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In August 1908, a white mob attacked Springfield, Illinois’s Black community, destroying homes and businesses and lynching two Black men. National outrage over the violence helped spur the movement that created the NAACP the following year.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
| The Angel with Golden Hair | |
|---|---|
 | |
| Year | c. 1200 |
| Medium | Tempera on wood |
| Dimensions | 48.8 cm × 39 cm (19.2 in × 15 in) |
| Location | |
The Angel with Golden Hair (Russian: Ангел Златые Власы, romanized: Angel Zlatye Vlasy),[1] also known as the Archangel Gabriel (Russian: Архангел Гавриил),[2] is a tempera icon by an unknown Russian artist, painted in the second half of the 12th century. It is displayed in the Russian Museum in Saint Petersburg.
The Angel with Golden Hair is the oldest Russian icon from the collection of the Russian Museum. Most experts attribute it to the Novgorod school of icon painting. What characterizes this icon is the golden hair with added gold leaf. For each hair of the angel a thin gold strip from a gold leaf was laid, which makes the hair shine with a celestial light, as the gold symbolizes the divine.[3]
The icon is one of Russia's oldest surviving icons, dating from the pre-Mongol invasion period. It was hung at the Kremlin church in Moscow in the 16th century. The icon was possibly brought from Novgorod to the city of Moscow during the reign of Ivan the Terrible, when he pillaged the city and moved its sacred objects to his capital.[4]
During the 12th century, the most prominent tier of the iconostasis, a screen of icons in front of the altar, was the Deesis (also known as "Supplication")[5] tier—an image of Christ with his mother surrounded by angels and saints. It is thought that 'The Angel with Golden Hair was part of that. The huge cheeks and a wide almond-shaped eyes of this icon resemble the frescoes in the Chapel of the Theotokos on the Patmos island in Greece. Otherwise it is close to the style in the murals of the Saviour Church on Nereditsa Hill (1199) in Novgorod, where it is suggested that it was part of the Deesis tier. The artwork is the result of the Byzantine art influence of the city of Novgorod between the late 12th and early 13th centuries, which spread to the city of Moscow around the year 1200.[4]
The icon was discovered by the art historian Georgy Filimonov in 1864 while dismantling the "junk storeroom" in the "tent" (the attic) of the Ivan the Great Bell Tower in Moscow Kremlin, where "dilapidated and unusable" icons were laid, destined for destruction.[6] The icon was moved to Rumyantsev Museum, where it was attributed to Simon Ushakov's circle. The conclusion was based on the last restoration of the icon, made in the 17th century. After the dissolution of the Rumyantsev Museum in 1925, the icon as part of the collection of Christian antiquities was transferred to the State Historical Museum, where the restorer E. I. Bryagin cleaned it. Due to the poor preservation of the painting, the restorer was forced to preserve significant remains of the 17th-century additions to the icon, such as the green background, clothes, writing on the hair, and gold. In 1926 it was first exhibited at an exhibition of the monuments of ancient Russian icon paintings in the State Historical Museum. In 1930 the collection of Christian antiquities was moved to the Tretyakov Gallery. Then in 1934 the icon was moved to the collection of Russian Museum. According to Viktor Lazarev: you have to connect this icon to Byzantine influence exerted on the art of Novgorod in the 12th century. It could be a work of the workshop of Olisey the Greek.[7][8] The icon is similar to the Holy Face of Novgorod painted on the back of the Adoration of the Cross but which is attributed to "an unknown author" by the Tretyakov Museum.[9]
Source: Wikipedia. Article content is retrieved live through the MediaWiki API.
The Novgorod school (Russian: Новгородская школа) is a Russian school noted for its icon and mural painters active from the 12th century through the 16th century in Novgorod. During this time, the Russian artists preserved Byzantine traditions, influenced by Theophanes the Greek, which became the framework for later Russian art. Novgorod was an economic and cultural center in 13th- and 14th-century Russia, when most of the rest of the country was vassalized by the Mongols. Novgorodian artists preserved the Byzantine traditions that formed the basis of Russian art but introduced lighter and brighter colors, flatter forms, softening of facial types, and increasing use of a graceful, rhythmic line to define form. Until the early 14th century, artistic activity was dominated by mural painting. A new artistic impetus was provided by the introduction of the iconostasis. When icons were displayed together on the iconostasis rather than scattered about the walls of the church, they demanded a coherent overall impression, which was achieved by strong, rhythmic lines and color harmonies. Figures took on the elongated shape that became standard in Russian art. Two Greek masters were particularly important to the development of the Novgorod school in the 14th century, both of whom are mentioned by name in the chronicles: "the Greek Isaiah and companions" who did the frescoes of the Church of the Entry into Jerusalem in 1338, and Theophanes the Greek, who decorated the Church of the Savior of the Transfiguration with frescoes in 1378. In the 16th century, artistic leadership passed to the Moscow school.
The Novgorod Republic (Russian: Новгородская республика, romanized: Novgorodskaya respublika), formally known as Lord Novgorod the Great, was a city-state that existed from the 12th to 15th centuries in northwestern Russia, stretching from the Gulf of Finland in the west to the Ural Mountains in the east. Its capital was the city of Novgorod. The republic prospered as the easternmost trading post of the Hanseatic League, and its people were much influenced by the culture of the Byzantines, with the Novgorod school of icon painting producing many fine works. For much of its history, Novgorod was the center of Russian art and culture. Novgorod formally won its independence in 1136 after the Novgorodians deposed their prince and the Novgorod veche began to elect and dismiss princes at its own will. By the 13th century, the prince's power had greatly diminished. The veche also elected the posadnik, the chief executive of the city, as well as the archbishop of Novgorod, subject to approval by the Russian metropolitan. In addition, the tysyatsky, originally the military commander, was elected by the veche to serve the interests of the common people, eventually taking on judicial and commercial functions. Novgorodian nobles known as boyars dominated the veche, and the offices of posadnik and tysyatsky remained in the hands of boyar families. The boyars also gave funding to the ushkuyniki, who contributed to the expansion of Novgorod's trade and colonies in the Russian North. From the mid-13th century, the Novgorodian throne remained in the hands of the grand princes of Vladimir, a title that, by the 14th century, had been inherited by the prince of Moscow. As Moscow grew in power in the 15th century, Novgorod began to lose its autonomy. In a 1471 peace treaty with Moscow following the Battle of Shelon, Novgorod pledged allegiance to Moscow, with its system of government temporarily left intact. The end of the republic came in 1478, when Ivan III dismantled the veche and imposed his direct rule on Novgorod as part of his campaign to annex the other Russian states.
The Angel with Golden Hair (Russian: Ангел Златые Власы, romanized: Angel Zlatye Vlasy), also known as the Archangel Gabriel (Russian: Архангел Гавриил), is a tempera icon by an unknown Russian artist, painted in the second half of the 12th century. It is displayed in the Russian Museum in Saint Petersburg. The Angel with Golden Hair is the oldest Russian icon from the collection of the Russian Museum. Most experts attribute it to the Novgorod school of icon painting. What characterizes this icon is the golden hair with added gold leaf. For each hair of the angel a thin gold strip from a gold leaf was laid, which makes the hair shine with a celestial light, as the gold symbolizes the divine.
Battle of the Novgorodians with the Suzdalians (Russian: битва новгородцев с суздальцами, romanized: bitva Novgorodtsev s Suzdal'tsami) is a Russian icon of the Novgorod school dated to the mid-15th century, depicting the siege of Novgorod in 1170.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Madam C.J. Walker