SCV Telegraph- Memphis Heritage-UPDATE

SCV  Telegraph Dear Compatriots: We appear to now be "at war" in Memphis. Our brothers there have acted in an exemplary manner, but have been met with contempt. Lee Millar, the SCV representative there sent this to me on Thursday afternoon -- Gene, It appears that our Memphis City Council will not be swayed by facts or reason and are determined to erase our Confederate Parks. We must now resort to the courts. We are strapping in for, perhaps, a long, rough ride. It will take money to see this through - and see it through we must. This is one of the most important Heritage battles that we have faced in a number of years, so we need to "count the cost." Does this matter... are we willing to contribute to this fight... if we should loose, what then? How do we put a price on this?   I am sending you, again, the link for the legal defense fund website-- http://citizenstosaveourparks.org/ Here, also, is the mailing address: Citizens To Save Our Parks P.O. Box 241875 Memphis, TN 38124 I'm throwing out a challenge - HELP OUR COMPATRIOTS IN MEMPHIS RAISE $60,000 BY THE END OF THE MONTH. It shouldn't be that hard... this works out to about $2 for every SCV member - and this is EVERYONE'S fight. ·Give generously; send to the above address ·If you are unable to give, encourage your Camp Commander to lead in a giving effort - camp allocation, "pass the hat" collection, whatever ·Division Commanders: take the lead, here. Challenge the other Divisions to meet your contributions; motivate your Camp Commanders ·Distribute this to members of other Heritage organizations (UDC, DAR, SAR, etc.), as well as veterans groups (VFW, American Legion, etc) - this is not just "our Confederate problem", but part of a larger problem of deconstructing our history as Americans ·Most importantly... PRAY This is when we decide what we're all about as an organization... "Meet, Greet, Eat and Retreat?" How 'bout, "Turn up the Heat; Send our enemies to Defeat!"   Let's show the world that the name of our one and only President... the name of our most innovative and overachieving General and the simple moniker, "Confederate" still mean something... not only in Memphis, but throughout Dixie and beyond. Please give. Gene Hogan Chief of Heritage Defense (866) 681 - 7314 chief.heritage@gmail.com

Sons of Confederate Veterans | PO Box 59 | Columbia | TN | 38402

B Co 3-501st AHB

Howdy all, here's some pictures from the front in Afghanistan of  my kid and some of his men in his company. The solo pic in front of their hooch is Jeff, and he's on the right in the group shot in front of the hooch. The other photos are of a cermony where some of them got the Air Combat Badges. He's wearing sunglasses in those photos. One day it's 80 degrees there, and the next it's freezing and snowing!   He's a Blackhawk pilot in the 3-501st Attach Helicopter Battalion.   If you want to see more, look them up on Facebook, just search for B Co 3-501st AHB , then click "like"   Jeff Yeatman B Co 3-501st AHB Task Force Ready / Iron Knights Camp Marmal Afghanistan APO AE 09368

B Co 3-501st AHB View photos    Download all You are invited to view LARRY's album. This album has 5 files.

SCV Telegraph- Heritage Rally 2013 thank you

SCV  Telegraph Compatriots, I wish to personally thank all of you who made to effort to be at Beauvoir yesterday. The heritage rally was inspiring and the new Library is a thing of grandeur. My special thanks to Chairman Rick Forte and Exec Dir Bert Hayes-Davis for allowing us to combine these two awesome events. This event would not gone nearly as smooth , or not at all, with out the on ground work of Greg Stewart! As well, my sincerest thanks to Paul Grambling for taking charge and organizing the rifle company and the firing of salutes. Next year's event will be in Franklin, TN! Chuck McMichael Sesquicentennial Chairman

Sons of Confederate Veterans | PO Box 59 | Columbia | TN | 38402

George Caleb Bingham (1811 - 1879)

Text and Research by Sidney Larson, Christine Montgomery, Joan Stack, and Carlynn Trout

http://shs.umsystem.edu/historicmissourians/name/b/bingham/index.html

Introduction

George Caleb Bingham was a Missouri artist and politician. During his lifetime, he was known as “the Missouri Artist.” Painting his most significant pieces between 1845 and 1860, Bingham produced many remarkable drawings, portraits, landscapes, and scenes of social and political life on the frontier. He was also active in civic affairs and contributed to the political life of Missouri before and after the Civil War.

