How did James Hampton create his monumental artwork The Throne of the Third Heaven of the Nations’ Millennium General Assembly. What materials and techniques did he use to construct this visionary throne room. Why was Hampton’s artwork not discovered until after his death. What religious symbolism and themes are present in The Hampton Throne.
James Hampton: The Janitor Artist Behind The Hampton Throne
James Hampton, an African-American janitor by day and visionary artist by night, created one of the most remarkable works of outsider art in the 20th century. For 14 years, Hampton secretly toiled in a rented carriage house in Washington D.C., constructing an elaborate throne room he called “The Throne of the Third Heaven of the Nations’ Millennium General Assembly”.
Hampton’s artistic journey began in the 1950s when he started collecting discarded materials from his workplace and the streets. These seemingly worthless items – bits of aluminum foil, cardboard, and string – became the building blocks of his monumental creation.
Hampton’s Artistic Process
- Collected discarded materials during his work as a janitor
- Used a rented storage space as his secret workshop
- Worked late into the night, meticulously crafting each piece
- Recorded his process and visions in a coded language
Hampton’s dedication to his art was unwavering. He spent countless hours shaping and reshaping his found materials, transforming them into intricate crowns, altars, and other religious symbols. His process was not just artistic, but deeply spiritual, as he believed he was creating an offering to God.
The Discovery of The Hampton Throne
The true extent of Hampton’s artistic genius remained hidden until after his death in 1964. When his rented storage space was opened, a breathtaking sight greeted those who entered: a vast throne room comprising hundreds of individually sculpted pieces, all crafted from discarded materials.
The discovery of The Hampton Throne sent shockwaves through the art world. How could such a monumental work of art remain hidden for so long? Why did Hampton keep his creation a secret from friends and family?
Key Elements of The Hampton Throne
- Central throne adorned with foil and cardboard
- Offering table
- Multiple altars
- Pyres
- Crowns
- Intricate details crafted from found materials
The centerpiece of Hampton’s creation is a massive throne, layered with alternating gold and silver foil. This regal seat is flanked by various religious symbols and structures, each meticulously crafted from humble materials transformed by Hampton’s vision and skill.
Religious Symbolism in The Hampton Throne
Hampton’s artwork is deeply rooted in his religious beliefs and visions. The throne room he created is not just an artistic expression, but a physical manifestation of his faith and preparation for the Second Coming of Christ.
One of the most prominent features of The Hampton Throne is the phrase “FEAR NOT” molded in silver foil above the central throne. This phrase holds significant biblical meaning, often used when God addresses His people. It’s a powerful reminder of divine protection and guidance, reflecting Hampton’s deep spiritual connection to his work.
Biblical References in Hampton’s Art
- “FEAR NOT” – A recurring phrase in the Bible
- Wing motifs symbolizing angelic presence
- Stars and celestial imagery
- Altars and offering tables for worship
The recurring wing motifs throughout the installation are particularly significant. These wings represent the angelic voices that Hampton claimed guided him throughout the creation process. He believed these divine messengers provided instructions and inspiration for his work, further emphasizing the spiritual nature of his artistic endeavor.
Hampton’s Artistic Vision and Techniques
Despite having no formal artistic training, James Hampton displayed remarkable skill and creativity in his work. His ability to transform everyday discarded items into a cohesive and awe-inspiring installation speaks to his innate artistic talent and visionary mindset.
Hampton’s techniques were as unique as his materials. He developed methods to shape and mold foil, creating intricate textures and forms. His use of color, alternating between gold and silver, creates a sense of regal opulence despite the humble origins of his materials.
Hampton’s Artistic Innovations
- Transformation of discarded materials into art
- Development of techniques for shaping foil
- Creative use of color and texture
- Integration of text and symbolism into visual art
Perhaps most intriguing is Hampton’s use of a coded language to document his process and visions. This secret writing, found in notebooks alongside his artwork, adds another layer of mystery to his already enigmatic creation.
