The Declaration of Independence Read by Thespians: Morgan Freeman, Kevin Spacey, Renee Zellweger & More

Some­where along the line today, take a break from the fes­tiv­i­ties and remind your­self what we’re actu­al­ly cel­e­brat­ing here in Amer­i­ca — the sign­ing of Amer­i­ca’s found­ing doc­u­ment 239 years ago. Draft­ed by Thomas Jef­fer­son, The Dec­la­ra­tion of Inde­pen­dence remains per­haps the best state­ment of our coun­try’s aspi­ra­tions. And after the Supreme Court’s recent Oberge­fell v. Hodges deci­sion, many would say that the doc­u­ment — pro­claim­ing that “all men are cre­at­ed equal” and have inalien­able rights, “Life, Lib­er­ty and the pur­suit of Hap­pi­ness” — feels more alive than it has for some time. But no mat­ter where you sit on the polit­i­cal spec­trum, it’s help­ful to return to The Dec­la­ra­tion and its core prin­ci­ples. You can read the open­ing lines below, and the full text here.

Above, we have some very rec­og­niz­able Hol­ly­wood celebs (includ­ing eight Oscar win­ners) read­ing The Dec­la­ra­tion. (Beneath it, we’ve includ­ed a grainier ver­sion that fea­tures a nice pref­ace by Mor­gan Free­man). For the sake of mak­ing this worth­while, pre­tend it isn’t the infa­mous Mel Gib­son read­ing the very first lines.

When in the Course of human events, it becomes nec­es­sary for one peo­ple to dis­solve the polit­i­cal bands which have con­nect­ed them with anoth­er, and to assume among the pow­ers of the earth, the sep­a­rate and equal sta­tion to which the Laws of Nature and of Nature’s God enti­tle them, a decent respect to the opin­ions of mankind requires that they should declare the caus­es which impel them to the sep­a­ra­tion.

We hold these truths to be self-evi­dent, that all men are cre­at­ed equal, that they are endowed by their Cre­ator with cer­tain unalien­able Rights, that among these are Life, Lib­er­ty and the pur­suit of Happiness.–That to secure these rights, Gov­ern­ments are insti­tut­ed among Men, deriv­ing their just pow­ers from the con­sent of the gov­erned, –That when­ev­er any Form of Gov­ern­ment becomes destruc­tive of these ends, it is the Right of the Peo­ple to alter or to abol­ish it, and to insti­tute new Gov­ern­ment, lay­ing its foun­da­tion on such prin­ci­ples and orga­niz­ing its pow­ers in such form, as to them shall seem most like­ly to effect their Safe­ty and Hap­pi­ness. Pru­dence, indeed, will dic­tate that Gov­ern­ments long estab­lished should not be changed for light and tran­sient caus­es; and accord­ing­ly all expe­ri­ence hath shewn, that mankind are more dis­posed to suf­fer, while evils are suf­fer­able, than to right them­selves by abol­ish­ing the forms to which they are accus­tomed. But when a long train of abus­es and usurpa­tions, pur­su­ing invari­ably the same Object evinces a design to reduce them under absolute Despo­tism, it is their right, it is their duty, to throw off such Gov­ern­ment, and to pro­vide new Guards for their future security.–Such has been the patient suf­fer­ance of these Colonies; and such is now the neces­si­ty which con­strains them to alter their for­mer Sys­tems of Gov­ern­ment. The his­to­ry of the present King of Great Britain is a his­to­ry of repeat­ed injuries and usurpa­tions, all hav­ing in direct object the estab­lish­ment of an absolute Tyran­ny over these States. To prove this, let Facts be sub­mit­ted to a can­did world.

