/PRNewswire/ -- The National Archives at Atlanta will present The Civil War: America's Long Struggle on April 16, 2011, at its Morrow, GA, facility, located at 5780 Jonesboro Road. The program, which costs $20.00, including lunch, is open to the public, pre-registration required.
This day-long program commemorating the 150th anniversary of the start of the Civil War, features lectures from leading Civil War scholars and archivists, an exhibition of original 19th century newspapers chronicling the African-American experience, and an opportunity for attendees to learn more about their own Civil War heirlooms.
"The symposium will attract Civil War historians, as well as members of the general public whose lives were forever impacted by this great conflict," said Jim McSweeney, Regional Administrator, National Archives at Atlanta.
"It's one thing to hear about the Civil War in a lecture or read about it in books. It's another to dig through your attic and find your family's place in the greater narrative."
Speakers include:
* David S. Ferriero, Archivist of the United States
* Trevor Plante, National Archives, Washington, D.C.
* Shane Bell, National Archives at Atlanta
* Daniel Stowell, Abraham Lincoln Presidential Library and Museum
* Eric Leonard, Andersonville National Historic Site
* Kenneth Noe, author of Reluctant Rebels and Auburn University professor
Slavery and Freedom in Black and White: The African American Experience in 19th Century Newspapers, an exhibition of original newspapers, features articles on African American history, including editions of Harper's Weekly, The Globe, The Liberator, and Savannah Daily Herald, drawn from the private collection of Christine Mitchell. The exhibit will remain on display through September 2011.
One hundred registrants will have the opportunity to display their Civil War artifacts and heirlooms and learn more about the significance of the objects from experts in an afternoon program entitled "Civil War Treasures in Your Nation's Attic." Georgia Public Broadcasting will film some of these objects for a program by the same name to air on a future date. This portion of the program is sponsored by the Foundation for the National Archives, Scott Antique Markets, the National Archives at Atlanta, and Georgia Public Broadcasting. Objects must be pre-approved. See the registration form for more details.
Registration begins today and is $20 per person, which includes a catered lunch. For more program information and to register, go to www.archives.gov/southeast.
-----
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Showing posts with label exhibition. Show all posts
Showing posts with label exhibition. Show all posts
Friday, February 25, 2011
Wednesday, September 29, 2010
Atlanta History Center Holds Fourth Annual Fall Book Sale
Saturday, October 23, 2010
9:00 AM - 2:00 PM
Draper Members Room of McElreath Hall
Over 2,000 titles will be available, including books on American history, world history, fiction, biography, and genealogy. Proceeds from the sale of books support the mission of the archives and library in promoting the preservation, conservation, and care of the permanent collections. Donations of books prior to the sale are welcome.
Proof of purchase from the sale provides visitors a $5 discount on admission to the Atlanta History Center on October 23. The admission provides access to all exhibitions, including With Malice Toward None: The Abraham Lincoln Bicentennial Exhibition. One coupon per person.
For more information, call 404.814.4049 or email.
9:00 AM - 2:00 PM
Draper Members Room of McElreath Hall
Over 2,000 titles will be available, including books on American history, world history, fiction, biography, and genealogy. Proceeds from the sale of books support the mission of the archives and library in promoting the preservation, conservation, and care of the permanent collections. Donations of books prior to the sale are welcome.
Proof of purchase from the sale provides visitors a $5 discount on admission to the Atlanta History Center on October 23. The admission provides access to all exhibitions, including With Malice Toward None: The Abraham Lincoln Bicentennial Exhibition. One coupon per person.
For more information, call 404.814.4049 or email.
Tuesday, September 28, 2010
Have you seen Abraham Lincoln Bicentenniel Exhibition at Atlanta History Center?
Atlanta History Center Only Southern Venue is Hosting Nationally Traveling Exhibition
Before he became President of the United States of America, Abraham Lincoln was an Illinois country lawyer, an antislavery state legislator, a member of the United States House of Representatives who opposed the Mexican War, and twice was an unsuccessful candidate for election to the U.S. Senate. With Malice Toward None: The Abraham Lincoln Bicentennial Exhibition commemorates the 200th anniversary of the birth of our nation’s most revered president. Significantly more than a chronological account of the life of President Lincoln, this exhibition reveals a very personal side of Abraham Lincoln the man, whose intellect and thought, words in speeches and writings, and his occasionally difficult actions in a desperate time of war were deeply affected by his personal experiences and the pivotal historic events brought upon him by the advent of war and loss of life.
On display at the Atlanta History Center through November 7, 2010, the exhibition features interactive computer stations, multimedia presentations, important documents, books, broadsides, and newspapers, as well as prints and photographs, notable artifacts, and historical maps. The exhibition and accompanying programming is designed to provide a glimpse into Lincoln’s presidency and address the storm of controversies he faced, including demanding challenges to individual civil liberties and our national Constitution, as well as controversies over slavery and race, and the defiance of the South leading to the dissolution of the Union and the Civil War. For more information, call 404.814.4000 or visit AtlantaHistoryCenter.com.
The Atlanta History Center is the only venue in the South to host this important national traveling exhibition organized by the Library of Congress. With Malice Toward None and its national tour are made possible through the generous support of Union Pacific Corporation, which was founded by President Lincoln after he signed the Pacific Railway Act in 1862. For more information on Lincoln and Union Pacific, visit UPCelebratesLincoln.com. The exhibition is presented in Atlanta by The John and Mary Franklin Foundation, Southern Company, Atlanta Gas Light, and the Georgia Humanities Council. With Malice Toward None is presented as part of the Atlanta History Center’s Civil War to Civil Rights exhibition series, presented by the Scott Hudgens Family Foundation, Macy’s, and The Atlanta Foundation.
The exhibition opens with a multimedia presentation that explores both the mythic Lincoln and the honorable man as revealed by his stirring and unifying words. It also charts Lincoln’s dramatic ascent from a simple prairie politician to our country’s preeminent statesman and provides a window into the Lincoln presidency, his life’s struggle to keep the Union intact, and as the war drew to a close his last attempts to heal the nation’s wounds before his death.
Video commentaries appear throughout the exhibition from distinguished Americans, including Supreme Court Justice Sandra Day O’Connor, Illinois Senator Dick Durbin, actor Sam Waterston, and others that reveal personal connections to the documents Lincoln wrote. Interactive programs trace the president-elect’s celebratory journey by rail from Springfield to Washington and his return to Illinois by funeral train as the nation mourned his death.
By placing Lincoln’s words in historical context and presenting such bedrock American documents as Lincoln’s First and Second Inaugural Addresses, the Gettysburg Address, and the Emancipation Proclamation, the exhibition provides a deeper understanding of how remarkable Lincoln’s decisions were for their time and why his words resonate today.
The exhibition draws on the extensive collection of Lincoln material in the Library of Congress and includes letters, photographs, political cartoons, period engravings, speeches, and artifacts. The actual grammar book studied by Lincoln in his boyhood effort to master English, the notes he prepared in advance of his seminal debates with Senator Stephen A. Douglas, and the personal scrapbook of newspaper clippings of the debates he assembled help to bring Lincoln to life.
The exhibition includes a caned rocking chair from the Springfield office of the Lincoln and Herndon law firm, on loan from the Union Pacific Railroad Museum, and the contents of Lincoln’s pockets on the night he was assassinated. The exhibition also includes a seldom-seen exchange of letters written during the 1860 presidential campaign between the Republican candidate and Miss Grace Bedell. The two corresponded concerning the positive effects that growing a beard could have on Lincoln’s presidential campaign. The letters are on loan from the Benjamin Shapell Family Manuscript Foundation and the Detroit Public Library. Aspiring poets will enjoy Lincoln’s early attempts at this difficult art form, as well as Walt Whitman’s Civil War diary and his verse written at the time of Lincoln’s assassination, “Oh Captain, My Captain.”
Other items include campaign and election ephemera and such treasures as an autobiography that Lincoln supplied to admiring biographers; his Farewell Address written as he boarded the train from Springfield the Bible upon which he took the oath of office on March 4, 1861, and which was also used by President Barack Obama in 2009; his Gettysburg Address, considered our nation’s preeminent speech; and his impassioned letter to Albert G. Hodges, editor of the Frankfort, Kentucky, Commonwealth, in defense of the Emancipation Proclamation.
Military enthusiasts have the opportunity to see the highly critical letter Lincoln wrote but never sent to General George G. Gordon Meade following the Battle of Gettysburg, the signed commission of General Ulysses S. Grant as Lieutenant General, several inquiring and sometimes reprimanding letters to General George B. McClellan, and the letter of thanks to General William T. Sherman for the capture of Savannah, Georgia. The exhibition also includes one of the most significant military documents of the Civil War, General Robert E. Lee’s “lost order,” which was found by Union forces prior to the Battle of Antietam. Lee’s ensuing retreat following the battle provided Lincoln with the opportunity to issue the Emancipation Proclamation.
The exhibition concludes with a moving selection of emotional artifacts related to Lincoln’s assassination and examines his overwhelming and enduring legacy to our nation and the healing of the nation’s wounds brought on by the Civil War.
