Newspapers called it “the battle of the portraits.” As many as 16 artists entered the fray of the late Speaker Henry Rainey’s official portrait commission, a tradition in the House of Representatives.
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On December 7, 1941, the Japanese military attacked the U.S. naval base at Pearl Harbor, Hawaii, pulling America into World War II. On February 13, 1942, referencing the presence of Japanese Americans and immigrants living on the West Coast, the congressional delegation from those states called for a policy that became one of the darkest chapters in American history: the forced imprisonment and internment of 120,000 Japanese Americans.
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Since the 1st Congress (1789–1791) the House has organized into committees in order to more thoroughly consider pending legislation and to allow Members to specialize in certain legislative areas.
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For his entire adult life, Walter F. Brown dutifully climbed the career ladder in Toledo, Ohio, building a law firm, running businesses, and branching out into Republican politics at the state and local level. In 1920, he even ran for a seat in the U.S. Senate, only to lose in the GOP primary. It was a comfortable, fully successful life, but unremarkable in the sense that an untold number of men like Walter F. Brown lived in an untold number of American towns like Toledo.
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Laughter flooded the House Chamber, rising from both sides of the floor and cascading down from the crowded galleries. Atop the marble rostrum Speaker Joseph G. Cannon of Illinois, looking to regain order, banged his gavel so hard that he cracked the top of his desk. The cause of this ruckus stood frozen at the chamber’s entrance looking bewildered and embarrassed—a House Doorkeeper and a White House clerk who had just interrupted debate with an announcement from President Theodore Roosevelt.
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In 1884, Native American activist, author, and educator Sarah Winnemucca sent a petition to Congress for the Paiute Indians to be restored to the Malheur Reservation in southern Oregon. Unlike many appeals addressed to Congress in the late 1800s, and particularly unlike those written by women, the tone of Winnemucca’s petition is one of righteous demand rather than supplication.
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by
Art on February 26, 2018
The notorious Victoria Woodhull, spiritualist, stockbroker, and presidential candidate, testified on women’s suffrage before a House committee in January 1871. When her image appeared in
Frank Leslie’s Illustrated Newspaper, she became the subject of the first known image of a House committee hearing.
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In the span of five months during the winter and spring of 1962 two major entrenched powers faced off in an obstinate battle of wills. This wasn’t a traditional war, but more of a smoldering, protracted conflict between long-time rivals with competing interests. Territory was contested. Stakes escalated. Worldviews were challenged. Catastrophe beckoned. And all the while, the ability of the federal government to function hung in the balance.
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Fun with Our Friends, a Dick and Jane reader, played a role in a congressional hearing about bias, race, and education.
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In the spring of 1921, Republican Walter Folger Brown of Ohio, the chairman of Congress’s Joint Committee on the Reorganization of the Administrative Branch of the Government, began overhauling the size and shape of the federal bureaucracy. On paper, he seemed like a natural choice to lead Congress’s efforts to overhaul the government: a discreet business leader with progressive credentials from the key state of Ohio. A natural choice, that is, except for one detail: Brown was not a Member of Congress.
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In 1838, women in Brookline, Massachusetts, reacted with “astonishment and alarm” at the recently adopted gag rule, which tabled all antislavery petitions. They signed their names to a brief but searing petition to the U.S. House of Representatives.
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The story of Representative Mary Norton’s portrait commemorating her stint as “Mayor of Washington” reflects Norton’s guiding ethos throughout her career. Commissioned by a group of notables from the District, and painted by local artist Elaine Hartley, the Norton portrait was executed in a spirit of community in appreciation, and in support of a fellow professional woman.
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