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Relat­ed Con­tent:

Free Online His­to­ry Cours­es

Bertrand Russell’s Ten Com­mand­ments for Liv­ing in a Healthy Democ­ra­cy

Hear John­ny Cash Deliv­er Lincoln’s Get­tys­burg Address

John Wayne Recites the Pledge of Alle­giance

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2,200 Radical Political Posters Digitized: A New Archive

labadiecollectionposter07

I recent­ly heard some­one say his col­lege-bound nephew asked him, “What’s a union?” Whether you love unions, loathe them, or remain indif­fer­ent, the fact that an osten­si­bly edu­cat­ed young per­son might have such a sig­nif­i­cant gap in their knowl­edge should cause con­cern. A his­toric labor con­flict, after all, pro­vid­ed the occa­sion for Ronald Rea­gan to prove his bona fides to the new con­ser­v­a­tive move­ment that swept him into pow­er. His crush­ing of the Pro­fes­sion­al Air Traf­fic Con­trollers Orga­ni­za­tion (PATCO) in 1981 set the tone for the ensu­ing 30 years or so of eco­nom­ic pol­i­cy, with the labor move­ment fight­ing an uphill bat­tle all the way. Pri­or to that defin­ing event, unions held sway over pol­i­tics local and nation­al, and had con­sol­i­dat­ed pow­er blocks in the Amer­i­can polit­i­cal land­scape through decades of strug­gle against oppres­sive and dehu­man­iz­ing work­ing con­di­tions.

In prac­ti­cal terms, unions have stood in the way of cap­i­tal’s unceas­ing search for cheap labor and new con­sumer mar­kets; in social and cul­tur­al terms, the pol­i­tics of labor have rep­re­sent­ed a for­mi­da­ble ide­o­log­i­cal chal­lenge to con­ser­v­a­tives as well, by way of a vibrant assem­blage of anar­chists, civ­il lib­er­tar­i­ans, anti-colo­nial­ists, com­mu­nists, envi­ron­men­tal­ists, paci­fists, fem­i­nists, social­ists, etc. A host of rad­i­cal isms flour­ished among orga­nized work­ers espe­cial­ly in the decades between the 1870s and the 1970s, find­ing their voice in newslet­ters, mag­a­zines, pam­phlets, leaflets, and posters—fragile medi­ums that do not often weath­er well the rav­ages of time. Thus the advent of dig­i­tal archives has been a boon for stu­dents and his­to­ri­ans of work­ers’ move­ments and oth­er pop­ulist polit­i­cal groundswells. One such archive, the Joseph A. Labadie Col­lec­tion at the Uni­ver­si­ty of Michi­gan Library, has recent­ly announced the dig­i­ti­za­tion of over 2,200 posters from their col­lec­tion, a data­base that spans the globe and the spec­trum of left­ist polit­i­cal speech and iconog­ra­phy.

labadiecollectionposter06

We have clev­er­ly-designed visu­al puns like the Chica­go Indus­tri­al Work­ers of the World poster just above, titled “What is what in the world of labor?” Pro­mot­ing itself as “One Big Union of All Labor,” the IWW made some of the most ambi­tious pro­pa­gan­da, like the 1912 poster (mid­dle) in which an “Indus­tri­al Co-Oper­a­tive Com­mon­wealth” replaces the tyran­ny of the cap­i­tal­ist, who is told by his “trust man­ag­er” peer, “Our rule is end­ed, dis­mount and go to work.” In this post-rev­o­lu­tion­ary fan­ta­sy, the IWW promis­es that “A few hours of use­ful work insure all a lux­u­ri­ous liv­ing,” though it only hints at the details of this utopi­an arrange­ment. Up top, we have an ornate May Day poster from 1895 by Wal­ter Crane, hop­ing for a “Mer­rie Eng­land” with “No Child Toil­ers,” “Pro­duc­tion for Use Not For Prof­it,” and “The Land For the Peo­ple,” among oth­er, more nation­al­ist, sen­ti­ments like “Eng­land Should Feed Her Own Peo­ple.”

labadiecollectionposter05

“While all of the posters were scanned at high res­o­lu­tion,” writes Hyper­al­ler­gic, “they appear online as thumb­nails with nav­i­ga­tion to zoom.” You can down­load the images, but only the small­er, thumb­nail size in most cas­es. These hun­dreds of posters rep­re­sent “just a por­tion of the mate­r­i­al in the Labadie Collection”—named for a “Detroit-area labor orga­niz­er, anar­chist, and author” who “had the idea for the social protest archive at the uni­ver­si­ty in 1911.” You can view oth­er polit­i­cal arti­facts in the UMich library’s dig­i­tal col­lec­tions here, includ­ing anar­chist pam­phlets, polit­i­cal but­tons, and a dig­i­tal pho­to col­lec­tion. The col­lec­tion as a whole gives us a poten­tial­ly inspir­ing, or infu­ri­at­ing, mosa­ic of polit­i­cal thought at its bold­est and most graph­i­cal­ly assertive from a time before online peti­tions and hash­tag cam­paigns took over as the pri­ma­ry cir­cu­la­tors of pop­u­lar rad­i­cal thought.