Visitors also have the opportunity to tour the Atlanta History Center’s award-winning permanent exhibition, Turning Point: The American Civil War. At 9,200 square feet, Turning Point is the largest Civil War exhibition in the South that tells the story of the war from beginning to end and beyond. Included are over 1,400 original Union and Confederate artifacts, plus photographs, vignettes, videos, and interactive components that deal with the causes of the war, soldiers’ lives, wartime manufacturing, the home front, and the bloody, decisive campaigns of 1864. A final section encourages guests to search for the consequences and meaning of the war, which claimed 670,000 American lives, more than the combined number of Americans killed in all other wars from the American Revolution through the Vietnam conflict. The heart of the exhibit is the DuBose Civil War Collection, one of the world’s largest collections of Civil War artifacts. Displays include materials from the Thomas Swift Dickey Civil War Ordnance Collection, the Confederate States flag that flew over Atlanta at the time of the city’s surrender, a Union supply wagon used by Sherman’s army, General Patrick Cleburne’s sword, the logbooks of the CSS Shenandoah, the diary of a Union soldier who died at Andersonville prison, uniforms from both armies, and firearms, artillery, soldiers’ personal items, letters, diaries, medical equipment, civilian clothing, veterans’ memorabilia, and much more. Free Turning Point audio tours are available.
The DuBose Gallery is made possible by a gift from Mrs. Beverly M. DuBose, Jr. The exhibition is sponsored by an anonymous donor and by Mr. and Mrs. W. Barrett Howell. Installation of Turning Point: The American Civil War was supported by Balentine & Company.
Both exhibitions, With Malice Toward None and Turning Point, are free with general Atlanta History Center admission.
ABOUT THE ATLANTA HISTORY CENTER:
Founded in 1926, the Atlanta History Center is an all-inclusive, thirty-three acre destination featuring the Atlanta History Museum, one of the Southeast’s largest interactive history museums; two historic houses, the 1928 Swan House and the 1860 Tullie Smith Farm; the Centennial Olympic Games Museum; the Kenan Research Center; the Grand Overlook event space; Chick-Fil-A at the Coca-Cola Café, a museum shop, and acres of Historic Gardens with paths and the kid-friendly Connor Brown Discovery Trail.
In addition, the History Center operates the Margaret Mitchell House. Located in Midtown Atlanta, the two-acre campus features tours of the apartment where Margaret Mitchell wrote her Pulitzer Prize-winning novel Gone With the Wind, an exhibition highlighting the life of Margaret Mitchell, a Gone With the Wind movie exhibition, and a museum shop.
For more information on Atlanta History Center offerings, hours of operation, and admission, please call 404.814.4000 or visit AtlantaHistoryCenter.com.
---
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Click to read MORE news:
www.GeorgiaFrontPage.com
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Twitter: @FayetteFP
Before he became President of the United States of America, Abraham Lincoln was an Illinois country lawyer, an antislavery state legislator, a member of the United States House of Representatives who opposed the Mexican War, and twice was an unsuccessful candidate for election to the U.S. Senate. With Malice Toward None: The Abraham Lincoln Bicentennial Exhibition commemorates the 200th anniversary of the birth of our nation’s most revered president. Significantly more than a chronological account of the life of President Lincoln, this exhibition reveals a very personal side of Abraham Lincoln the man, whose intellect and thought, words in speeches and writings, and his occasionally difficult actions in a desperate time of war were deeply affected by his personal experiences and the pivotal historic events brought upon him by the advent of war and loss of life.
On display at the Atlanta History Center through November 7, 2010, the exhibition features interactive computer stations, multimedia presentations, important documents, books, broadsides, and newspapers, as well as prints and photographs, notable artifacts, and historical maps. The exhibition and accompanying programming is designed to provide a glimpse into Lincoln’s presidency and address the storm of controversies he faced, including demanding challenges to individual civil liberties and our national Constitution, as well as controversies over slavery and race, and the defiance of the South leading to the dissolution of the Union and the Civil War. For more information, call 404.814.4000 or visit AtlantaHistoryCenter.com.
The Atlanta History Center is the only venue in the South to host this important national traveling exhibition organized by the Library of Congress. With Malice Toward None and its national tour are made possible through the generous support of Union Pacific Corporation, which was founded by President Lincoln after he signed the Pacific Railway Act in 1862. For more information on Lincoln and Union Pacific, visit UPCelebratesLincoln.com. The exhibition is presented in Atlanta by The John and Mary Franklin Foundation, Southern Company, Atlanta Gas Light, and the Georgia Humanities Council. With Malice Toward None is presented as part of the Atlanta History Center’s Civil War to Civil Rights exhibition series, presented by the Scott Hudgens Family Foundation, Macy’s, and The Atlanta Foundation.
The exhibition opens with a multimedia presentation that explores both the mythic Lincoln and the honorable man as revealed by his stirring and unifying words. It also charts Lincoln’s dramatic ascent from a simple prairie politician to our country’s preeminent statesman and provides a window into the Lincoln presidency, his life’s struggle to keep the Union intact, and as the war drew to a close his last attempts to heal the nation’s wounds before his death.
Video commentaries appear throughout the exhibition from distinguished Americans, including Supreme Court Justice Sandra Day O’Connor, Illinois Senator Dick Durbin, actor Sam Waterston, and others that reveal personal connections to the documents Lincoln wrote. Interactive programs trace the president-elect’s celebratory journey by rail from Springfield to Washington and his return to Illinois by funeral train as the nation mourned his death.
By placing Lincoln’s words in historical context and presenting such bedrock American documents as Lincoln’s First and Second Inaugural Addresses, the Gettysburg Address, and the Emancipation Proclamation, the exhibition provides a deeper understanding of how remarkable Lincoln’s decisions were for their time and why his words resonate today.
The exhibition draws on the extensive collection of Lincoln material in the Library of Congress and includes letters, photographs, political cartoons, period engravings, speeches, and artifacts. The actual grammar book studied by Lincoln in his boyhood effort to master English, the notes he prepared in advance of his seminal debates with Senator Stephen A. Douglas, and the personal scrapbook of newspaper clippings of the debates he assembled help to bring Lincoln to life.
The exhibition includes a caned rocking chair from the Springfield office of the Lincoln and Herndon law firm, on loan from the Union Pacific Railroad Museum, and the contents of Lincoln’s pockets on the night he was assassinated. The exhibition also includes a seldom-seen exchange of letters written during the 1860 presidential campaign between the Republican candidate and Miss Grace Bedell. The two corresponded concerning the positive effects that growing a beard could have on Lincoln’s presidential campaign. The letters are on loan from the Benjamin Shapell Family Manuscript Foundation and the Detroit Public Library. Aspiring poets will enjoy Lincoln’s early attempts at this difficult art form, as well as Walt Whitman’s Civil War diary and his verse written at the time of Lincoln’s assassination, “Oh Captain, My Captain.”
Other items include campaign and election ephemera and such treasures as an autobiography that Lincoln supplied to admiring biographers; his Farewell Address written as he boarded the train from Springfield the Bible upon which he took the oath of office on March 4, 1861, and which was also used by President Barack Obama in 2009; his Gettysburg Address, considered our nation’s preeminent speech; and his impassioned letter to Albert G. Hodges, editor of the Frankfort, Kentucky, Commonwealth, in defense of the Emancipation Proclamation.
Military enthusiasts have the opportunity to see the highly critical letter Lincoln wrote but never sent to General George G. Gordon Meade following the Battle of Gettysburg, the signed commission of General Ulysses S. Grant as Lieutenant General, several inquiring and sometimes reprimanding letters to General George B. McClellan, and the letter of thanks to General William T. Sherman for the capture of Savannah, Georgia. The exhibition also includes one of the most significant military documents of the Civil War, General Robert E. Lee’s “lost order,” which was found by Union forces prior to the Battle of Antietam. Lee’s ensuing retreat following the battle provided Lincoln with the opportunity to issue the Emancipation Proclamation.
The exhibition concludes with a moving selection of emotional artifacts related to Lincoln’s assassination and examines his overwhelming and enduring legacy to our nation and the healing of the nation’s wounds brought on by the Civil War.
Visitors also have the opportunity to tour the Atlanta History Center’s award-winning permanent exhibition, Turning Point: The American Civil War. At 9,200 square feet, Turning Point is the largest Civil War exhibition in the South that tells the story of the war from beginning to end and beyond. Included are over 1,400 original Union and Confederate artifacts, plus photographs, vignettes, videos, and interactive components that deal with the causes of the war, soldiers’ lives, wartime manufacturing, the home front, and the bloody, decisive campaigns of 1864. A final section encourages guests to search for the consequences and meaning of the war, which claimed 670,000 American lives, more than the combined number of Americans killed in all other wars from the American Revolution through the Vietnam conflict. The heart of the exhibit is the DuBose Civil War Collection, one of the world’s largest collections of Civil War artifacts. Displays include materials from the Thomas Swift Dickey Civil War Ordnance Collection, the Confederate States flag that flew over Atlanta at the time of the city’s surrender, a Union supply wagon used by Sherman’s army, General Patrick Cleburne’s sword, the logbooks of the CSS Shenandoah, the diary of a Union soldier who died at Andersonville prison, uniforms from both armies, and firearms, artillery, soldiers’ personal items, letters, diaries, medical equipment, civilian clothing, veterans’ memorabilia, and much more. Free Turning Point audio tours are available.
The DuBose Gallery is made possible by a gift from Mrs. Beverly M. DuBose, Jr. The exhibition is sponsored by an anonymous donor and by Mr. and Mrs. W. Barrett Howell. Installation of Turning Point: The American Civil War was supported by Balentine & Company.
Both exhibitions, With Malice Toward None and Turning Point, are free with general Atlanta History Center admission.
ABOUT THE ATLANTA HISTORY CENTER:
Founded in 1926, the Atlanta History Center is an all-inclusive, thirty-three acre destination featuring the Atlanta History Museum, one of the Southeast’s largest interactive history museums; two historic houses, the 1928 Swan House and the 1860 Tullie Smith Farm; the Centennial Olympic Games Museum; the Kenan Research Center; the Grand Overlook event space; Chick-Fil-A at the Coca-Cola Café, a museum shop, and acres of Historic Gardens with paths and the kid-friendly Connor Brown Discovery Trail.