The Legacy of The Hampton Throne
The discovery of The Hampton Throne has had a lasting impact on the art world, particularly in the realm of outsider and visionary art. Hampton’s work challenges traditional notions of what constitutes art and who can be considered an artist.
Today, The Hampton Throne is recognized as a masterpiece of American folk art. It is housed in the Smithsonian American Art Museum, where it continues to captivate and inspire visitors with its intricate details and powerful spiritual energy.
Impact on Outsider Art
- Expanded definition of art and artists
- Inspired renewed interest in self-taught artists
- Highlighted the potential of found materials in art
- Demonstrated the power of personal vision in artistic creation
The Hampton Throne serves as a testament to the power of individual creativity and spiritual devotion. It reminds us that great art can emerge from the most unexpected places and that the drive to create is a fundamental human impulse that transcends formal training or social status.
Preserving and Displaying The Hampton Throne
The preservation and display of The Hampton Throne present unique challenges due to its unconventional materials and construction. Conservators at the Smithsonian have had to develop specialized techniques to protect and maintain this delicate artwork.
Fortunately, Hampton left behind detailed instructions on how his creation should be displayed. These notes, along with diagrams found in his workspace, have been invaluable in helping curators recreate Hampton’s intended layout and presentation.
Challenges in Preserving The Hampton Throne
- Fragility of materials like foil and cardboard
- Maintaining the original appearance of found objects
- Balancing preservation with public display
- Interpreting Hampton’s instructions for modern museum settings
The Smithsonian’s efforts to preserve and display The Hampton Throne have ensured that this remarkable piece of outsider art will continue to inspire and amaze future generations. Their work honors Hampton’s vision while making it accessible to a wide audience.
The Spiritual Dimensions of Hampton’s Art
While The Hampton Throne is undoubtedly a work of art, it’s crucial to understand that for its creator, it was first and foremost a spiritual endeavor. Hampton saw himself not just as an artist, but as a prophet preparing for the Second Coming of Christ.
Throughout the creation process, Hampton claimed to hear the voices of angels guiding his work. He recorded these divine messages in a notebook using his unique coded language, adding another layer of mystique to his already enigmatic creation.
Hampton’s Religious Inspirations
- Belief in direct communication with angels
- Preparation for the Second Coming of Christ
- Use of biblical symbolism and themes
- Creation as an act of worship and devotion
The spiritual nature of Hampton’s work raises intriguing questions about the intersection of art, faith, and mental health. While some might view his claims of angelic communication skeptically, there’s no denying the profound impact these beliefs had on his artistic output.
The Hampton Throne in Context: Outsider Art in America
To fully appreciate The Hampton Throne, it’s important to consider it within the broader context of outsider art in America. Outsider art, also known as art brut or visionary art, refers to works created by self-taught artists who operate outside the mainstream art world.
Hampton’s creation shares many characteristics with other notable works of outsider art, including its deeply personal nature, unconventional materials, and religious or spiritual themes. However, the scale and complexity of The Hampton Throne set it apart even within this unique category of art.
Characteristics of Outsider Art
- Created by self-taught artists
- Often incorporates unconventional materials
- Frequently explores religious or spiritual themes
- Highly personal and idiosyncratic in nature
- May reflect alternative worldviews or mental states
The Hampton Throne’s place in the canon of outsider art has helped to elevate the status of self-taught artists and challenge traditional notions of artistic value and meaning. It serves as a powerful reminder that great art can emerge from the most unexpected sources.
As we continue to study and appreciate The Hampton Throne, we gain not only insight into one man’s extraordinary vision, but also a deeper understanding of the human drive to create and the myriad forms that artistic expression can take. James Hampton’s legacy serves as an inspiration to artists and art lovers alike, reminding us of the transformative power of creativity and faith.
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Hampton Throne — Squinch
A janitor sweeps up the loose scraps of paper and trash dropped by the business men and women. Heads bent, they are too involved in their work routine to notice as he pockets a loose bit of aluminum foil discarded thoughtlessly from someone’s lunch. That evening, he goes directly from work to a rented storage space before even changing out of his uniform.