via Hyper­al­ler­gic (where you can find some oth­er big, visu­al­ly strik­ing posters)

Relat­ed Con­tent:

The Red Men­ace: A Strik­ing Gallery of Anti-Com­mu­nist Posters, Ads, Com­ic Books, Mag­a­zines & Films

Won­der­ful­ly Kitschy Pro­pa­gan­da Posters Cham­pi­on the Chi­nese Space Pro­gram (1962–2003)

Free Online Polit­i­cal Sci­ence Cours­es

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Venice in Beautiful Color Images 125 Years Ago: The Rialto Bridge, St. Mark’s Basilica, Doge’s Palace & More

Venice 1

A few months ago, Men­tal Floss put up a post of “Fan­tas­tic 120-Year-Old Col­or Pic­tures of Ire­land.” Fan­tas­tic pic­tures indeed, although the nature of the tech­nol­o­gy that pro­duced them seems as inter­est­ing to me as the 19th-cen­tu­ry Irish life cap­tured in the images them­selves. They came from the Library of Con­gress’ geo­graph­i­cal­ly orga­nized archive of pho­tocrom prints, a method per­haps known only to die-hard his­tor­i­cal pho­tog­ra­phy enthu­si­asts. For the rest of us, the Library of Con­gress’ page on the pho­tocrom process explains it: “Pho­tochrom prints are ink-based images pro­duced through ‘the direct pho­to­graph­ic trans­fer of an orig­i­nal neg­a­tive onto litho and chro­mo­graph­ic print­ing plates.’ ”

Venice 2

Its inven­tor Hans Jakob Schmid came up with the tech­nique in the 1880s, a decade that began with col­or pho­tog­ra­phy con­signed to the realm of the­o­ry. While Pho­tocrom prints may look an awful lot like col­or pho­tographs, look at them through a mag­ni­fy­ing glass and “the small dots that com­prise the ink-based pho­to­me­chan­i­cal image are vis­i­ble.” “The pho­to­me­chan­i­cal process per­mit­ted mass pro­duc­tion of the vivid col­or prints,” each col­or requir­ing “a sep­a­rate asphalt-coat­ed lith­o­graph­ic stone, usu­al­ly a min­i­mum of six stones and often more than ten stones.”

But that unwieldy-sound­ing tech­nol­o­gy and labo­ri­ous-sound­ing process has giv­en us, among oth­er strik­ing pieces of visu­al his­to­ry, these lush images of fin de siè­cle Venice, which the writer of place Jan Mor­ris once described as “less a city than an expe­ri­ence.”

Venice 3

At the top of the post, we have a view of the Rial­to Bridge, which spans one of the city’s famous canals; below that a scene of pigeon-feed­ing in St. Mark’s Piaz­za; the image just above leaves the pigeons behind to view the inte­ri­or of St. Mark’s Basil­i­ca.

Venice 4

The pho­tos below, all also tak­en between 1890 and 1900, depict the exte­ri­or and inte­ri­or of the Doge’s Palace, as well as its view of San Gior­gio Island by moon­light.

Venice 5

We may not con­sid­er these “real” col­or pho­tographs, but the col­ors they present, vivid­ly applied in the print­ing process, some­how more accu­rate­ly rep­re­sent the spir­it of late 19th-cen­tu­ry Europe — one of his­to­ry’s tru­ly vivid peri­ods, in one of its endur­ing­ly vivid human envi­ron­ments. More col­or images of fin-de-siecle Venice can be viewed here.