In addition, the History Center operates the Margaret Mitchell House. Located in Midtown Atlanta, the two-acre campus features tours of the apartment where Margaret Mitchell wrote her Pulitzer Prize-winning novel Gone With the Wind, an exhibition highlighting the life of Margaret Mitchell, a Gone With the Wind movie exhibition, and a museum shop.
For more information on Atlanta History Center offerings, hours of operation, and admission, please call 404.814.4000 or visit AtlantaHistoryCenter.com.
---
Community News You Can Use
Click to read MORE news:
www.GeorgiaFrontPage.com
Twitter: @gafrontpage & @TheGATable @HookedonHistory
www.ArtsAcrossGeorgia.com
Twitter: @artsacrossga, @softnblue, @RimbomboAAG
www.FayetteFrontPage.com
Twitter: @FayetteFP
Tuesday, September 21, 2010
The Shapell Manuscript Foundation In Conjunction With The Library of Congress Presents: With Malice Toward None: The National Abraham Lincoln Bicentennial Exhibition
On Exhibit at the Atlanta History Center, Atlanta, Georgia, September 4 through November 7, 2010
Exceptional Lincolniana on Public Display for the First Time
The Grace Bedell Letter on growing a beard
Lincoln's condolence letter to Miss Fanny McCullough
Lincoln's physician's record of the President's deathbed and autopsy
/PRNewswire/ -- With Malice Toward None: The National Abraham Lincoln Bicentennial Exhibition is a landmark exhibit of letters, photographs, documents, and artifacts, which opened at the Library of Congress on Lincoln's 200th birthday, February 12, 2009.
The Shapell Manuscript Foundation is pleased to announce the loan of several rarely seen autographed letters, manuscripts and photographs from its Lincoln Collection for this important exhibition.
The exhibition will include the first public pairing of 11-year-old Grace Bedell's letter to Lincoln suggesting that he grow a beard, together with Lincoln's reply, just four days later. Also on exhibit is his famous condolence letter to Miss Fanny McCullough on the death of her father at the battle of Fredericksburg. An extraordinary assassination-related piece from the collection will also be featured: the blood-stained notes of Lincoln's family physician describing the President's tragic final hours—his decline, death, and autopsy.
While the scope and outreach of the Shapell Manuscript Foundation has included the lending of manuscripts to international exhibitions, this will be the first time that so many of its Lincolniana treasures have been publicly displayed in one place.
With Malice Toward None: The Abraham Lincoln Bicentennial Exhibition has already traveled to the California Museum in Sacramento, California, the Newberry Library in Chicago, Illinois and the Indiana State Museum in Indianapolis, Indiana. After the Atlanta History Center in Atlanta, Georgia, the exhibition will make its last appearance at the Durham Western Heritage Museum in Omaha, Nebraska (Jan. 15–Mar. 20, 2011).
-----
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Fayette Front Page
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Georgia Front Page
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Exceptional Lincolniana on Public Display for the First Time
The Grace Bedell Letter on growing a beard
Lincoln's condolence letter to Miss Fanny McCullough
Lincoln's physician's record of the President's deathbed and autopsy
/PRNewswire/ -- With Malice Toward None: The National Abraham Lincoln Bicentennial Exhibition is a landmark exhibit of letters, photographs, documents, and artifacts, which opened at the Library of Congress on Lincoln's 200th birthday, February 12, 2009.
The Shapell Manuscript Foundation is pleased to announce the loan of several rarely seen autographed letters, manuscripts and photographs from its Lincoln Collection for this important exhibition.
The exhibition will include the first public pairing of 11-year-old Grace Bedell's letter to Lincoln suggesting that he grow a beard, together with Lincoln's reply, just four days later. Also on exhibit is his famous condolence letter to Miss Fanny McCullough on the death of her father at the battle of Fredericksburg. An extraordinary assassination-related piece from the collection will also be featured: the blood-stained notes of Lincoln's family physician describing the President's tragic final hours—his decline, death, and autopsy.
While the scope and outreach of the Shapell Manuscript Foundation has included the lending of manuscripts to international exhibitions, this will be the first time that so many of its Lincolniana treasures have been publicly displayed in one place.
With Malice Toward None: The Abraham Lincoln Bicentennial Exhibition has already traveled to the California Museum in Sacramento, California, the Newberry Library in Chicago, Illinois and the Indiana State Museum in Indianapolis, Indiana. After the Atlanta History Center in Atlanta, Georgia, the exhibition will make its last appearance at the Durham Western Heritage Museum in Omaha, Nebraska (Jan. 15–Mar. 20, 2011).
-----
Community News You Can Use
www.fayettefrontpage.com
Fayette Front Page
www.georgiafrontpage.com
Georgia Front Page
Follow us on Twitter: @GAFrontPage
Wednesday, February 3, 2010
Porsche to Sponsor Upcoming 'The Allure of the Automobile' Exhibition at Atlanta's High Museum of Art
/PRNewswire/ -- When a nationally renowned fine art museum is showcasing cars as masterpieces of art in your home town you pay attention. When you are Porsche you become a patron and help welcome the cars that represent the industry's most incredible designs.
The High Museum of Art exhibition, called, fittingly, the "The Allure of the Automobile," is sponsored by the famous German sports car company, headquartered in Atlanta, and will feature some of the world's most rare and spectacularly conceived vehicles ever produced. Among these exquisite collectors items from both sides of the Atlantic will be a 71-year old Porsche design that is considered the precursor to all Porsches--the 1938/39 Porsche Type 64.
This incredible design piece is the only prewar Porsche and has never been exhibited outside of Germany. It will be carefully removed from its perch at the Porsche Museum in Stuttgart and flown to Atlanta for the exhibition that begins on March 21 and ends on June 20.
Porsche is also displaying another historic car, the 1953 Porsche 550 LeMans coupe, which will be on loan from the private Collier Collection of Porsche in Naples, Florida.
Rolling Sculptures
Sometimes referred to as "rolling sculptures," the incredible cars of the show are a mixture of innovative engineering, uncompromising workmanship and breakthrough design. When viewed as pieces of art, they give admirers a completely new way of looking at the great design periods of our time, spanning the movements from the 1930s to the mid 1960s.
"Our visitors will be surprised to find that today's vehicles come from a legacy of beauty and innovation comparable to the finest decorative arts that may be found in museum collections," said Michael E. Shapiro, Director of the High Museum of Art. "This exhibition will showcase the greatest feats of engineering and luxury design from 1930 to 1965, when cars became synonymous with success, power and wealth. Created for the privileged few, the luxurious, custom-built automobiles embodied speed, style and elegance, and influenced art, architecture, fashion and design."
Six Decades of Porsche in the U.S.
"The Allure of the Automobile" is being sponsored by Porsche Cars North America (PCNA), which is headquartered in Atlanta and is celebrating the brand's 60th anniversary of selling cars in the U.S.
"The partnership with the High Museum of Art, one of the world's renowned art museums, is a perfect fit for us," said Detlev von Platen, President and CEO of PCNA. "This incredible exhibition, 'The Allure of the Automobile,' is a celebration of ground-breaking design and engineering -- a theme that resonates throughout our brand."
An Object of Design and Desire
As a focal point of the exhibition, the one-of-a-kind Porsche Type 64 is a unique object in automotive history. It is unlike any other car on display; in fact it is not actually a car at all, but a hand-built, aluminum shell that represents the essence of Porsche design. Even today, when new Porsches are being developed, designers still look to the Type 64 to remind them of the brand's unique legacy.
The Golden Age of Design
As part of the "The Allure of the Automobile," the Type 64 will be joined by an iconic list of the world's finest cars from the "golden age of automobile design." These include masterpieces by Bugatti, Duesenberg, Jaguar, Mercedes-Benz, Ferrari, Pierce Arrow, Packard, Cadillac, Tucker and others. This first-of-its-kind presentation traces the evolution of the motorcar from the mid 1930s to the mid 1960s, examining the contrasts between American and European design, the influence of decorative arts and design and the significant changes in automotive styling and engineering both before and after World War II.
"Until World War I, most cars had been utilitarian objects with one principal goal: transportation," said Ken Gross, guest curator of the exhibition. "But as tastes and wealth coincided, designers could create and/or customize an automobile's body, dramatically altering its silhouette and decoration and producing artful, one-of-a-kind objects. Lavish and often beautifully trimmed with aluminum, chrome, inlaid wood and lacquer, the streamlined silhouettes of the finest mid-century cars represent prime examples of Art Moderne design."
While the first part of the exhibition will spotlight the custom coachwork, art-inspired styling, luxury and opulence marked vehicles from the pre-war era, the second segment of the exhibition focuses on how the industry shifted in the post-war years, with the Europeans moving towards smaller, sportier models, while the American manufacturers concentrated on mass-producing cars for a booming economy.
To learn more about the High Museum of Art and the exhibition, please visit www.High.org.
-----
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Fayette Front Page
www.georgiafrontpage.com
Georgia Front Page
Follow us on Twitter: @GAFrontPage
The High Museum of Art exhibition, called, fittingly, the "The Allure of the Automobile," is sponsored by the famous German sports car company, headquartered in Atlanta, and will feature some of the world's most rare and spectacularly conceived vehicles ever produced. Among these exquisite collectors items from both sides of the Atlantic will be a 71-year old Porsche design that is considered the precursor to all Porsches--the 1938/39 Porsche Type 64.
This incredible design piece is the only prewar Porsche and has never been exhibited outside of Germany. It will be carefully removed from its perch at the Porsche Museum in Stuttgart and flown to Atlanta for the exhibition that begins on March 21 and ends on June 20.
Porsche is also displaying another historic car, the 1953 Porsche 550 LeMans coupe, which will be on loan from the private Collier Collection of Porsche in Naples, Florida.