From his workman’s pants he pulls out a handful of gold and silver foil, along with some string and a piece of carefully folded cardboard. Using the found bits he collected from his day, as well as other scraps donated by friends and family, he carefully constructs a small glittering crown, which he places next to four more assembled crowns. He works late into the night, adding glittering foil here and there, molding and remodeling the malleable material into different shapes until the forms finally sit just right. He mutters to himself as he hastily writes notes in a codified language. This offering is for God, so it must be perfect.
This was James Hampton, a self-taught African-American artist, who worked as a janitor by day and slowly built a towering throne room by night in the 1950s. Hampton spent fourteen years in a rented carriage house constructing The Throne of the Third Heaven of the Nations’ Millennium General Assembly, or The Hampton Throne, using gold and silver foil, cardboard, and other found materials.
Neither friends nor family knew about his creation until after his death, when his storage room was opened and a throne room comprised of hundreds of individually sculpted pieces was discovered. Careful instructions on how the room was to be displayed, as well as informational diagrams left in the space, helped modern museums known how to go about showcasing Hampton’s work. Besides the central throne there is an offering table and multiple alters, pyres, and crowns that comprise the full work.
At the center of the composition sits a huge throne, layered with foil and cardboard of alternating color and decorated with wings and stars. The words “FEAR NOT,” molded in silver foil above the head of the throne, allude to the frequent use of the phrase “fear not” by God when he addresses His people. Isaiah 41:10 reads: “Fear not, for I am with you; be not dismayed, for I am your God; I will strengthen you, I will help you, I will hold you up with my victorious right hand.” Hampton was a deeply religious man and heard the voices of angels instructing and guiding him throughout the creation of his throne room, his way of preparing for Christ’s return.
Prominent wing motifs directly reference this angelic intervention and holy influence on the work. As he spoke with the voices Hampton would record their messages on paper as well, which he kept in a journal. Though the book was also found in the storage facility and is with the artwork today, it is written completely in a spiritual language unique to Hampton that has yet to be deciphered. Tags and notes made of cardboard and string affixed to various alters also feature this mysterious language. The work is almost perfectly symmetrical, as objects on the left are meant to represent the teachings of the Old Testament and Moses while those on the right refer to the New Testament and Jesus.
The Hampton Throne showcases the typical splendor and golden glittering drama frequently found in Christian art, yet has an inherent humbleness due to its construction of found materials. Hampton himself embodies this spirit of the humble devotee. His throne room expresses not only his profound spirituality and faith, but carries a message of love and acceptance that he clearly felt from God and wanted to share with the world.
Though he never had the chance to personally show this work of art to the public, as he died before its completion, his message lives on: FEAR NOT.
VBLHEP Directorate informs with deep regret – LABORATORY OF HIGH ENERGY PHYSICS
06/18/2021
Anna Rassadova
News, Events
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On June 17, 2021, a world-famous scientist, Doctor of Physical and Mathematical Sciences, Professor Evgeny Denisovich DONETS suddenly passed away.
Evgeny Denisovich DONETS
10/15/1935 – 06/17/2021
More than 60 years of work of Evgeny Denisovich at the Institute, he was noted for a number of outstanding priority scientific and practical results in the field of heavy ion physics.
A physicist and experimenter with a capital letter, Evgeny Denisovich felt the inner essence of the problem and could set up and conduct a physical experiment exceptionally competently, which allowed him to obtain the first data on the observation of the formation of isotopes of the 102nd and the events of the formation of the 103rd elements.
After 1966, E.D. Donets took up the development of a new type of multiply charged ion source proposed by him, based on the electron-beam ionization method, and in 1977 the first sample of the new type source KRION-1 was used at the JINR Synchrophasotron.