Early Years

Mountain scene in western Virginia

George Caleb Bingham was born on March 20, 1811, in Augusta County, Virginia. He was the second of seven children born to Henry Vest and Mary Amend Bingham. Living on a large farm, George showed a strong interest in drawing at an early age. He supposedly drew on the sides of barns, fence posts, and the walls of the family mill. When George was seven, his father lost most of the family’s property to cover a friend’s debts. Homeless, George left Virginia with his parents, five siblings, his grandfather Matthias Amend, and their slaves. They headed to Missouri to build a new life.

Settling in Missouri

Arrow Rock, Missouri

George Bingham’s family settled in Franklin, a village on the banks of the Missouri River. It was the summer of 1819 and his parents were quick to contribute to their new community. His father opened an inn called the Square and Compass. He also started a tobacco factory, bought farmland, and became a civic leader. Bingham’s mother was an educated woman and soon started a school for girls, one of the first west of the Mississippi River.

Chester Harding

When George was nine, a painter named Chester Harding came to Franklin and stayed at their inn. Harding was finishing a portrait of Daniel Boone. George became Harding’s helper. He stood at Harding’s side and watched him paint the famous pioneer’s portrait. By observing closely, George learned the basics of portrait painting.

Frontier schoolhouse

In late 1823, life changed once again for George. His father died of malaria, and his mother was left with many unpaid bills. She had to give up their Franklin home and properties and move her family across the river to the Bingham farm in Saline County. Here, near the village of Arrow Rock, she raised her artistic son and his siblings. She continued to run her school and employed an art teacher, Mattie Wood, who also gave George art lessons. When George was not studying, he helped his mother on their farm and at the school.

Becoming an Artist

A woodworking shop

In 1827 sixteen-year-old George Caleb Bingham left Arrow Rock to learn a trade in Boonville, Missouri. He worked for a cabinetmaker who was also a preacher. Bingham liked talking about religious and political issues and soon gained experience as both a preacher and a lawyer. He also started painting portraits. In the days before photography, many people were eager to have likenesses of loved ones. Bingham began painting his friends’ faces. They admired his work, and soon Bingham felt confident enough to travel to other towns in Missouri and paint portraits of citizens who could afford to pay him. By 1833 Bingham was earning his living as a portrait painter.

Early portrait by Bingham

In 1834, while painting in Columbia, Bingham met James S. Rollins, an attorney and politician. The two formed a close and long-lasting friendship. Rollins often gave Bingham advice and financial support. Bingham’s letters to Rollins reveal much about their relationship as well as Bingham’s life as a painter and politician.

Bingham house in Arrow Rock

Before long, Bingham craved more instruction in art. In 1838 he traveled east to study the canvases of other artists. Bingham was impressed especially by the genre paintings he saw. These paintings showed scenes from everyday life. After studying in Philadelphia and making art contacts in New York City, Bingham returned to Missouri with more artistic skill and some new ideas about what he could paint.

Painting Frontier Life

Watching the Cargo

Growing up along the Missouri River, Bingham had vivid mental pictures of life on the river. He knew the people and their occupations firsthand. In 1845 Bingham turned to this subject matter and began an important and productive period of his artistic career. While he still traveled extensively, painting portraits to support his family, Bingham started painting genre scenes that showed life on the frontier. When he shipped four of these paintings to the American Art-Union in New York, he began a profitable seven-year association with them. During this period, Bingham produced works that made him one of America's greatest genre painters.

The Painter as Politician

The County Election, 1854.

Throughout his life, Bingham held strong beliefs about democracy and politics in America. He often used his artistic skills to portray his political views. As early as 1840, Bingham sketched and painted artful political banners for his political party, the Whigs. During his career, he also painted notable political figures such as George Washington, Thomas Jefferson, Andrew Jackson, John Quincy Adams, and Senator Thomas Hart Benton. Bingham’s paintings that focus on political campaigning and elections are some of his most important compositions. They show democracy at work, with all its strengths, weaknesses, and complexities.