Rolling Sculptures
Sometimes referred to as "rolling sculptures," the incredible cars of the show are a mixture of innovative engineering, uncompromising workmanship and breakthrough design. When viewed as pieces of art, they give admirers a completely new way of looking at the great design periods of our time, spanning the movements from the 1930s to the mid 1960s.
"Our visitors will be surprised to find that today's vehicles come from a legacy of beauty and innovation comparable to the finest decorative arts that may be found in museum collections," said Michael E. Shapiro, Director of the High Museum of Art. "This exhibition will showcase the greatest feats of engineering and luxury design from 1930 to 1965, when cars became synonymous with success, power and wealth. Created for the privileged few, the luxurious, custom-built automobiles embodied speed, style and elegance, and influenced art, architecture, fashion and design."
Six Decades of Porsche in the U.S.
"The Allure of the Automobile" is being sponsored by Porsche Cars North America (PCNA), which is headquartered in Atlanta and is celebrating the brand's 60th anniversary of selling cars in the U.S.
"The partnership with the High Museum of Art, one of the world's renowned art museums, is a perfect fit for us," said Detlev von Platen, President and CEO of PCNA. "This incredible exhibition, 'The Allure of the Automobile,' is a celebration of ground-breaking design and engineering -- a theme that resonates throughout our brand."
An Object of Design and Desire
As a focal point of the exhibition, the one-of-a-kind Porsche Type 64 is a unique object in automotive history. It is unlike any other car on display; in fact it is not actually a car at all, but a hand-built, aluminum shell that represents the essence of Porsche design. Even today, when new Porsches are being developed, designers still look to the Type 64 to remind them of the brand's unique legacy.
The Golden Age of Design
As part of the "The Allure of the Automobile," the Type 64 will be joined by an iconic list of the world's finest cars from the "golden age of automobile design." These include masterpieces by Bugatti, Duesenberg, Jaguar, Mercedes-Benz, Ferrari, Pierce Arrow, Packard, Cadillac, Tucker and others. This first-of-its-kind presentation traces the evolution of the motorcar from the mid 1930s to the mid 1960s, examining the contrasts between American and European design, the influence of decorative arts and design and the significant changes in automotive styling and engineering both before and after World War II.
"Until World War I, most cars had been utilitarian objects with one principal goal: transportation," said Ken Gross, guest curator of the exhibition. "But as tastes and wealth coincided, designers could create and/or customize an automobile's body, dramatically altering its silhouette and decoration and producing artful, one-of-a-kind objects. Lavish and often beautifully trimmed with aluminum, chrome, inlaid wood and lacquer, the streamlined silhouettes of the finest mid-century cars represent prime examples of Art Moderne design."
While the first part of the exhibition will spotlight the custom coachwork, art-inspired styling, luxury and opulence marked vehicles from the pre-war era, the second segment of the exhibition focuses on how the industry shifted in the post-war years, with the Europeans moving towards smaller, sportier models, while the American manufacturers concentrated on mass-producing cars for a booming economy.
To learn more about the High Museum of Art and the exhibition, please visit www.High.org.
-----
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Thursday, October 15, 2009
Masterpieces of Dutch, Flemish Bible Illustrations at Carlos Museum
The Michael C. Carlos Museum of Emory University presents "Scripture for the Eyes: Bible Illustration in Netherlandish Prints of the 16th Century," a collection of approximately 80 engravings and woodcuts by the foremost Dutch and Flemish masters of the 16th century, on view from Oct. 17, 2009 to Jan. 24, 2010.
The exhibition, featuring works by Lucas van Leyden, Maarten van Heemskerck, Dirck Volkertszoon Coornhert and Hieronymus Wierix, among others, explores the ways in which printed illustrations of biblical and other religious themes supplemented and magnified the texts they accompanied during a period of dramatic religious and political change.
Popular Function of Scripture
In the 16th-century region of the Netherlands, the translation of biblical texts into biblical images went hand-in-hand with the translation of scripture into the common language. Antwerp and Amsterdam became major centers where vernacular bibles and their woodcut and engraved illustrations were published.
The exhibition demonstrates how, as co-curator Walter Melion, Asa Griggs Candler Professor of Art History at Emory, points out, "pictorial images . . . offered a clarifying lens through which the word of God was received, pondered and interpreted" by a growing audience at the time of strife between Protestants and Roman Catholics.
In "Scripture for the Eyes," the images and their makers demonstrate the cultural, intellectual and religious ferment of the region that today encompasses the Netherlands and Belgium.
The southeast’s Consul General of the Kingdom of Netherlands, Lucita Moenir Alam, said, "We are delighted that the Carlos Museum has chosen this formidable exhibition showcasing the great artistic traditions of our nation. As the United States and the Netherlands celebrate the 400th anniversary of their special relations in New York, this exhibition Scripture for the Eyes chronicles an extraordinary time in our history when the convergence of art, commerce and culture created a dynamic and vibrant exchange of ideas and beliefs. I hope that the community and its guests, will enjoy this unique exhibition."
Exhibition highlights
Notable works include "The Return of the Prodigal Son" (c. 1510) by Lucas van Leyden, regarded as one of the greatest engravers in the history of art. The engraving dramatizes the New Testament parable of the Prodigal Son with the events of the story taking place within a richly detailed, panoramic landscape.
The central message of the parable, the father’s forgiveness of his repentant son, would have been clear to both Roman Catholics and Protestants. Each could, however, interpret the image in the light of their own beliefs, defining for themselves just who the Prodigal Son personified and exactly which sins were to be forgiven. Margaret Shufeldt, curator of works on paper at the Carlos Museum, notes that "Just as many images in themselves betrayed no particular sectarian bias, so the artists’ personal beliefs did not necessarily enter into their work."
In a series of six scenes from Hendrick Goltzius’ "Life of the Virgin," three of which are in the Scripture exhibition, the artist surrendered his own virtuosic engraving style to assume the styles of six earlier masters, signifying the multiple forms of beauty required to evoke the Virgin’s physical and spiritual perfection. In the case of "The Adoration of the Magi" (c. 1593-1594), Goltzius imitates the style of Lucas van Leyden.
The exhibition is organized according to function of the prints rather than the subject or chronology. For instance, in the section on meditative prayer or worship, prints explore the process of self-reformation through the imitation of Christ.
One interesting example of this is Hieronymus Wierix’s engraving of the "Circumcision Enframed by the Text of Psalm 6." The words of this penitential psalm are arranged in an elaborate looping pattern surrounding the central image of Christ’s circumcision, one of seven instances of his spilling his blood for the redemption of sinners. By reading the psalm, following the turnings of the scrolling text, a worshipper would enact the turning or conversion of the soul from sin.
Illustrations are on loan from 13 institutions including the British Museum, the Metropolitan Museum of Art, New York, Antwerp’s Plantin Museum and the Rijksmuseum in Amsterdam. Also included are key items from Emory University Libraries, including five rare volumes of the Antwerp Polyglot Bible—side-by-side translations of biblical text in several languages including Latin and Hebrew.
Educational events accompanying the exhibition will also examine how visual images affect religious worship and experience. "Scripture for the Eyes" was organized by the Museum of Biblical Art in New York City and curated by Walter S. Melion and James Clifton, director, Sarah Campbell Blaffer Foundation.
Support for the exhibition in Atlanta was made possible by Emory University, the Massey Charitable Trust, the Consulate General of the Kingdom of the Netherlands and the Consulate of the Kingdom of Belgium.
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The exhibition, featuring works by Lucas van Leyden, Maarten van Heemskerck, Dirck Volkertszoon Coornhert and Hieronymus Wierix, among others, explores the ways in which printed illustrations of biblical and other religious themes supplemented and magnified the texts they accompanied during a period of dramatic religious and political change.
Popular Function of Scripture
In the 16th-century region of the Netherlands, the translation of biblical texts into biblical images went hand-in-hand with the translation of scripture into the common language. Antwerp and Amsterdam became major centers where vernacular bibles and their woodcut and engraved illustrations were published.
The exhibition demonstrates how, as co-curator Walter Melion, Asa Griggs Candler Professor of Art History at Emory, points out, "pictorial images . . . offered a clarifying lens through which the word of God was received, pondered and interpreted" by a growing audience at the time of strife between Protestants and Roman Catholics.
In "Scripture for the Eyes," the images and their makers demonstrate the cultural, intellectual and religious ferment of the region that today encompasses the Netherlands and Belgium.
The southeast’s Consul General of the Kingdom of Netherlands, Lucita Moenir Alam, said, "We are delighted that the Carlos Museum has chosen this formidable exhibition showcasing the great artistic traditions of our nation. As the United States and the Netherlands celebrate the 400th anniversary of their special relations in New York, this exhibition Scripture for the Eyes chronicles an extraordinary time in our history when the convergence of art, commerce and culture created a dynamic and vibrant exchange of ideas and beliefs. I hope that the community and its guests, will enjoy this unique exhibition."
Exhibition highlights
Notable works include "The Return of the Prodigal Son" (c. 1510) by Lucas van Leyden, regarded as one of the greatest engravers in the history of art. The engraving dramatizes the New Testament parable of the Prodigal Son with the events of the story taking place within a richly detailed, panoramic landscape.
The central message of the parable, the father’s forgiveness of his repentant son, would have been clear to both Roman Catholics and Protestants. Each could, however, interpret the image in the light of their own beliefs, defining for themselves just who the Prodigal Son personified and exactly which sins were to be forgiven. Margaret Shufeldt, curator of works on paper at the Carlos Museum, notes that "Just as many images in themselves betrayed no particular sectarian bias, so the artists’ personal beliefs did not necessarily enter into their work."
