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Civil War Sketchbook

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“Civil War: A Visual His­tory” is a cof­fee table book put out by Par­ragon Books to com­mem­o­rate the 150th anniver­sary. While the book is billed as a cof­fee table book, it is of the smaller vari­ety and is portable.

The book is divided into 10 chap­ters each cov­ers a dif­fer­ent sub­ject (“Front Lines”, “Home Front”, “Pris­ons”, etc.). Each of the chap­ters has a short per­sonal nar­ra­tive and a won­der­ful col­lec­tion of images printed on qual­ity paper.

In addi­tion to the book, Par­rago “Civil War: A Visual His­tory” is a cof­fee table book put out by Par­ragon Books to com­mem­o­rate the 150th anniver­sary. While the book is billed as a cof­fee table book, it is of the smaller vari­ety and is portable.

The book is divided into 10 chap­ters each cov­ers a dif­fer­ent sub­ject (“Front Lines”, “Home Front”, “Pris­ons”, etc.). Each of the chap­ters has a short per­sonal nar­ra­tive and a won­der­ful col­lec­tion of images printed on qual­ity paper.

In addi­tion to the book, Par­ragon will also release a com­pan­ion app with video inter­views, Artist Charles, W. Reed’s sketch­book, musi­cal scores and more.

“Civil War: A Visual His­tory” is an amaz­ing book which will make you stop and reflect on the Civil War and all it encom­passed. The book gives a glimpse into the years before, dur­ing and after the Civil War.

I have gone through the book sev­eral times one time is sim­ply not enough. The col­lec­tion is not just of pho­tographs, but also polit­i­cal car­toons, play­ing cards, news­pa­per arti­cles and my favorite – per­sonal pho­tos. I’ve brought this book to work and had many peo­ple stop by my desk to take a look, they were all impressed with the imagery and the qual­ity of the book.
Granted – most were men but I would still put this book out on the cof­fee table or in my home office.

Each chap­ter has very lit­tle nar­ra­tive, usu­ally a let­ter or arti­cle from the time, to give the reader some back­ground of what they’re look­ing at (and pic­ture cap­tions of course). Even though the text was basic, I thought it was well cho­sen and very poignant.

A few years ago I’ve had a “phase” where I read only books about the Civil War. I’ve read fic­tion, non-fiction, biogra­phies, etc. basi­cally any book I could get my hands on. It was an immensely inter­est­ing time period which I found fascinating.

Not only are the sto­ries about the Civil War fas­ci­nat­ing and inter­est­ing, but as this book reminds us, it also changed the war. Pho­tog­ra­phy had a wide impact on the public’s per­cep­tion on any­thing involved with the war, from the bat­tle­field to the leaders.


With Free State of Jones, Hollywood’s Civil War Comes Closer to History’s

By Victoria Bynum | June 23, 2016

The setting is the piney woods of Civil War Jones County, Mississippi. The white farmer Newt Knight leads a band of deserters against Confederate forces. An enslaved woman, Rachel, lends invaluable aid to this Knight Band. After gaining her freedom, she spends the rest of her life as Newt’s partner.

These events are a great story—and even better history. This summer, Free State of Jones will bring to movie theaters across the country a thrilling and relatively unknown tale of Civil War insurrection, romance, and interracial collaboration. The film, inspired by several historical books about these events including my own, shows how far scholarly research—and popular entertainment—about the Civil War has come.

Free State of Jones is a Civil War movie that privileges neither Gods and Generals nor genteel plantations à la Gone with the Wind. White yeoman farmers represented a class disproportionately devastated by battlefield deaths and Confederate seizures of home front produce and property. As they increasingly desert the Confederate army, an inner civil war erupts in Jones County between the Knight Company and Confederate troops. Soon, fathers, mothers, wives, and children join forces to defend and hide deserters from authorities. Meanwhile, social disorder empowers slaves and runaways, offering the promise of true and lasting freedom.

In the movie, class and race converge when the deserter Newt is run down and mauled by the Confederacy’s “nigger hounds.” Taken to the swamps by Rachel, he encounters Maroons, escaped slaves who formed clandestine communities, for the first time. “Are they runaways?” Newt asks Rachel with hesitation. “Ain’t you runnin’?” she responds. The interracial alliance is born.

The events in Jones County demonstrate a larger truth of dissent and violence that erupted throughout the South during the Civil War. This research presents a crucial corrective to the Lost Cause version of history that afflicts us still—not simply in movies and novels, but also in the classroom, where even my college students have frequently assured me that “Granny said our slaves were treated just like family in the old days,” or on internet message boards and chat rooms, where self-proclaimed authorities insist the Civil War was never really about slavery.

Scholars like myself have long struggled against this version of Civil War history. It was created only around the turn of the 20th century, when a few influential Northern and Southern historians strove to heal the war-damaged United States by creating a more conciliatory vision of the Civil War and Reconstruction.

Denouncing the war as a needless slaughter brought on by politicians, historians such as William Archibald Dunning and his followers portrayed the Reconstruction that followed as a tragic era of “Negro rule,” carpetbagger corruption, and scalawag treason. The Dunning School soft-peddled slavery’s role as the major cause of war. The myth of a Civil War fought over “states’ rights” hardened into orthodoxy, providing a “noble cause” for white Southerners seeking to sanctify the sacrifices and deaths of their ancestors.

Hollywood soon celebrated the Lost Cause version of the war in its 1915 production of Birth of a Nation. Directed by D. W. Griffith, and the most technologically-advanced movie of its time, this film glorified Ku Klux Klansmen as rescuers of virginal white womanhood from black male rapists portrayed as little better than beasts. In the process, the movie legitimized segregation and lynching as tools of racial control.