Missouri State Capitol

Bingham did not just paint his political views. He also ran for office and served in both elected and appointed positions during his lifetime. In 1846 Bingham was elected by a narrow margin to the Missouri legislature, but his opponent successfully contested the outcome and took the office. Bingham was eventually elected to represent Saline County in 1848 and represented Missouri's eighth district at the Whig National Convention in June 1852.

Martial Law or Order No. 11

During the Civil War, Bingham sided with the Union. First he served as a captain in the U.S. Volunteer Reserve Corps. Then he worked as state treasurer in the provisional government in Jefferson City from 1862 to 1865. One of his most important political paintings, however, came out of his personal outrage over the actions of a Union general. Martial Law or Order No. 11 is a politically charged canvas that Bingham spent years promoting after he completed it in 1868. In 1875 he served in his last political post as Missouri’s adjutant general. At the end of his life, Bingham became the first professor of art at the University of Missouri.

Bingham's Legacy

George Caleb Bingham

Interest in Bingham and his artwork faded after his death, on July 7, 1879, in Kansas City. In 1933, however, the Metropolitan Museum of Art in New York bought Fur Traders Descending the Missouri . This purchase sparked interest in Bingham’s work. The St. Louis Art Museum organized a major exhibition of his work in 1934, and Missouri artist Thomas Hart Benton promoted him. Bingham’s drawings and paintings have since been given careful attention, and today he is considered one of America’s greatest and most popular painters.

Meets Show-Me Standards SS: 2, 6, 7; 4th grade GLE 2a.A.

References and Resources

For more information about Geroge Caleb Bingham's life and career, see the following resources:

Society Resources

The following is a selected list of books, articles, and manuscripts about George Caleb Bingham in the research centers of The State Historical Society of Missouri. The Society’s call numbers follow the citations in brackets. All links will open in a new tab.

• Artwork by George Caleb Bingham

  The State Historical Society of Missouri owns one of the largest public collections of Bingham works in the United States.

• Articles from the Missouri Historical Review

  • Bryant, Keith L. “George Caleb Bingham: The Artist as Whig Politician.” v. 59, no. 4 (July 1965), pp. 448-463.
  • “Commemorating George Caleb Bingham: An Exhibit.” v. 73, no. 4 (July 1979), pp. 407-425.
  • Hamilton, Jean Tyree. “Mr. Bingham’s Tombstone.” v. 73, no. 4 (July 1979), pp. 426-433.
  • Reiger, Nelson A. “Odyssey to an Authentication: A George Caleb Bingham Colorado Landscape.” v. 85, no. 3 (April 1991), pp. 237-263.
  • Rollins, C.B., ed. “Letters of George Caleb Bingham to James S. Rollins, Part I.” v. 32, no. 1 (October 1937), pp. 3-34.
  • _____. “Letters of George Caleb Bingham to James S. Rollins, Part II.” v. 32, no. 2 (January 1938), pp. 164-202.
  • _____. “Letters of George Caleb Bingham to James S. Rollins, Part III.” v. 32, no. 3 (April 1938), pp. 340-377.
  • _____. “Letters of George Caleb Bingham to James S. Rollins, Part IV.” v. 32, no. 4 (July 1938), pp. 484-522.
  • _____. “Letters of George Caleb Bingham to James S. Rollins, Part V.” v. 33, no. 1 (October 1938), pp. 45-78.
  • _____. “Letters of George Caleb Bingham to James S. Rollins, Part VI.” v. 33, no. 2 (January 1939), pp. 203-229.
  • _____. “Letters of George Caleb Bingham to James S. Rollins, Part VII.” v. 33, no. 3 (April 1939), pp. 349-384.
  • _____. “Letters of George Caleb Bingham to James S. Rollins, Part VIII.” v. 33, no. 4 (July 1939), 499-526.
  • _____. “Some Recollections of George Caleb Bingham.” v. 20, no. 4 (July 1926), pp. 463-484.
  • Simonds, May. “Missouri History as Illustrated by George C. Bingham.” v. 1, no. 3 (April 1907), pp. 181-190.

• Articles from the Newspaper Collection

  • “Appreciation of Bingham’s Genius is Exhibit in Museum of Modern Art, New York.” Columbia Tribune. March 18, 1935. p. 4.
  • “Bingham as a Lobbyist.” Kansas City Times. May 17, 1876.
  • “Death of General George C. Bingham.” Jefferson City Peoples Tribune. July 16, 1879, p. 2, col. 2.
  • “George C. Bingham.” Kansas City Times. July 8, 1879. p. 4, col. 3.
  • “George C. Bingham, the Artist.” Boonville Weekly Observer. September 30, 1854. p. 1, col. 7-8.