In a series of six scenes from Hendrick Goltzius’ "Life of the Virgin," three of which are in the Scripture exhibition, the artist surrendered his own virtuosic engraving style to assume the styles of six earlier masters, signifying the multiple forms of beauty required to evoke the Virgin’s physical and spiritual perfection. In the case of "The Adoration of the Magi" (c. 1593-1594), Goltzius imitates the style of Lucas van Leyden.
The exhibition is organized according to function of the prints rather than the subject or chronology. For instance, in the section on meditative prayer or worship, prints explore the process of self-reformation through the imitation of Christ.
One interesting example of this is Hieronymus Wierix’s engraving of the "Circumcision Enframed by the Text of Psalm 6." The words of this penitential psalm are arranged in an elaborate looping pattern surrounding the central image of Christ’s circumcision, one of seven instances of his spilling his blood for the redemption of sinners. By reading the psalm, following the turnings of the scrolling text, a worshipper would enact the turning or conversion of the soul from sin.
Illustrations are on loan from 13 institutions including the British Museum, the Metropolitan Museum of Art, New York, Antwerp’s Plantin Museum and the Rijksmuseum in Amsterdam. Also included are key items from Emory University Libraries, including five rare volumes of the Antwerp Polyglot Bible—side-by-side translations of biblical text in several languages including Latin and Hebrew.
Educational events accompanying the exhibition will also examine how visual images affect religious worship and experience. "Scripture for the Eyes" was organized by the Museum of Biblical Art in New York City and curated by Walter S. Melion and James Clifton, director, Sarah Campbell Blaffer Foundation.
Support for the exhibition in Atlanta was made possible by Emory University, the Massey Charitable Trust, the Consulate General of the Kingdom of the Netherlands and the Consulate of the Kingdom of Belgium.
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Friday, October 2, 2009
Exhibition to highlight Turkish-Jewish history
The rich, centuries-old history of Jewish life in Turkey will be told through an exhibition and lecture program during the month of October, sponsored by Georgia State University’s Middle East Institute, Department of Religious Studies, and Program in Jewish Studies.
"Under Vine and Fig Tree: 500 Years of Turkish Jewish History" will present images of significant relics and treasures from the Quincentennial Foundation Museum of Turkish Jews in Istanbul Oct. 12-23 on the third floor of the university's Student Center.
A significant period in Turkish Jewish history began during the late 15th century, when Spain expelled all Jews who refused to convert to Christianity. Ottoman Sultan Beyazid II invited Jews fleeing Spain to live in the Ottoman Empire, where they contributed to Turkish society and flourished.
“Jews actually rose to some very prominent positions in the Ottoman Empire, such as advisors and diplomats,” said Alta Schwartz, outreach director of the Middle East Institute.
Some of the images in the exhibit will include that of the decree of Sultan Abdülmecid I in the 19th century railing against the “blood libel” that incited anti-Semitic beliefs across Europe and led to atrocities against Jews, as well as a menorah shaped as a minaret.
“It’s very interesting to see something that is very Jewish, but with strong Turkish and Islamic symbolism,” Schwartz said.
The program includes a lecture at 7 p.m. Oct. 20 at Congregation Or VeShalom, 1681 N. Druid Hills Road in Atlanta, where Catherine Lewis, associate professor of history and women’s studies at Kennesaw State University will explore Jewish contributions to Turkish society.
The lecture is free and open to the public, but interested persons should RSVP to Alta Schwartz at 404-413-6146 or aschwartz@gsu.edu.
Other cosponsors of the exhibition include the Istanbul Center, the William Breman Jewish Heritage Museum, and the Consulate General of Israel to the Southeast.
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"Under Vine and Fig Tree: 500 Years of Turkish Jewish History" will present images of significant relics and treasures from the Quincentennial Foundation Museum of Turkish Jews in Istanbul Oct. 12-23 on the third floor of the university's Student Center.
A significant period in Turkish Jewish history began during the late 15th century, when Spain expelled all Jews who refused to convert to Christianity. Ottoman Sultan Beyazid II invited Jews fleeing Spain to live in the Ottoman Empire, where they contributed to Turkish society and flourished.
“Jews actually rose to some very prominent positions in the Ottoman Empire, such as advisors and diplomats,” said Alta Schwartz, outreach director of the Middle East Institute.
Some of the images in the exhibit will include that of the decree of Sultan Abdülmecid I in the 19th century railing against the “blood libel” that incited anti-Semitic beliefs across Europe and led to atrocities against Jews, as well as a menorah shaped as a minaret.
“It’s very interesting to see something that is very Jewish, but with strong Turkish and Islamic symbolism,” Schwartz said.
The program includes a lecture at 7 p.m. Oct. 20 at Congregation Or VeShalom, 1681 N. Druid Hills Road in Atlanta, where Catherine Lewis, associate professor of history and women’s studies at Kennesaw State University will explore Jewish contributions to Turkish society.
The lecture is free and open to the public, but interested persons should RSVP to Alta Schwartz at 404-413-6146 or aschwartz@gsu.edu.
Other cosponsors of the exhibition include the Istanbul Center, the William Breman Jewish Heritage Museum, and the Consulate General of Israel to the Southeast.
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Booth Western Art Museum Expands Exhibition Space
/PRNewswire/ -- Georgia's second largest art museum is growing. After two years of construction, the Booth Western Art Museum opens its new 40,000 square foot wing to the public on October 10, bringing the museum to 120,000 square feet. The new wing doubles the museum's exhibition space and features the largest permanent exhibition of Western art in America.
The new wing features a gallery displaying a cross section of the stylistic changes witnessed in Western art over the past 50 years and a two-story sculpture court with both traditional and contemporary style sculpture. Artists represented include Native American icons as well as contemporary trendsetters. The sculpture court features large scale works by numerous artists. The focal point of the soaring space is the monumental bronze sculpture Eagle Catcher surrounded by a floating staircase.
The new wing also showcases approximately 200 Native American artifacts on loan from several major collectors. The display presents the objects as art and shows the influence the Native tradition of decorating utilitarian objects has on the work of many contemporary artists.
In addition to Western art galleries, the new wing boasts a 250 seat banquet hall for Museum events and an expanded Civil War art gallery. Visitor favorites like the Presidential gallery, showcasing original letters and portraits, and the children's interactive galley, Sagebrush Ranch, remain unchanged.
Working with the assistance of several museums across the country, two galleries in the original building now explore the first 100 years of Western art. Among the works on long term loan to the Booth are examples by Frederic Remington, Charles M. Russell, George Catlin, and many others.
This historic introduction to Western art provides the perfect jumping off point to explore the Booth's permanent collection of art by living artists. Anchoring the galleries featuring traditional masters are multiple works by Howard Terpning, Mian Situ, Roy Andersen, Carrie Ballantyne, and many more.
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The new wing features a gallery displaying a cross section of the stylistic changes witnessed in Western art over the past 50 years and a two-story sculpture court with both traditional and contemporary style sculpture. Artists represented include Native American icons as well as contemporary trendsetters. The sculpture court features large scale works by numerous artists. The focal point of the soaring space is the monumental bronze sculpture Eagle Catcher surrounded by a floating staircase.
The new wing also showcases approximately 200 Native American artifacts on loan from several major collectors. The display presents the objects as art and shows the influence the Native tradition of decorating utilitarian objects has on the work of many contemporary artists.
In addition to Western art galleries, the new wing boasts a 250 seat banquet hall for Museum events and an expanded Civil War art gallery. Visitor favorites like the Presidential gallery, showcasing original letters and portraits, and the children's interactive galley, Sagebrush Ranch, remain unchanged.
Working with the assistance of several museums across the country, two galleries in the original building now explore the first 100 years of Western art. Among the works on long term loan to the Booth are examples by Frederic Remington, Charles M. Russell, George Catlin, and many others.
This historic introduction to Western art provides the perfect jumping off point to explore the Booth's permanent collection of art by living artists. Anchoring the galleries featuring traditional masters are multiple works by Howard Terpning, Mian Situ, Roy Andersen, Carrie Ballantyne, and many more.
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Monday, February 16, 2009
A Gullah Geechee Gathering on UWG Campus February 16
The University of West Georgia and the Office of Minority Affairs will present a Gullah Geechee Gathering on Monday, Feb. 16, at 4:30 p.m. and 7 p.m. in the Campus Center Ballroom. The event is free and the community is invited to attend.
Jim and Pat Bacote, historians and cultural preservationists, and the Geechee Kunda team will enlighten the audience with an exciting understanding of the Gullah culture, dialect and traditions.
The Gullah/Geechee of the Southeast coast, descendents of West Africa, have a unique culture, language, arts and rituals that have been maintained for centuries. They have a remarkable story to tell.
Isolated on island communities from southern North Carolina to northern Florida, the Gullah Geechee are known for a strong sense of community built on extended family units and for living off the land and water.
They have remained deeply connected to the roots of African culture that include its colorful art, crafts, foods and religious rituals and speak a distinct Creole language.
An educational exhibit will be open for viewing at the Campus Center from 4:30 to 6:30 p.m. A show packed with the music and the colorful art of the Gullah will be performed by the Kunda team at 7 p.m. For more information, call 678-839-5400.
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Jim and Pat Bacote, historians and cultural preservationists, and the Geechee Kunda team will enlighten the audience with an exciting understanding of the Gullah culture, dialect and traditions.
The Gullah/Geechee of the Southeast coast, descendents of West Africa, have a unique culture, language, arts and rituals that have been maintained for centuries. They have a remarkable story to tell.
Isolated on island communities from southern North Carolina to northern Florida, the Gullah Geechee are known for a strong sense of community built on extended family units and for living off the land and water.
They have remained deeply connected to the roots of African culture that include its colorful art, crafts, foods and religious rituals and speak a distinct Creole language.
