This is a giclee print reproduction on stretched canvas with a solid wood frame. The art is mounted in the frame and is ready to hang. This is a high-quality giclee reproduction. They only use the highest quality materials to create your art. They use archival inks and museum quality archival certified acid-free canvas. A clear matte finish coat is applied which will protect your art against fading; dirt; moisture; and discoloration. The finish contains UV light absorbers and stabilizer.
When Samuel was seeking who would be the king of Israel, He had all of Jesse’s sons pass before him and time after time, Samuel thought that surely one of these young men would be the next king. Some were tall and muscular but that was not God’s standard. Jesse didn’t call David who was what we might call the “runt of the litter” but God said that He looks not on the outward appearance but what is inside. He doesn’t have regard for what a person’s looks are like but He looks at the heart because the most important attributes of a person are never what we see but the things we don’t see and what we cannot see, God can. That’s all that really matters. Scripture Verse Wall Art
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While many white musicians gravitated toward country, folk, and old-timey music to express their spirituality outside of traditional Christian hymns, Black Gospel music drew heavily upon the traditional spirituals that had been passed down from the days of slavery, picking up its more driving rhythmic emphasis from blues and early jazz. Composer and singer Thomas A. Dorsey crystallized the style in 1932 with his epochal "Take My Hand, Precious Lord," and went on to compose a great many songs that later became standards. When performed in the churches, the music was traditionally sung by a choir, with individual soloists sometimes taking the spotlight; this often happened in a form known as "call and response," in which either the choir or the soloist would repeat and/or answer the lyric which had just been sung by the other, with the soloist improvising embellishments of the melody for greater emphasis. As the music developed, these soloists became more and more virtuosic, performing with wild emotion (and, in the South, physicality) in order to properly express the spiritual ecstasy the music was meant to evoke. The music was quite egalitarian in terms of gender, as both male and female performers -- Brother Joe May, Rev. James Cleveland, Mahalia Jackson, the Clara Ward Singers, etc. -- gained wide renown among both black and white audiences. The small-group format was also prevalent, with major figures including the Five Blind Boys of Mississippi, the Soul Stirrers, the Swan Silvertones, and the Dixie Hummingbirds; in general, these groups placed a greater premium on smooth vocal harmonies, although some performances could approach the raucous energy (if not quite the huge sound) of a choir-with-soloist group. As the years progressed, black gospel and black popular music influenced and borrowed from one another, reflecting the gradual change of emphasis toward R&B; black gospel also had an enormous impact on the development of soul music, which directed gospel's spiritual intensity into more secular concerns, and included a great many performers whose musical skills were developed in the church. As a recognizable style unto itself, black gospel music largely ceased to develop around the 1970s; progressing racial attitudes had helped black popular music reach wider audiences (and become more lucrative) than ever before, and tastes had turned towards the earthy hedonism of funk and the highly arranged, sophisticated Philly soul sound. The former wasn't quite appropriate for worship, and it wasn't all that practical to duplicate the latter in church services. However, the traditional black gospel sound survived intact and was eventually augmented by contemporary gospel (an '80s/'90s variation strongly influenced by latter-day urban R&B); plus, singers like Whitney Houston continued to develop within its ranks. Scripture Verse Wall Art