Venice 6

via Men­tal Floss

Relat­ed Con­tent:

Take a Vir­tu­al Tour of Venice (Its Streets, Plazas & Canals) with Google Street View

How Venice Works: A Short Film

Venice in a Day: From Day­break to Sun­set in Time­lapse

Venice is Way Under Water…

Hand-Col­ored Pho­tographs of 19th Cen­tu­ry Japan

The First Col­or Pho­tos From World War I: The Ger­man Front

The Old­est Col­or Movies Bring Sun­flow­ers, Exot­ic Birds and Gold­fish Back to Life (1902)

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Dr. Seuss’ World War II Propaganda Films: Your Job in Germany (1945) and Our Job in Japan (1946)

Most of us come to know the work of Theodor “Dr. Seuss” Geisel through his chil­dren’s books (I, for instance, remem­ber Hop on Pop as the first book I could read whole), and while he remains most famous as a pro­lif­ic teller and illus­tra­tor of sur­re­al­ly didac­tic tales for young­sters, his pro­duc­tiv­i­ty entered oth­er cul­tur­al areas as well. Per­haps the most sur­pris­ing chap­ter of his career hap­pened dur­ing the Sec­ond World War, when Seuss, who had already demon­strat­ed his strong anti-Hitler, anti-Mus­soli­ni, and pro-Roo­sevelt sen­ti­ments in polit­i­cal car­toons, went to work script­ing pro­pa­gan­da films.

Hav­ing joined the U.S. Army in 1943 as a Cap­tain, Seuss went on to take charge of the Ani­ma­tion Depart­ment of the Air Force’s First Motion Pic­ture Unit. Work­ing under Frank Capra toward the end of the war, he wrote the short films Your Job in Ger­many and Our Job in Japan, both intend­ed to get Amer­i­can sol­diers into the right mind­set for the occu­pa­tions of those defeat­ed coun­tries. “With your con­duct and atti­tude while inside Ger­many, you can lay the ground­work of a peace that could last for­ev­er,” says the nar­ra­tor of the for­mer, “Or just the oppo­site.”

Unlike the sim­i­lar­ly G.I.-targeted Pri­vate Sna­fu car­toons we fea­tured last year, noth­ing of Seuss’ fan­ci­ful style comes through in these films, which use all-too-real footage to illus­trate to “our boys” as vivid­ly as pos­si­ble what could go wrong if they let their guard down in these only-just-for­mer ene­my ter­ri­to­ries. “The Ger­man lust for con­quest is not dead,” the nar­ra­tor warns, “it’s mere­ly gone under­cov­er.”  The Ger­man peo­ple, he insists, “must prove they have been cured beyond the shad­ow of a doubt before they ever again are allowed to take their place among respectable nations.”

Our Job in Japan also holds out the prospect of a pro­longed peace — “peace, if we can solve the prob­lem of 70 mil­lion Japan­ese peo­ple.” But this short does­n’t have quite as damn­ing a tone as Your Job in Ger­many; instead, it focus­es on how best to reha­bil­i­tate an “old, back­ward, super­sti­tious coun­try” full of impres­sion­able peo­ple “trained to fol­low blind­ly wher­ev­er their lead­ers led them.” Accord­ing to the script, the emi­nent­ly teach­able and adapt­able “Japan­ese brain” just hap­pened to fall under the sway of war­lords who decid­ed it could “be hopped up to fight with fanat­i­cal fury.” Patron­iz­ing, cer­tain­ly, but a far cry from the pop­u­lar con­cep­tion in the west at the time of the Japan­ese as a cru­el, pow­er-mad race inher­ent­ly bent on blood­shed.

Seuss him­self had a his­to­ry of anti-Japan­ese car­toon­ing (also fea­tured on our site), but it seems his views had already begun to turn by the time of Our Job in Japan, which argues only for set­ting an exam­ple demon­strat­ing that “what we like to call the Amer­i­can Way, or democ­ra­cy, or just plain old Gold­en Rule com­mon sense is a pret­ty good way to live.” As a result, no less a play­er in the Pacif­ic the­ater than Dou­glas MacArthur found the film exces­sive­ly sym­pa­thet­ic to the Japan­ese and tried to have it sup­pressed, a kind of con­tro­ver­sy that nev­er erupt­ed around the likes of Hop on Pop. But as far as the actu­al win­ning of Japan­ese hearts and minds goes, I sus­pect Seuss’ chil­dren’s books have done a bet­ter job.