An educational exhibit will be open for viewing at the Campus Center from 4:30 to 6:30 p.m. A show packed with the music and the colorful art of the Gullah will be performed by the Kunda team at 7 p.m. For more information, call 678-839-5400.
-----
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Thursday, February 5, 2009
United States Holocaust Memorial Museum Launches Major Exhibition State of Deception: The Power of Nazi Propaganda
United States Holocaust Memorial Museum Launches Major Exhibition State of Deception: The Power of Nazi Propaganda
"Propaganda is a truly terrible weapon in the hands of an expert." -- Adolf Hitler, Mein Kampf, 1924
/PRNewswire-USNewswire/ -- The Nazi Party developed a sophisticated propaganda machine that deftly spread lies about its political opponents, Jews and the need for war. But Nazi propaganda was much more complex than that. For the Nazis to achieve power and pursue their racial policies and expansionist war efforts, a much more nuanced picture had to be painted -- one that would appeal to broad swaths of the population, not just a fanatical extreme. The United States Holocaust Memorial Museum's groundbreaking new exhibition, State of Deception: The Power of Nazi Propaganda, shows how the Nazis employed propaganda to acquire power and help pave the way for war while creating a climate of hatred, suspicion and, most importantly, indifference that facilitated the elimination from society of Jews and others deemed undesirable by the Nazi state.
"We often assume that the Nazis sold exclusively hate," says Museum Director Sara J. Bloomfield. "In reality, they also promoted an agenda of freedom, unity and prosperity that many found alluring. The Nazis' keen understanding of mass communications and ability to exploit the Germans' hopes and fears offer lessons for us today as we live in a world of instantaneous communications and are targeted with more information than ever before."
Featuring rarely seen artifacts, State of Deception draws visitors into a rich multimedia environment vividly illustrating the insidious allure of much of Nazi propaganda. The exhibition will run through December 2011 and is part of a larger Museum initiative on propaganda that features a dynamic, interactive Web site, a richly illustrated book, outreach programs for media professionals and public presentations. More information is available at www.ushmm.org/propaganda.
State of Deception reveals how shortly after World War I, the Nazi party began to transform itself from an obscure, extremist right-wing group into the largest political party in democratic Germany. Hitler early on recognized how propaganda, combined with the use of terror, could help his extremist party gain mass support and votes. He personally adapted the ancient symbol of the swastika and the emotive colors of red, black and white to create the movement's flag. In doing so, Hitler established a potent visual identity that has branded the Nazi party ever since.
"Adolf Hitler was an avid student of propaganda, who borrowed techniques from the Allies in World War I, his Socialist and Communist rivals, the Italian Fascist Party as well as modern advertising," says State of Deception curator Steven Luckert. "Drawing upon these models, he successfully marketed the Nazi party, its ideology, and himself to the German people."
After seizing power, the Nazi Party took over all communications in Germany. It marshaled the state's resources to consolidate power and relentlessly promote its vision of "racially pure," utopian Germany that needed to defend itself from those who would destroy it. Jews were cast as the primary enemies, but others, including Roma, homosexuals, Jehovah's Witnesses and the mentally and physically handicapped, were also portrayed as threats to the "national community."
As Germany pushed the world into war, Nazi propaganda rationalized Germany's territorial expansion as self-defense. Jews were depicted as agents of disease and corruption. The Nazis' actions against them, in Germany and occupied countries, were promoted as necessary measures to protect the population at large.
The exhibition closes by examining the Allied postwar efforts to purge Germany of Nazi propaganda. In the aftermath of the Nazi defeat, limitations on speech were established in Germany and other European countries. Two Nazi propagandists, Julius Streicher, editor of Der Sturmer, a viciously anti-Semitic newspaper, and Hans Fritzsche, head of the Radio Division of the German Ministry of Propaganda, stood trial at the International Military Tribunal at Nuremberg for crimes against humanity, specifically for inciting the hatred that led to the persecution and murder of Europe's Jews. Streicher was found guilty and was executed. Fritzsche was acquitted.
In 1948, the United Nations adopted the Convention on the Prevention and Punishment of the Crime of Genocide, which criminalized, "direct and public incitement to genocide," and since then propagandists have been charged under this statute. The Streicher and Fritzsche trials served as important legal precedents in the International Criminal Tribunal for Rwanda in the 2003 "Media Trial." Today, some assert that statements made by Iranian President Mahmoud Ahmadinejad concerning Israel, for example, his call to "wipe Israel off the map," constitute incitement to genocide under the 1948 Convention. Others say the legal criteria for prosecution have not been met.
Entry to State of Deception is free, and no passes are required. The exhibition runs through December 2011, in the Kimmel-Rowan Gallery on the Museum's lower level. Visitation information can be found at the Museum's Web site, www.ushmm.org.
A living memorial to the Holocaust, the United States Holocaust Memorial Museum inspires citizens and leaders to promote human dignity, confront hatred and prevent genocide. Federal support guarantees the Museum's permanent place on the National Mall, and its far-reaching educational programs and global impact are made possible by the generosity of donors nationwide.
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"Propaganda is a truly terrible weapon in the hands of an expert." -- Adolf Hitler, Mein Kampf, 1924
/PRNewswire-USNewswire/ -- The Nazi Party developed a sophisticated propaganda machine that deftly spread lies about its political opponents, Jews and the need for war. But Nazi propaganda was much more complex than that. For the Nazis to achieve power and pursue their racial policies and expansionist war efforts, a much more nuanced picture had to be painted -- one that would appeal to broad swaths of the population, not just a fanatical extreme. The United States Holocaust Memorial Museum's groundbreaking new exhibition, State of Deception: The Power of Nazi Propaganda, shows how the Nazis employed propaganda to acquire power and help pave the way for war while creating a climate of hatred, suspicion and, most importantly, indifference that facilitated the elimination from society of Jews and others deemed undesirable by the Nazi state.
"We often assume that the Nazis sold exclusively hate," says Museum Director Sara J. Bloomfield. "In reality, they also promoted an agenda of freedom, unity and prosperity that many found alluring. The Nazis' keen understanding of mass communications and ability to exploit the Germans' hopes and fears offer lessons for us today as we live in a world of instantaneous communications and are targeted with more information than ever before."
Featuring rarely seen artifacts, State of Deception draws visitors into a rich multimedia environment vividly illustrating the insidious allure of much of Nazi propaganda. The exhibition will run through December 2011 and is part of a larger Museum initiative on propaganda that features a dynamic, interactive Web site, a richly illustrated book, outreach programs for media professionals and public presentations. More information is available at www.ushmm.org/propaganda.
State of Deception reveals how shortly after World War I, the Nazi party began to transform itself from an obscure, extremist right-wing group into the largest political party in democratic Germany. Hitler early on recognized how propaganda, combined with the use of terror, could help his extremist party gain mass support and votes. He personally adapted the ancient symbol of the swastika and the emotive colors of red, black and white to create the movement's flag. In doing so, Hitler established a potent visual identity that has branded the Nazi party ever since.
"Adolf Hitler was an avid student of propaganda, who borrowed techniques from the Allies in World War I, his Socialist and Communist rivals, the Italian Fascist Party as well as modern advertising," says State of Deception curator Steven Luckert. "Drawing upon these models, he successfully marketed the Nazi party, its ideology, and himself to the German people."
After seizing power, the Nazi Party took over all communications in Germany. It marshaled the state's resources to consolidate power and relentlessly promote its vision of "racially pure," utopian Germany that needed to defend itself from those who would destroy it. Jews were cast as the primary enemies, but others, including Roma, homosexuals, Jehovah's Witnesses and the mentally and physically handicapped, were also portrayed as threats to the "national community."
As Germany pushed the world into war, Nazi propaganda rationalized Germany's territorial expansion as self-defense. Jews were depicted as agents of disease and corruption. The Nazis' actions against them, in Germany and occupied countries, were promoted as necessary measures to protect the population at large.
The exhibition closes by examining the Allied postwar efforts to purge Germany of Nazi propaganda. In the aftermath of the Nazi defeat, limitations on speech were established in Germany and other European countries. Two Nazi propagandists, Julius Streicher, editor of Der Sturmer, a viciously anti-Semitic newspaper, and Hans Fritzsche, head of the Radio Division of the German Ministry of Propaganda, stood trial at the International Military Tribunal at Nuremberg for crimes against humanity, specifically for inciting the hatred that led to the persecution and murder of Europe's Jews. Streicher was found guilty and was executed. Fritzsche was acquitted.
In 1948, the United Nations adopted the Convention on the Prevention and Punishment of the Crime of Genocide, which criminalized, "direct and public incitement to genocide," and since then propagandists have been charged under this statute. The Streicher and Fritzsche trials served as important legal precedents in the International Criminal Tribunal for Rwanda in the 2003 "Media Trial." Today, some assert that statements made by Iranian President Mahmoud Ahmadinejad concerning Israel, for example, his call to "wipe Israel off the map," constitute incitement to genocide under the 1948 Convention. Others say the legal criteria for prosecution have not been met.
Entry to State of Deception is free, and no passes are required. The exhibition runs through December 2011, in the Kimmel-Rowan Gallery on the Museum's lower level. Visitation information can be found at the Museum's Web site, www.ushmm.org.
A living memorial to the Holocaust, the United States Holocaust Memorial Museum inspires citizens and leaders to promote human dignity, confront hatred and prevent genocide. Federal support guarantees the Museum's permanent place on the National Mall, and its far-reaching educational programs and global impact are made possible by the generosity of donors nationwide.
