings of Henry Ossawa Tanner, who had been trained by Thomas Eakins, and the son of a Bishop of the A.M.E. church, who served as a mentor to younger artists. Tanner’s paintings introduce the theme of individuals captured in moments of spiritual practice.

Jesuit priest Leo O'Donovan, SJ, has held some prominent roles, including over 20 years as the president of Georgetown University. But he has also kept up a lively engagement with the world of art and art exhibitions, a fact well known to readers of the periodicals America and Commonweal. O'Donovan spoke with MOCRA Director (and fellow Jesuit priest) Terrence Dempsey, SJ, about his s wide-ranging career and his perspective on contemporary religious art. Be sure to listen to the Audio Extra, "Henry Ossawa Tanner."  Visit the MOCRA Voices website to learn more about Leo O'Donovan, SJ, and to explore a Listening Guide to the interview.   Recording Engineer and Editor: Mike Schrand Host: Linda Kennedy Theme and Incidental Music: Stephen James Neale Producer: David Brinker Original release date: 12/22/2016 This episode was made possible with financial support from the Regional Arts Commission.

Leo O'Donovan, SJ, talks about the compelling contemporary resonances he discerns in a painting by Henry Ossawa Tanner, "The Flight into Egypt." This is an Audio Extra to Episode 22: Leo O'Donovan, SJ.   Original release date: 12/22/2016

Scripture: Luke 11 Paintings: Sun to the West by Logan Hagege Mother and Daughter by Paul Gauguin Christ and His Mother Studying the Scriptures by Henry Ossawa Tanner (scroll down for this painting)

Scripture: Luke 10 Paintings: Hagar in the Wilderness by Jean Baptiste-Camille Corot The Thankful Poor by Henry Ossawa Tanner

Below: Christ Appearing to Nicodemus, by Henry Ossawa Tanner, c. 1899, plus two studies associated with the painting…

Below: Christ Appearing to Nicodemus, by Henry Ossawa Tanner, c. 1899, plus two studies associated with the painting…

Below: Christ Appearing to Nicodemus, by Henry Ossawa Tanner, c. 1899, plus two studies associated with the painting…

Below: Christ Appearing to Nicodemus, by Henry Ossawa Tanner, c. 1899, plus two studies associated with the painting…

Conservators Amber Kerr-Allison and Brian Baade present findings of their recent study and analysis of six of Tanner's works in the permanent collection, including the newly conserved Flight into Egypt. Learn how Tanner's documented painting recipe, preserved in the Archives of American Art, contributed to their understanding and analysis of this artist's technique that produced some of the most vibrant paintings at the turn of the 20th century.

Scripture: Genesis 28 & Luke 17 All of today's paintings are by Henry Ossawa Tanner. Daniel in the Lion's Den The Vistation Christ and His Mother Studying the Scriptures  

Scripture: Luke 12 Paintings referenced in today's sermon: The Angelus by Jean-Francois Millet Paul Gauguin The Thankful Poor by Henry Ossawa Tanner

Scripture: Luke 2 Paintings from today's service: The Presentation at the Temple by Giovanni Bellini Simeon in the Temple by Rembrandt van Rijn The Thankful Poor by Henry Ossawa Tanner

Scripture: Matthew 15 Paintings referenced in today's sermon: The Son of Man, 1927, N.C. Wyeth On the Tiberiad Lake, 1888, Vasiliy Polenov Christ and Nicodemus on a Rooftop, 1923, Henry Ossawa Tanner