• Books and Articles

  • Bingham, George Caleb. “But I Forget That I am a Painter and Not a Politician”: The Letters of George Caleb Bingham. Columbia: The State Historical Society of Missouri; Arrow Rock, MO: Friends of Arrow Rock, 2011. [F508.1 B513shs]
  • Bloch, E. Maurice. The Drawings of George Caleb Bingham, with a catalogue raisonné. Columbia: University of Missouri Press, 1975. [REF 508.1 B513bL3 oversize]
  • _____. George Caleb Bingham: The Evolution of an Artist. 2 vols. Berkeley: University of California Press, 1967. [REF F508.1 B513bL]
  • _____. The Paintings of George Caleb Bingham: A Catalogue Raisonné. Columbia: University of Missouri Press, 1986. [REF F508.1 B513bL]
  • Christensen, Lawrence O., William E. Foley, Gary R. Kremer, and Kenneth H. Winn, eds. Dictionary of Missouri Biography. Columbia: University of Missouri Press, 1999. pp. 70-74, 655-58. [REF F508 D561]
  • Christ-Janer, Albert. George Caleb Bingham: Frontier Painter of Missouri. New York: H.N. Abrams, 1975. [REF F508.1 B513ch2 oversize]
  • _____. George Caleb Bingham: The Story of an Artist. New York: Dodd, Mead & Co., 1940. [REF F508.1 B513ch]
  • Constant, Alberta Wilson. Paintbox on the Frontier: The Life and Times of George Caleb Bingham. New York: Crowell, 1974. [REF F508.1 B513co]
  • McDermott, John Francis. George Caleb Bingham, River Portraitist. Norman: University of Oklahoma Press, 1959. [REF F508.1 B513mge]
  • Nagel, Paul C. George Caleb Bingham: Missouri’s Famed Painter and Forgotten Politician. Columbia: University of Missouri Press, 2005. [REF F508.1 B513na]
  • Rash, Nancy. The Painting and Politics of George Caleb Bingham. New Haven: Yale University Press, 1991. [REF F508.1 B513ra]
  • Rusk, Fern Helen. George Caleb Bingham: The Missouri Artist. Jefferson City, MO: Hugh Stephens Co., 1917. [REF F508.1 B513ru]
  • Shapiro, Michael Edward. George Caleb Bingham. New York: Harry N. Abrams Publishers, in association with the National Museum of American Art, Smithsonian Institution, 1993. [REF F508.1 B513sh2]
  • _____ et al. George Caleb Bingham. New York: St. Louis Art Museum, in association with Harry N. Abrams Publishers, 1990. [REF F508.1 B513sh]

• Manuscript Collection

  • Bingham Family, Papers, 1814-1930 (C0998)
    Correspondence of members of the Bingham family of Virginia and then of Missouri and Texas. References to friends, deaths, marriages, travel prices, estates, and personal affairs of the Bingham family.
  • Rollins, James S. (1812-1888), Papers, 1546-1968 (C1026)
    The papers of James S. Rollins, a Boone County, Missouri, lawyer, politician, business man, and curator of University of Missouri include correspondence with family, business and political associates, and friends, including George Caleb Bingham. Bingham’s letters contain information about his paintings, political views and aspirations, as well as things of a more personal nature. As close friends, Rollins and Bingham named their sons after each other and often wrote about intimate personal and family problems.

Outside Resources

These links, which open in another window, will take you outside the Society's Web site. The Society is not responsible for the content of the following Web sites:

• Arrow Rock State Historic Site
  This Web site provides a general description of the historic Arrow Rock and mentions the house George Caleb Bingham built there.
• Bronze Bust of George Caleb Bingham
  This Web site shows the bronze bust in Boonville, Missouri, created by sculptor Sabra Tull Meyer depicting the great Missouri artist.