Relat­ed Con­tent:

New Archive Show­cas­es Dr. Seuss’s Ear­ly Work as an Adver­tis­ing Illus­tra­tor and Polit­i­cal Car­toon­ist

Pri­vate Sna­fu: The World War II Pro­pa­gan­da Car­toons Cre­at­ed by Dr. Seuss, Frank Capra & Mel Blanc

Dr. Seuss Draws Anti-Japan­ese Car­toons Dur­ing WWII, Then Atones with Hor­ton Hears a Who!

Don­ald Duck’s Bad Nazi Dream and Four Oth­er Dis­ney Pro­pa­gan­da Car­toons from World War II

“The Duck­ta­tors”: Loony Tunes Turns Ani­ma­tion into Wartime Pro­pa­gan­da (1942)

200 Ansel Adams Pho­tographs Expose the Rig­ors of Life in Japan­ese Intern­ment Camps Dur­ing WW II

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Artist Turns 24-Volume Encyclopedia Britannica Set into a Beautifully Carved Landscape

Not too long ago, an old­er rel­a­tive tried to donate the Funk & Wag­nalls ency­clo­pe­dia he’d owned since boy­hood to a local char­i­ty shop, but they refused to take it.

What an igno­min­ious end to an insti­tu­tion that had fol­lowed him for sev­en decades and twice as many moves. Like many such weighty pos­ses­sions, its prove­nance was sen­ti­men­tal, a grad­u­a­tion gift I believe, bestowed all at once, rather than pur­chased piece­meal from a trav­el­ing ency­clo­pe­dia sales­man.

By the time I came along, its func­tion had been reduced to the pri­mar­i­ly dec­o­ra­tive. Every now and then, he’d find some pre­text to pull one of its many vol­umes from the shelf.

Did I know that Tan­za­nia was once called Tan­ganyi­ka?

And Thai­land was once Siam!

The vin­tage Funk & Wag­nalls’ many facts, maps, and illus­tra­tions were not the only aspects in need of an update. Its pre-Women’s Lib, pre-Civ­il Rights atti­tudes were shock­ing to the point of camp. There was unin­ten­tion­al com­ic gold in those pages. A col­lage artist could’ve had a ball. Wit­ness the suc­cess of the Ency­clo­pe­dia Show, an ongo­ing per­for­mance event in Chica­go.

encyc brit carved

Mul­ti­dis­ci­pli­nary artist Guy Laramée takes a much more sober approach, above. Adieu, his sculp­tur­al repur­pos­ing of a 24-vol­ume Ency­clo­pe­dia Bri­tan­ni­ca feels like a memen­to mori for a dim­ly recalled ances­tor of the infor­ma­tion age.

Quoth the artist:

I carve land­scapes out of books and I paint roman­tic land­scapes. Moun­tains of dis­used knowl­edge return to what they real­ly are: moun­tains. They erode a bit more and they become hills. Then they flat­ten and become fields where appar­ent­ly noth­ing is hap­pen­ing. Piles of obso­lete ency­clo­pe­dias return to that which does not need to say any­thing, that which sim­ply IS. Fogs and clouds erase every­thing we know, every­thing we think we are.

An ene­my of 3D print­ing and oth­er 21st-cen­tu­ry tech­no­log­i­cal advances, Laramée employs old fash­ioned pow­er tools to accom­plish his beau­ti­ful, destruc­tive vision. What’s left is a delib­er­ate waste­land.

Kudos to film­mak­er Sébastien Ven­tu­ra for tran­scend­ing mere doc­u­men­ta­tion to deliv­er the befit­ting ele­gy at the top of the page. He presents us with a beau­ti­ful ruin. What­ev­er hap­pened there, nature will reclaim it.

You can see more of Laramée’s work at This Is Colos­sal.

Relat­ed Con­tent:

Artist Takes Old Books and Gives Them New Life as Intri­cate Sculp­tures

The Sketch­book Project Presents Online 17,000 Sketch­books, Cre­at­ed by Artists from 135 Coun­tries

The Met­ro­pol­i­tan Muse­um of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Hear Johnny Cash Deliver Lincoln’s Gettysburg Address

Four score and sev­en years ago…

It goes on from there.

If you’re a bit rusty on Abra­ham Lincoln’s Get­tys­burg Address, lis­ten to singer John­ny Cash recite the famous­ly brief speech in its entire­ty, above, from his Amer­i­ca: A 200-Year Salute in Sto­ry and Song album. (The acoustic gui­tar accom­pa­ni­ment is by long time Cash col­lab­o­ra­tor, Nor­man Blake.)

