Eastman Johnson, Old Kentucky Home (or Negro Life in the South) (1859)

Eastman Johnson, Old Kentucky Home

(or Negro Life in the South) (1859)

John Rogers, Slave Auction (1859),

plaster, 13.25 in.
John Rogers, Slave Auction (1859),
plaster, 13.25 in.
Edmonia Lewis, Forever Free (1867)
4.37 Harriet Hosmer: Beatrice Cenci, 1857.
Marble, 17⅛ x 41⅛ x 17 in. (43.8 x 104.7 x
43.1 cm.) St Louis Mercantile Library, St
Louis, Missouri

Harriet Hosmer, Zenobia in Chains (c 1859)

 Edmonia Lewis, Old Arrow Maker
Edmonia Lewis, Forever Free (1867) modeled 1866, carved 1872
 Edmonia Lewis, Old Arrow Maker
Edmonia Lewis, Marriage of Hiawatha (1871) modeled 1866, carved 1872
 Practice Comparison

US Rotunda
Preservation of William Smith by Pocahontas
1827
Edmonia Lewis, Old Arrow Maker
modeled 1866, carved 1872
Edmonia Lewis, Hagar (1875) Edmonia Lewis, Hiawatha (1868)
Hiram Powers, Eve Tempted (1844), The Greek Slave (1842)
Jean-Auguste-Dominique Ingres, Odalisque
with the Slave (1840)
Hiram Powers, The Greek Slave (1842) and engravings
The “daguerreotype” was one of the earliest forms of photography, a process
Named after its French inventor, Louis-Jacques Daguerre

Noted for capturing the minutest of details, daguerreotypes were one-of-a-kind images.
Fixed onto a metal plate, the surfaces were reflective.
Southworth & Hawes, Woman in J.T. Zealy, Jack (driver), Guinea (1850)
Striped Bodice (c 1850s) Peabody Museum of Archaeology and
Ethnology, Cambridge, MA

Louis Agassiz commissioned Zealy to take a series of daguerreotypes of plantation slaves.

19th century “sciences” of phrenology and physiognomy were used to identify types.
Daguerrotypes, Union and Confederate Soldiers
 Alexander Garnder,
Antietam, MD: Field
where Sumner’s Corps
charged, Confederate
bodies (1862)

Stereograph
Matthew Brady’s new photographic gallery at Tenth Street and Broadway,
New York (from Frank Leslie’s Illustrated Newspaper, January 5, 1861)
A Harvest of Death, Gettysburg, July, 1863. Negative by T.H.
O’Sullivan; positive by A. Gardner. Published in Gardner’s
Sketch Book as plate 36.
John Trumbull, The Death of General A Harvest of Death, Gettysburg, July, 1863.
Warren at the Battle of Bunker's Hill, Negative by T.H. O’Sullivan; positive by A.
17 June, 1775 (after 1815, before Gardner. Published in Gardner’s Sketch Book
1831) as plate 36.
“Eve of the Conflict”, Photographic History of the Civil War (1911)
 “perched upon the
gentle slope” of a
ridge, “looking across
fertile fields”….”war
crushed it” and
“scarcely a vestige of
its former self
remains.” “Guerillas
have swarmed about
it, cavalry have
charged over its
untilled fields, and
demoralized divisions
have bivouacked for
roll-call behind its
hills.”

Stone church, Centreville, Virginia, March 1862

Plate 4 ,Gardner’s Photographic Sketchbook of the War (1866)
 Eastman Johnson, Ride for Liberty
John Rogers, Slave Auction (1859), Fugitive Slaves (1862)
plaster, 13.25 in.
Theodor Kaufmann, On to Liberty (1867)

4.31 War Photograph and Exhibition Company: A Group

of “Contrabands,” c. 1861–65. Stereograph (one image of
two). George Eastman House Collection, Rochester, NY
 After Winslow Homer, A Bivouac Fire on
the Potomac (1861), as published in
Harper’s Weekly
Winslow Homer, The Bright Side (1865)
 4.33 John Reekie: A Burial Party, Cold
Harbor, Virginia, April 1865.
Photograph, from Alexander Gardner,
Gardner’s Photographic Sketch Book
of the War, 1866. Library of Congress
Winslow Homer, The Bright Side (1865)
Winslow Homer, Prisoners from the Front (1866)