• Art Museums in Missouri with Bingham holdings

  • The Nelson-Atkins Museum of Art
    Canvassing for a Vote, 1852
    This page on the museum’s Web site offers an analysis of a specific Bingham painting.
  • Saint Louis Art Museum
    George Caleb Bingham: The Making of “The County Election”
    This interactive online exhibition shows viewers how Bingham composed his great political painting, The County Election.

Memphis Heritage Alert

SCV  Telegraph    Compatriots: I wrote to you the other day about the VMFA situation, but as you know, there are great problems in Memphis -- specifically, renaming of parks as a means of demeaning our Confederate heroes.  Our men there have a legal defense fund, also.  Their information follows my message. Note: Alabama Division checked in quickly w/ a donation on the VMFA issue. PLEASE CONSIDER BOTH OF THESE BATTLES.  THIS IS AS SIMPLE AS IT GETS -- 1) PROTECTING THE PRESERVATION OF OUR ANCESTORS' NAMES THROUGH PRESERVING MONUMENTS and 2) PROTECTING OUR ABILITY TO PROCLAIM THEIR HISTORY IN PUBLIC. Gene Hogan Chief of Heritage Defense (866) 681 - 7314 *********************************************************** Gentlemen & Ladies, Please forward this to all of your members, friends, and associates, everywhere. The SCV & UDC members of the Memphis area call on you for help.  Last week, in an act of lunacy, the Memphis City Council vioted to rename our 3 Southern parks in Memphis. Forrest Park will become Health Sciences Park. Confederate Park will become Memphis Park. And Jefferson Davis Park will become Mississippi River Park. OUR CONFEDERATE HERITAGE IS BEING ERASED. We plan legal action against the City of Memphis to stop this brazen attempt to eradicate our heritage. We desperately need the help of all of our SCV and UDC members and friends from all across the country and the worl Lee Millar SCV Spokesman, Memphis SCV & UDC Join us to Save our Parks The Memphis City Council has passed a resolution to change the names of our 3 Southern 100-year old parks. We MUST Preserve our history.      We will FIGHT this injustice. Help us save Forrest Park, Confederate Park and Jefferson Davis Park Contribute to the Park Defense Fund: Mail your check to :        PO Box  11141         Memphis, TN     38111 If you can send $100, or even $20, or more, it will help in our upcoming legal actions against the city. citizenstosaveourparks@gmail.com  http://citizenstosaveourparks.org/  N. B. Forrest Camp 215, R. E. Lee Camp 1640, Wigfall Greys Camp 1560, J. R. Chalmers Camp 1312, General Forrest UDC 1194, Gayoso UDC 2423, Memphis