In the subsequent period, under the guidance of Dr. phys.-math. Sciences E.D. Donets, an extensive program of research into the processes of ionization of atoms and the physics of highly charged ions was carried out on the created ionizers KRION-2, KRION-6 and KRION-M. Along with direct measurements of ionization cross sections, multiply excited states of atoms and ions, called superexcited states, were discovered for the first time. These studies brought E.D. Donets wide recognition and world fame.
The discovery of the “electronic string” phenomenon made it possible to make a new step in the practical use of sources – obtaining and accelerating to relativistic energies at the Nuclotron of heavy ions. These studies were awarded the prestigious international award “Brightness Award” and the first JINR prize.
The scientific and practical activities of Evgeniy Denisovich Donets were awarded with government awards, honorary diplomas, numerous certificates and prizes from JINR. The owner of a number of patents and inventions, he enjoyed undeniable authority in the science and technology of ion sources, and was a recognized world leader in the creation of electron-beam sources.
For many years, Evgeny Denisovich has been a mentor and an example of attitude towards work for young people. Several generations of his pupils work in the Laboratory, for whom his death is a heavy personal loss.
The bright memory of a wonderful person and a true scientist will always be with us.
The team of employees, and the directorates of the Institute and the Laboratory express their deepest condolences to the family and friends of Evgeny Denisovich
Farewell will take place on June 19 at 12:00 in the Church of the Great Martyr Panteleimon of the Bolshevolzhsky cemetery in Dubna.
Copyright © 2023 | Veksler and Baldin Laboratory of High Energy Physics, Joint Institute for Nuclear Research, Baldin str. 4 Dubna, RUSSIA
Harp. Step on the pedals – Radio Orpheus (Moscow 99.2 FM)
The harp is one of the oldest musical instruments. Outwardly, it looks like a weapon of ancient people – a bow. It is believed that the history of the harp began when a man fired an arrow from a bow and heard the string sing.
All this is very similar to the truth, since, as a rule, only men shot from a bow, and they once played the harp exclusively. Women began to touch the strings of this instrument only in the 18th century in France. In Rus’, one of the first harpists was Praskovya Ivanovna Kovaleva-Zhemchugova, Countess Sheremeteva. Her modern follower, the wonderful harpist of the Orpheus Radio Symphony Orchestra, Yekaterina Oleinichenko, played the role of a harpist in the historical film series.
Е. Oleinichenko : I was made up: diamonds, pearls on my head, a chic ball gown.
And one of the make-up artists said to me: “It’s strange, we make you up like that! You are a harpist! This is probably a peasant woman sitting playing! Is it in the imperial palace, in the throne room, a peasant woman is sitting and playing the harp? Of course not.
Before the revolution, the harp was taught at the Smolny Institute in St. Petersburg. Its graduate Ksenia Erdeli is the first Russian and Soviet harpist who did a lot to popularize the instrument in the first years of Soviet power. Perhaps it was then that the idea that the harp was a female instrument took root. But recently, Ekaterina Oleinichenko began to have male colleagues.
E. Oleinichenko : For example, Alexander Boldachev is a wonderful harpist, propagandist and enthusiast of our harp art. Fortunately, now the man behind the harp is no longer perceived as it was twenty years ago. The man behind the harp was perceived as a woman behind the wheel.
Now both are perceived very well.
Like a car, the harp has pedals. And there are not two or three, but seven!
E. Oleinichenko : Many people ask what pedals are and what their function is. Seven notes – seven pedals. Do, re, mi, fa, salt, la, si – seven pedals. Each pedal has three positions, and thanks to this, beautiful glissandos can be played on the harp. Glissando is an overflow, like water.
Pedal positions vary in depth. That is, it is necessary not only to quickly find the right pedal with your feet, but also to press on it correctly.
Е. Oleinichenko : Three steps: upper, middle and lower. Those who love, for example, a guitar or a violin, can imagine this: the top position of all pedals is an empty string, a free string. By pressing the pedal, we set in motion a mechanism that turns the fork, just like a musician clamps the frets on a guitar or a string on a violin.