A lit­tle back­ground for those in need of a refresh­er: Lin­coln deliv­ered the speech in Novem­ber 1863, at the ded­i­ca­tion of the Nation­al Ceme­tery in Get­tys­burg, Penn­syl­va­nia.

Four months ear­li­er, rough­ly 10,000 Con­fed­er­ate and Union sol­diers perished—and anoth­er 30,000 were wounded—during three days of fight­ing in the area. The Bat­tle of Get­tys­burg end­ed in a major vic­to­ry for the North, though Lin­coln was frus­trat­ed that Gen­er­al George Meade failed to pur­sue Robert E. Lee’s retreat­ing forces. (Whether or not such a move could have short­ened the war is a mat­ter of some debate.)

Lin­coln wel­comed the invi­ta­tion to the cemetery’s ded­i­ca­tion as a chance to frame the sig­nif­i­cance of the war in terms of the Dec­la­ra­tion of Inde­pen­dence. Slave own­ers fre­quent­ly cit­ed the con­sti­tu­tion­al­i­ty of their actions, for unlike the Dec­la­ra­tion, the Con­sti­tu­tion did not hold that all men were cre­at­ed equal.

The day’s oth­er speak­er, for­mer Har­vard Pres­i­dent and Sec­re­tary of State Edward Everett, praised  the “elo­quent sim­plic­i­ty & appro­pri­ate­ness” of the pres­i­den­t’s two minute speech, per­haps blush­ing a bit, giv­en that he him­self had held the podi­um for two hours.

A year and a half lat­er, when Lin­coln was assas­si­nat­ed, Sen­a­tor Charles Sum­n­er of Mass­a­chu­setts summed it up:

That speech, uttered at the field of Gettysburg…and now sanc­ti­fied by the mar­tyr­dom of its author, is a mon­u­men­tal act. In the mod­esty of his nature he said “the world will lit­tle note, nor long remem­ber what we say here; but it can nev­er for­get what they did here.” He was mis­tak­en. The world at once not­ed what he said, and will nev­er cease to remem­ber it.

(How sor­ry those gen­tle­man would be to learn just how lit­tle most Amer­i­cans today know of the  the Bat­tle of Get­tys­burg. Fear not, though. A restored ver­sion of Ken Burns’ Civ­il War doc­u­men­tary is com­ing to PBS this fall.)

Please note that Lincoln’s brief remarks were care­ful­ly pre­pared, and not scrib­bled on the back of an enve­lope dur­ing the train ride that took him to Get­tys­burg. As a nation, we love folksy ori­gin sto­ries, and depend­ing on the size of one’s pen­man­ship, it is indeed pos­si­ble to fit 272 words on an enve­lope, but it’s a myth… no mat­ter what John­ny Cash may say in his intro­duc­tion.

PS — If you would like to com­mit the Get­tys­burg Address to mem­o­ry, try singing it to the tune of “I’m Yours” by Jason Mraz. No doubt Pro­fes­sor Lyn­da Bar­ry would approve.

Relat­ed Con­tent:

The Poet­ry of Abra­ham Lin­coln

Res­ur­rect­ing the Sounds of Abra­ham Lin­coln in Steven Spielberg’s New Biopic

Ani­mat­ed Video: John­ny Cash Explains Why Music Became a Reli­gious Call­ing

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

1.5 Million Slavery Era Documents Will Be Digitized, Helping African Americans to Learn About Their Lost Ancestors

discoverfreedmen

The Freedmen’s Bureau Project — a new ini­tia­tive spear­head­ed by the Smith­son­ian, the Nation­al Archives, the Afro-Amer­i­can His­tor­i­cal and Genealog­i­cal Soci­ety, and the Church of Jesus Christ of Lat­ter-Day Saints — will make avail­able online 1.5 mil­lion his­tor­i­cal doc­u­ments, final­ly allow­ing descen­dants of for­mer African-Amer­i­can slaves to learn more about their fam­i­ly roots. Near the end of the US Civ­il War, The Freedmen’s Bureau was cre­at­ed to help new­ly-freed slaves find their foot­ing in post­bel­lum Amer­i­ca.

