Wilson focuses on other kinds of composition, "juxtaposing wildly anomalous items, such as a slave statue and a set of fine china". A 1999 MacArthur "genius grant" recipient, his work encourages "unpacking and upending assumptions about race and history surrounding each". Narrative artists like Jacob Lawrence use history painting to tell a story in images, as his own Migration Series shows. The 60-panel epic depicts the relocation of a million African Americans to the industrialized North after World War II. As in the cases of Kehinde Wiley and Amy Sherald, history painting can also involve portraiture; in this instance, the official portraits of Barack and Michelle Obama, respectively. Artists like Horace Pippen and Romare Bearden chose more ordinary subject matter, relying on contemporary life to inspire uncontroversial imagery. The influential Henry Tanner did, too, in paintings like The Banjo Lesson and the Thankful Poor although those paintings — like many of his landscapes and Biblical scenes — often seem illuminated from within. The first African-American to enroll in the prestigious Pennsylvania Academy of the Fine Arts in 1880, Tanner studied with Realist painter Thomas Eakens. He went on to become the first African-American artist to earn international acclaim. He was elected to the National Academy of Design in 1910 and designated an honorary chevalier of the Order of the Legion of Honor in 1923. Early African-American art Pre-colonial, Antebellum and Civil War eras The earliest evidence of African-American art in the United States is the work of skilled craftsmen slaves from New England. Two categories of slave craft items survive from colonial America: articles that were created for personal use by slaves and articles created for public use. Examples from between the 17th century and the early 19th century include: small drums, quilts, wrought-iron figures, baskets, ceramic vessels, and gravestones. Many of Africa's most skilled slave artisans were hired out by slave owners. With the consent of their masters, some slave artisans were also able to keep a small percentage of the wages earned in their spare time to save enough money to purchase their freedom, and that of their family members. The public works of art produced by slave craftsmen were an important contribution to the Colonial economy. In New England and the Mid-Atlantic colonies, slaves were apprenticed as goldsmiths, cabinetmakers, engravers, carvers, portrait painters, carpenters, masons and iron workers. The construction and decoration of the Janson House, built