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Wednesday, January 14, 2009
National Museum of American History to Open 'Abraham Lincoln: An Extraordinary Life'
/PRNewswire-USNewswire/ -- The Smithsonian's National Museum of American History will celebrate the 200th anniversary of Abraham Lincoln's birth with a new exhibition, "Abraham Lincoln: An Extraordinary Life," opening Jan. 16, 2009. The exhibition is made possible through the generous support of the Ford Motor Company Fund, the Richard Lounsbery Foundation and the History Channel.
Showcasing the museum's major Lincoln collection, the exhibition will present more than 60 objects associated with Lincoln's life, from an iron wedge he used to split wood in the early 1830s in New Salem, Ill., to his iconic top hat that he wore the night he was shot at Ford's Theatre. More than 50 graphics in the form of photographs, personal portraits, painting, sketches and cartoons will also be featured throughout the exhibition.
"We are excited about bringing together for the first time this unique and unparalleled collection of Lincoln objects," said Museum Director Brent D. Glass. "What better way to celebrate Lincoln's 200th birthday than by telling the story of his extraordinary life?"
Visitors to "Abraham Lincoln: An Extraordinary Life" will explore sections on Lincoln's early life, his presidential campaign, the White House and the Civil War, the Emancipation Proclamation, his assassination and the national mourning that followed. Stories about how the objects came to be in the Smithsonian collections are integrated into the exhibition, to present not only aspects of Lincoln's life but also how he has been remembered. Lincoln's office suit and Mary Todd Lincoln's gown, made by Elizabeth Keckley, will be displayed together, with additional costumes and family-related objects that convey more of the history of the Lincoln family's time in the White House.
Visitors will see Lincoln's gold pocket watch from his days as a Springfield lawyer, the inkstand he used to draft the Emancipation Proclamation, his patent model for lifting boats and all eight prison hoods worn by the Lincoln conspirators.
Other notable objects will include plaster casts of Lincoln's face and hands that were taken by Chicago artist Leonard Volk. The casts of Lincoln's hands were taken May 20, 1860, two days after he received the nomination as the Republican Party presidential candidate. To steady his right hand in the mold, which was still swollen from shaking hands with supporters, Lincoln cut off a piece of broom handle to hold. Volk later placed the piece of broom handle in the original cast, which will be on display.
Two short videos by the History Channel will round out the exhibition. The first looks at Lincoln's patent model for lifting boats over shoals. Lincoln was inspired to design the device after his boat became stuck in shallow waters during a trip to Niagara Falls. An animation based on an engineering analysis of the Lincoln patent model will show visitors how it would have worked. The second, an eight-minute film, sheds light on the Emancipation Proclamation and how it affected the Civil War.
"As a whole, the exhibition presents a more personal and intimate look at Lincoln. It reminds us that Abraham Lincoln, whose story has become so mythic, was a real individual. Through all his achievements, successes and tragedies, he led an extraordinary life," said Harry Rubenstein, the exhibition's curator and chair of the museum's division of politics and reform. The opening of the exhibition will coincide with the museum's debut of "America's New Birth of Freedom: Documents from the Abraham Lincoln Presidential Library and Museum" in the Albert H. Small Documents Gallery.
Companion Book
With more than 150 illustrations of objects and photographs, "Abraham Lincoln: An Extraordinary Life," is the official companion book to the exhibition. Both the book and the exhibition present a new and intimate story of the life and legacy of this remarkable individual. Like no other American, Lincoln's life is entwined with the history and culture of the nation. His rise from poverty to the presidency has inspired others to believe in the promise of opportunity, his success in preserving a democratic nation is one of America's greatest triumphs and his death is an American tragedy. Written by Rubenstein, the book is published by Smithsonian Books and will be available for $12.95 in late January.
Public Programs
To explore the complex and momentous issues Lincoln confronted as President, the museum will present an exciting public dialogue series to accompany "Abraham Lincoln: An Extraordinary Life." The series will focus on the most critical and difficult decisions made by Lincoln in their historical context, as well as their meaning to modern Americans. Six free evening programs will be presented periodically during the two-year run of the exhibition and are made possible by a National Endowment for the Humanities grant through the Gilder Lehrman Institute of American History. The first program is planned for February 2009. Check the museum's Web site for the schedule at http://americanhistory.si.edu/.
The exhibition was designed by Haley Sharpe Design, and the dedicated exhibition Web site is http://americanhistory.si.edu/lincoln.
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Showcasing the museum's major Lincoln collection, the exhibition will present more than 60 objects associated with Lincoln's life, from an iron wedge he used to split wood in the early 1830s in New Salem, Ill., to his iconic top hat that he wore the night he was shot at Ford's Theatre. More than 50 graphics in the form of photographs, personal portraits, painting, sketches and cartoons will also be featured throughout the exhibition.
"We are excited about bringing together for the first time this unique and unparalleled collection of Lincoln objects," said Museum Director Brent D. Glass. "What better way to celebrate Lincoln's 200th birthday than by telling the story of his extraordinary life?"
Visitors to "Abraham Lincoln: An Extraordinary Life" will explore sections on Lincoln's early life, his presidential campaign, the White House and the Civil War, the Emancipation Proclamation, his assassination and the national mourning that followed. Stories about how the objects came to be in the Smithsonian collections are integrated into the exhibition, to present not only aspects of Lincoln's life but also how he has been remembered. Lincoln's office suit and Mary Todd Lincoln's gown, made by Elizabeth Keckley, will be displayed together, with additional costumes and family-related objects that convey more of the history of the Lincoln family's time in the White House.
Visitors will see Lincoln's gold pocket watch from his days as a Springfield lawyer, the inkstand he used to draft the Emancipation Proclamation, his patent model for lifting boats and all eight prison hoods worn by the Lincoln conspirators.
Other notable objects will include plaster casts of Lincoln's face and hands that were taken by Chicago artist Leonard Volk. The casts of Lincoln's hands were taken May 20, 1860, two days after he received the nomination as the Republican Party presidential candidate. To steady his right hand in the mold, which was still swollen from shaking hands with supporters, Lincoln cut off a piece of broom handle to hold. Volk later placed the piece of broom handle in the original cast, which will be on display.
Two short videos by the History Channel will round out the exhibition. The first looks at Lincoln's patent model for lifting boats over shoals. Lincoln was inspired to design the device after his boat became stuck in shallow waters during a trip to Niagara Falls. An animation based on an engineering analysis of the Lincoln patent model will show visitors how it would have worked. The second, an eight-minute film, sheds light on the Emancipation Proclamation and how it affected the Civil War.
"As a whole, the exhibition presents a more personal and intimate look at Lincoln. It reminds us that Abraham Lincoln, whose story has become so mythic, was a real individual. Through all his achievements, successes and tragedies, he led an extraordinary life," said Harry Rubenstein, the exhibition's curator and chair of the museum's division of politics and reform. The opening of the exhibition will coincide with the museum's debut of "America's New Birth of Freedom: Documents from the Abraham Lincoln Presidential Library and Museum" in the Albert H. Small Documents Gallery.
Companion Book
With more than 150 illustrations of objects and photographs, "Abraham Lincoln: An Extraordinary Life," is the official companion book to the exhibition. Both the book and the exhibition present a new and intimate story of the life and legacy of this remarkable individual. Like no other American, Lincoln's life is entwined with the history and culture of the nation. His rise from poverty to the presidency has inspired others to believe in the promise of opportunity, his success in preserving a democratic nation is one of America's greatest triumphs and his death is an American tragedy. Written by Rubenstein, the book is published by Smithsonian Books and will be available for $12.95 in late January.
Public Programs
To explore the complex and momentous issues Lincoln confronted as President, the museum will present an exciting public dialogue series to accompany "Abraham Lincoln: An Extraordinary Life." The series will focus on the most critical and difficult decisions made by Lincoln in their historical context, as well as their meaning to modern Americans. Six free evening programs will be presented periodically during the two-year run of the exhibition and are made possible by a National Endowment for the Humanities grant through the Gilder Lehrman Institute of American History. The first program is planned for February 2009. Check the museum's Web site for the schedule at http://americanhistory.si.edu/.
The exhibition was designed by Haley Sharpe Design, and the dedicated exhibition Web site is http://americanhistory.si.edu/lincoln.
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Saturday, December 6, 2008
'First Ladies at the Smithsonian' Exhibition Opens at National Museum of American History
/PRNewswire-USNewswire/ -- The Smithsonian's National Museum of American History will open "First Ladies at the Smithsonian," a display that showcases premier objects from the nearly century-old First Ladies Collection, on Friday, Dec. 19, as part of its reopening year celebration.
For decades, the first ladies collection has been one of the most popular attractions at the Smithsonian Institution. The new exhibition takes a broader focus that allows the museum to tell more complex stories about the role of America's first ladies.
"The original first ladies exhibition of 1914 was the first at the Smithsonian to prominently feature women," said museum director Brent D. Glass. "Today we continue to delve deeper into the contributions of first ladies to the presidency and American society."
The exhibition features 14 dresses ranging from those of Martha Washington to Laura Bush as well as portraits, White House china, personal possessions and related objects from the Smithsonian's unique collection of first ladies' materials. Among the dresses displayed in the exhibition are Grace Coolidge's flapper-style evening dress, Jackie Kennedy's yellow-silk gown worn to the Kennedy administration's first state dinner in 1961 and Eleanor Roosevelt's pink-rayon crepe gown, which she wore to the 1945 inaugural reception that was held in lieu of a ball during World War II.
"First Ladies at the Smithsonian" is made possible by major support from Biography Channel.
"This new exhibition takes a fresh look at the first ladies through the National Museum of American History's unparalleled collection and scholarship," said Libby O'Connell, senior vice president of Corporate Outreach for AETN, Biography Channel's parent company. "Visitors will be enthralled by some new surprises and some old favorites, all accompanied by insightful interpretation. Biography Channel is honored to be a sponsor."