The Bureau “opened schools to edu­cate the illit­er­ate, man­aged hos­pi­tals, rationed food and cloth­ing for the des­ti­tute, and even sol­em­nized mar­riages.” And, along the way, the Bureau gath­ered hand­writ­ten records on rough­ly 4 mil­lion African Amer­i­cans. Now, those doc­u­ments are being dig­i­tized with the help of vol­un­teers, and, by the end of 2016, they will be made avail­able in a search­able data­base at discoverfreedmen.org.

Accord­ing to Hol­lis Gen­try, a Smith­son­ian geneal­o­gist, this archive “will give African Amer­i­cans the abil­i­ty to explore some of the ear­li­est records detail­ing peo­ple who were for­mer­ly enslaved,” final­ly giv­ing us a sense “of their voice, their dreams.”

You can learn more about the project by watch­ing the video below, and you can vol­un­teer your own ser­vices here.

via The Guardian

Relat­ed Con­tent:

Visu­al­iz­ing Slav­ery: The Map Abra­ham Lin­coln Spent Hours Study­ing Dur­ing the Civ­il War

The Civ­il War and Recon­struc­tion: A Free Course

Twelve Years a Slave: Free eBook and Audio Book of the Mem­oir Behind the Film (1853)

“Ask a Slave” by Azie Dungey Sets the His­tor­i­cal Record Straight in a New Web Series

Free Online His­to­ry Cours­es

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Discovered: The Only Known Picture of Vincent Van Gogh as an Adult Artist? (Maybe, Maybe Not)

vangoghphoto3

Close your eyes for a moment and pic­ture the artist Vin­cent Van Gogh. What do you see?

Prob­a­bly one of the pro­lif­ic post-Impressionist’s self-por­traits. That’s all well and good, but who else did you see?

Kirk Dou­glas?

Indie dar­ling (and Incred­i­ble Hulk adver­sary) Tim Roth?

Direc­tor Mar­tin Scors­ese?

Thanks to the recent­ly dis­cov­ered pho­to­graph at the top of this arti­cle, we may soon have the option of pic­tur­ing the actu­al Vin­cent Van Gogh as an adult artist. As Petapix­el tells us, he sat for por­traits at age 13, and again as a 19-year-old gallery appren­tice (below), but beyond that no pho­to­graph­ic evi­dence of the cam­era-shy artist was known to exist.

640px-VincentVanGoghFoto

Excit­ing!

That’s Paul Gau­guin on the far right. Oth­ers at the table include Emile Bernard and Arnold Kon­ing, politi­cian Felix Duval and actor-direc­tor André Antoine. But who is the beard­ed man smok­ing the pipe?

Van Gogh?

So thought the two col­lec­tors who pur­chased the small 1887 pho­to at a house sale a cou­ple of years ago. Serge Plan­tureux, an anti­quar­i­an book­seller and pho­tog­ra­phy expert who exam­ined their find was opti­mistic enough to help them with fur­ther research, as he not­ed in the French mag­a­zine, L’Oeil de la Pho­togra­phie:

I didn’t want to start doing what Amer­i­cans call “wish­ful think­ing,” that trap into which col­lec­tors and researchers fall, where their rea­son­ing is gov­erned only by what they want to see.

Don’t ditch Dou­glas, Roth, and Scors­ese just yet, how­ev­er. Experts at Amsterdam’s Van Gogh Muse­um say the beard­ed fel­low can­not be the artist. Accord­ing to them, there’s not even much of a resem­blance. He wasn’t so much cam­era shy, as dead­ly opposed to the pho­to­graph­ic medi­um. His refusal to be pho­tographed was an act of resis­tance.

That kind of puts a damper on things…

So.. no go Van Gogh? Oh well…vive la pho­to nou­velle­ment décou­verte de Paul Gau­guin (and friends)!

 

Relat­ed Con­tent:

The Unex­pect­ed Math Behind Van Gogh’s “Star­ry Night”

Simon Schama Presents Van Gogh and the Begin­ning of Mod­ern Art

Van Gogh’s ‘Star­ry Night’ Re-Cre­at­ed by Astronomer with 100 Hub­ble Space Tele­scope Images

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

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