LINCOLN MOVIE MYTH EXPOSED

Sons of Confederate Veterans February 25, 2013       PRESS RELEASE           LINCOLN MOVIE MYTH EXPOSED  (Atlanta, Georgia - February 25, 2013)    After being heralded by Hollywood critics as one of the best films of 2012, Steven Spielberg's "Lincoln," starring Daniel Day Lewis in the title role, has been branded by historians as nothing more than fiction or "a good tale, not that different than the ones for which Lincoln, himself, was known in his day."  One historian went so far as to remark that Spielberg's "Lincoln" bears no more resemblance to the historical account than that of the 2012 fantasy film "Abraham Lincoln: Vampire Hunter." Spielberg's film attempts to depict Lincoln's crusade to end slavery once and for all in these united                                                            States amidst the final months of the War for Southern Independence.  Far from being historically accurate, the film radically alters Lincoln's personal beliefs about slavery, as well as his political affairs over the issue.  As do many of the revisionist textbooks of recent years, the film portrays Lincoln's famous "Emancipation Proclamation" of January 1, 1863 as the expression of a deeply held moral, and even religious, belief about slavery that led him to bring an end to the institution wherever he had the authority to do it.  Citing the various Northern states who continued to permit slavery even after Lincoln's emancipation statement, historians point out that the declaration actually freed no slaves.  In effect, it purported to free slaves in the only region of America where Lincoln did not have authority -- the still independent Southern states of the Confederacy -- while, at the same time, freeing no slaves in the part where he did, in fact, have the authority to deal with the issue.  Many of Lincoln's day, as well as most reputable historians today, cite Lincoln's actual motivation for the Emancipation Proclamation as his desire to attempt to thwart the very real likelihood that Great Britain would intervene on the side of the Confederacy in order to protect their cotton imports from the deep South.  Knowing that the English crown had been emotionally affected by the likes of such pro-abolition works of fiction as Harriet Beecher Stowe's Uncle Tom's Cabin, Lincoln's emancipation had the desired effect of creating a moral dilemma for Britain which ultimately kept them from entering the War. Lincoln's true feelings about slavery are revealed in his letter to Horace Greeley, editor of the New York Tribune, dated August 22, 1862 in which he said, "My paramount object in this struggle is to save the Union, and is not either to save or to destroy slavery. If I could save the Union without freeing any slave I would do it, and if I could save it by freeing all the slaves I would do it; and if I could save it by freeing some and leaving                                                            others alone I would also do that. What I do about slavery, and the colored race, I do because I believe it helps to save the Union; and what I forbear, I forbear because I do not believe it would help to save the Union. I shall do less whenever I shall believe what I am doing hurts the cause, and I shall do more whenever I shall believe doing more will help the cause."  In the light of his own words, Lincoln's true                                                            motivation behind the Emancipation Proclamation becomes crystal clear... it was a war measure designed to bring the War to an end. As to Spielberg's fascination with Lincoln's supposed wish to forever end slavery in America by way of a Constitutional amendment and the myth that slavery was the issue over which the South seceded in the first place, again, history eludes the talented film producer.  In December of 1860, just days before South Carolina became the first Southern state to lawfully secede, Kentucky Senator John Crittenden offered what became known as the "Crittenden Compromise" which included a proposed constitutional amendment which would forever protect slavery in the states where it already existed in perpetuity.  In an effort to assure the Southern states that he did not intend to interfere with the institution of slavery after taking office, Lincoln had frequently expressed in his stump speeches the same sentiment that he demonstrated previously at a debate in Charleston in which he said, "I am not, nor ever have been, in favor of bringing about in any way the social and political equality of the white and black races, that I am not nor ever have been in favor of making voters or jurors of negroes, nor of qualifying them to hold office, nor to intermarry with white people; and I will say in addition to this that there is a physical difference between the white and black races which I believe will forever forbid the two races living together on terms of social and political equality. And in as much as they cannot so live, while they do remain together there must be the position of superior and inferior, and I as much as any other man am in favor of having the superior position assigned to the white race."  Historically, the Crittenden measures failed, not because of a lack of Northern support, but because the Southern states insisted that their real concern was not what would become of slavery but, rather, what would become of the union since it was headed toward federal tyranny over the States and the rights of the people; thus they chose to secede in spite of the proposal to keep slavery. Spielberg's Lincoln certainly does not reflect the historical Lincoln accurately by portraying that he wanted to abolish slavery for high moral reasons any more than the film, and others, depicts the South historically when it portrays Southerners as leaving the union because it wished to perpetuate slavery.  Clearly, the real issue of the War -- fear of an all-powerful federal leviathan -- has once again eluded filmmakers and, as it appears more every day, has doomed us to repeat the tragedies of the nineteenth century in our future barring a miraculous change of course.  For interviews regarding the historical Lincoln or the causes of the War from the Southern perspective, please contact Jack Bridwell, Division Commander for the Georgia Sons of Confederate Veterans at 1-866-SCV-in-GA or online at www.GeorgiaSCV.org.  Additionally, a wealth of educational information may be found online at www.GeorgiaSCV.org in both the printed and audio format.      END RELEASE   Ray McBerry Enterprises is the public relations firm for the Georgia Division, Sons of Confederate Veterans.

Ray McBerry Enterprises | P.O. Box 1263 | McDonough | GA | 30253

Ed Kennedy - A PRO-SCV Newspaper Online Article Just Publshed

Subject: PRO-SCV Newspaper Online Article Just Publshed
Date: Thu, 28 Feb 2013 20:26:33 -0600

-->

Larry,

PLEASE ask men of the Missouri Division to go online or email Paul Huggins and THANK him for a very positive article published by the Huntsville Times newspaper online!  Please request that they post a positive comment to counter the idiot who keeps posting anti-Confederate rants.

This is the program I gave four times this month...................

http://blog.al.com/breaking/2013/02/redstone_instructor_history_of.html

Paul wrote a very POSITIVE article.

Regards,

Ed