The exhibition is divided into three main sections: the evolution of the First Ladies Collection, the tradition of the inaugural gown and a first lady's contribution to the presidency and American society. The first section of the exhibition explores the establishment in 1912 of the "Collection of Period Costumes," the first Smithsonian collection focused on women, which would become the foundation of the First Ladies Collection. The exhibition goes on to detail how the collection has been shown at the Smithsonian, starting with a display at the Smithsonian's Arts and Industries Building in 1914 through the exhibition's immediate predecessor, "First Ladies: Political Role and Public Image" that was on view from 1992 to 2006. The display of gowns and personal effects in this section is designed to encourage visitors to think about how museums interpret individuals and document their lives through objects.
The second section of "First Ladies at the Smithsonian" discusses the tradition of the first lady's gown coming to the Smithsonian. It highlights Helen Taft's 1909 white-silk chiffon inaugural gown, which was appliqued with floral embroideries in metallic thread and trimmed with rhinestones and beads -- the first to be presented by a first lady in 1912. Also showcased is the red Chantilly lace and silk satin inaugural gown with crystal beading worn by Bush in 2001. This section will answer some of the public's most frequently asked questions about the collection.
The final section examines a first lady's contribution to the presidential administration. The role of the first lady and the country's expectations of public women have been shaped by societal changes and the women themselves. First ladies have made contributions as campaigners, hostesses, public policy advocates and the public faces of their respective administrations.
"First Ladies at the Smithsonian" serves as a bridge to the museum's plans for an expanded exhibition on first ladies' history set to open in a few years.
The National Museum of American History collects, preserves and displays American heritage in the areas of social, political, cultural, scientific and military history. The museum sheds new light on American history after having been dramatically transformed by a two-year renovation. To learn more about the museum, visit http://americanhistory.si.edu/. For Smithsonian information, the public may call (202) 633-1000, (202) 633-5285 (TTY).
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For decades, the first ladies collection has been one of the most popular attractions at the Smithsonian Institution. The new exhibition takes a broader focus that allows the museum to tell more complex stories about the role of America's first ladies.
"The original first ladies exhibition of 1914 was the first at the Smithsonian to prominently feature women," said museum director Brent D. Glass. "Today we continue to delve deeper into the contributions of first ladies to the presidency and American society."
The exhibition features 14 dresses ranging from those of Martha Washington to Laura Bush as well as portraits, White House china, personal possessions and related objects from the Smithsonian's unique collection of first ladies' materials. Among the dresses displayed in the exhibition are Grace Coolidge's flapper-style evening dress, Jackie Kennedy's yellow-silk gown worn to the Kennedy administration's first state dinner in 1961 and Eleanor Roosevelt's pink-rayon crepe gown, which she wore to the 1945 inaugural reception that was held in lieu of a ball during World War II.
"First Ladies at the Smithsonian" is made possible by major support from Biography Channel.
"This new exhibition takes a fresh look at the first ladies through the National Museum of American History's unparalleled collection and scholarship," said Libby O'Connell, senior vice president of Corporate Outreach for AETN, Biography Channel's parent company. "Visitors will be enthralled by some new surprises and some old favorites, all accompanied by insightful interpretation. Biography Channel is honored to be a sponsor."
The exhibition is divided into three main sections: the evolution of the First Ladies Collection, the tradition of the inaugural gown and a first lady's contribution to the presidency and American society. The first section of the exhibition explores the establishment in 1912 of the "Collection of Period Costumes," the first Smithsonian collection focused on women, which would become the foundation of the First Ladies Collection. The exhibition goes on to detail how the collection has been shown at the Smithsonian, starting with a display at the Smithsonian's Arts and Industries Building in 1914 through the exhibition's immediate predecessor, "First Ladies: Political Role and Public Image" that was on view from 1992 to 2006. The display of gowns and personal effects in this section is designed to encourage visitors to think about how museums interpret individuals and document their lives through objects.
The second section of "First Ladies at the Smithsonian" discusses the tradition of the first lady's gown coming to the Smithsonian. It highlights Helen Taft's 1909 white-silk chiffon inaugural gown, which was appliqued with floral embroideries in metallic thread and trimmed with rhinestones and beads -- the first to be presented by a first lady in 1912. Also showcased is the red Chantilly lace and silk satin inaugural gown with crystal beading worn by Bush in 2001. This section will answer some of the public's most frequently asked questions about the collection.
The final section examines a first lady's contribution to the presidential administration. The role of the first lady and the country's expectations of public women have been shaped by societal changes and the women themselves. First ladies have made contributions as campaigners, hostesses, public policy advocates and the public faces of their respective administrations.
"First Ladies at the Smithsonian" serves as a bridge to the museum's plans for an expanded exhibition on first ladies' history set to open in a few years.
The National Museum of American History collects, preserves and displays American heritage in the areas of social, political, cultural, scientific and military history. The museum sheds new light on American history after having been dramatically transformed by a two-year renovation. To learn more about the museum, visit http://americanhistory.si.edu/. For Smithsonian information, the public may call (202) 633-1000, (202) 633-5285 (TTY).
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Friday, November 21, 2008
Union Pacific to Be Exclusive Sponsor of Abraham Lincoln Bicentennial Exhibition at Library of Congress
HH Note: Just in case a trip to our nation's capital is not in your future next year, never fear. The Lincoln Exhibit will be in Atlanta in the fall of 2010.
(BUSINESS WIRE)--Union Pacific will be the exclusive sponsor of the Abraham Lincoln bicentennial exhibition, which opens at the Library of Congress in Washington, D.C., February 12, 2009, in celebration of Lincoln’s 200th birthday. America’s 16th president, Lincoln was a great railroad advocate and is considered the father of the transcontinental railroad. He signed the Pacific Railroad Act into law in 1862, directing the construction of the nation’s first transcontinental railroad and creating Union Pacific.
“With Malice Toward None: The Abraham Lincoln Bicentennial Exhibition” will provide the general public an opportunity to view rarely seen treasures from the Library of Congress collections. Union Pacific has agreed to loan to the exhibition a rocking chair from Lincoln’s office and a silk banner from his funeral procession from the Union Pacific Railroad Museum in Council Bluffs, Iowa.
“The heritage of the railroad is one of the most fascinating and inspiring for many Americans,” said Bob Turner, Union Pacific senior vice president, corporate relations. “Lincoln’s actions were the most significant events of 19th century American history, uniting the North and South through the civil war and the East and the West through the transcontinental railroad. His vision nearly 150 years ago to build a transcontinental railroad paved the way for what today is the safest, most efficient and environmentally friendly mode of ground freight transportation in our country. We are proud to sponsor this bicentennial exhibition.”
In addition to the items loaned by the Union Pacific Railroad Museum, the exhibition will include a vast array of Lincoln material including letters, photographs, political cartoons, period engravings, speeches and artifacts. Some specific collection items to be displayed include:
* The notes Lincoln prepared in advance of his debates with Senator Stephen Douglas;
* Lincoln’s personal scrapbook of newspaper clippings;
* The critical letter Lincoln wrote but never sent to General George Meade following the Battle of Gettysburg;
* The Lincoln family Bible; and
* The contents of Lincoln’s pockets on the night he was assassinated.
The exhibition will be on display at Library of Congress through May 9, 2009, after which it will travel to five U.S. cities: Sacramento, Calif., at The California Museum in spring/summer 2009; Chicago at the Newberry Library in fall 2009; Indianapolis at the Indiana State Museum in winter/spring 2010; Atlanta at the Atlanta History Center in fall 2010; and Omaha at the Durham Museum in winter 2011.
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(BUSINESS WIRE)--Union Pacific will be the exclusive sponsor of the Abraham Lincoln bicentennial exhibition, which opens at the Library of Congress in Washington, D.C., February 12, 2009, in celebration of Lincoln’s 200th birthday. America’s 16th president, Lincoln was a great railroad advocate and is considered the father of the transcontinental railroad. He signed the Pacific Railroad Act into law in 1862, directing the construction of the nation’s first transcontinental railroad and creating Union Pacific.
“With Malice Toward None: The Abraham Lincoln Bicentennial Exhibition” will provide the general public an opportunity to view rarely seen treasures from the Library of Congress collections. Union Pacific has agreed to loan to the exhibition a rocking chair from Lincoln’s office and a silk banner from his funeral procession from the Union Pacific Railroad Museum in Council Bluffs, Iowa.
“The heritage of the railroad is one of the most fascinating and inspiring for many Americans,” said Bob Turner, Union Pacific senior vice president, corporate relations. “Lincoln’s actions were the most significant events of 19th century American history, uniting the North and South through the civil war and the East and the West through the transcontinental railroad. His vision nearly 150 years ago to build a transcontinental railroad paved the way for what today is the safest, most efficient and environmentally friendly mode of ground freight transportation in our country. We are proud to sponsor this bicentennial exhibition.”
In addition to the items loaned by the Union Pacific Railroad Museum, the exhibition will include a vast array of Lincoln material including letters, photographs, political cartoons, period engravings, speeches and artifacts. Some specific collection items to be displayed include:
* The notes Lincoln prepared in advance of his debates with Senator Stephen Douglas;
* Lincoln’s personal scrapbook of newspaper clippings;
* The critical letter Lincoln wrote but never sent to General George Meade following the Battle of Gettysburg;
* The Lincoln family Bible; and
* The contents of Lincoln’s pockets on the night he was assassinated.
The exhibition will be on display at Library of Congress through May 9, 2009, after which it will travel to five U.S. cities: Sacramento, Calif., at The California Museum in spring/summer 2009; Chicago at the Newberry Library in fall 2009; Indianapolis at the Indiana State Museum in winter/spring 2010; Atlanta at the Atlanta History Center in fall 2010; and Omaha at the Durham Museum in winter 2011.
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