Some scholars fought back against the flawed history of the early 20th century. In 1935, W.E.B. Du Bois eviscerated Lost Cause orthodoxy with his masterful, now classic book, Black Reconstruction in America. Du Bois pulled no punches in describing the political corruption and white terror that dominated Reconstruction. Few people, however, read Black Reconstruction before the 1960s. Du Bois held a Ph.D. from Harvard, but he was a man of color. In 1930s America, where racial segregation relegated people of color to second-class citizenship and black men were lynched with impunity, a historian of African-American ancestry—especially a politically far-left one—had little credibility, even among educated whites. With notable exceptions, white academics dismissed Du Bois’s challenge to prevailing historiography with faint praise and sometimes outright contempt.

Historian C. Vann Woodward, one of those few who praised Du Bois’s work, refuted Lost Cause history again in his own 1951 book, Origins of the New South. Yes, Woodward asserted, slavery had caused the Civil War yes, Reconstruction was a tragic era—not because of “Negro rule,” but rather because a resurgent, corrupt, and violent Democratic Party thwarted the promise of racial equality through violent campaigns to restore white supremacy.

Other historians soon followed Woodward’s lead. By the 1960s, the Lost Cause was on its way to the ash heap of history.

But academic historians could not expunge its appeal in popular culture. MGM’s blockbuster production Gone with the Wind hit the theaters in 1939, four years after Du Bois’s work. The movie continued to enjoy enormous popularity for decades after. In 1960, at age 13, I saw it for the first time at one of its many special theatrical showings. Immediately afterward, I bought the novel by Margaret Mitchell that inspired it.

Gone with the Wind won the Academy Award for Best Picture in 1940.

As a teenager attracted to fantasies of a mythical past, I learned from Gone With the Wind almost all that I knew about the Civil War. The romantic haze of gracious plantations, men of honor, Southern belles, and happy, loyal slaves softly shrouded the movie’s images of degraded poor whites, uncivilized and “uppity” freedpeople, and a benevolent Ku Klux Klan.

Other Hollywood productions kept up the image. In 1948, Universal Pictures dared to produce Tap Roots, a movie based on James Street’s novel of the same name and inspired, Street claimed, by the Free State of Jones. Whereas Street’s topic was Southern Unionism, however, the film served little more than a warmed-over Gone With the Wind. It highlighted—you guessed it—men of honor, Southern belles, and happy, loyal slaves.

The ultimate distortion of Jones County’s insurrection came in a 1951 book by Ethel Knight, The Echo of the Black Horn. A descendant of the pro-Confederacy side of the Knight family, Ethel anchored the story of Newt and Rachel firmly in Lost Cause principles and the segregationist code of the 1950s South. She rendered Newt an outlaw, a murderer, and a sinner who practiced racial amalgamation. Rachel, she told readers, was sexually promiscuous and practiced witchcraft. She had charmed Newt across the color line.

Such was the story that came before my eyes in 1992 when I read Knight’s book for the first time. Fascinated, I discovered that no fully researched history of Newt, Rachel, and the Jones County insurrection had ever been published.

I began to research, propelled by key questions. I wondered what drove the Jones County insurrectionists to support the Union. Were they opposed to slavery, at least some of them? What roles did class, religion, kinship, and local events play in fomenting conflict? I expected to find women, children, and enslaved people involved in this home front war, as I had in my earlier work on the Civil War in North Carolina, and I did.

By the time I embarked on this work, Civil War historians had built on the legacy of Du Bois and Woodward to examine the myriad ways in which conflicts over slavery led directly to the Civil War. The white South, they concluded, was anything but “solid.” Dissent and outright opposition to the Confederacy erupted time and again in regions with large non-slaveholding populations.

In recent years, too, Hollywood’s treatment of the Civil War has advanced well beyond Gone with the Wind with movies like Glory, Cold Mountain, and Lincoln. Yet, popular culture has shown us little about the Southern families that rejected secession from the Union and made war on the Confederacy.

Gary Ross, director of Free State of Jones, and Victoria Bynum on the set for her cameo role in the film.

Free State of Jones adds to our knowledge of Southern dissent within evolving depictions of our nation’s bloodiest conflict. Gary Ross, the movie’s screenwriter and director, read widely and deeply about the history of the Civil War and Reconstruction. This movie counters Lost Cause romanticism at every turn. It replaces the “honor” of benevolent slaveholders with the righteous anger of yeoman farmers, the rustle of crinoline slips with the click of rifles cocked by farm girls, and the contented faces of loyal slaves with the wary countenances of Maroons living in swamps. All rise to claim their rights in this tale of a rich man’s war and poor man’s fight. The movie reminds us that for a majority of Southerners, the Civil War was ultimately about class survival and racial liberation.

Victoria Bynum is Distinguished Professor Emeritus of History at Texas State University, San Marcos and the author of The Free State of Jones (2001, 2016), and The Long Shadow of the Civil War (2010), both published by the University of North Carolina Press. Her blog, Renegade South, serves as a repository for new information about Southern Unionism and Southern mixed-race communities.


A Civil War soldier’s sketchbook

Between battles, marches, and military exercises, Civil War soldiers spent their free time in camp playing music, writing and reading letters, and, for those with the skill, sketching scenes from the day. This unknown soldier’s sketchbook from 1863, "A Few Scenes in the life of A ‘SOJER’ in the Mass 44th," recounts the adventures of a soldier named "Gorge," or "George." We do not know if George is a fictional character or loosely autobiographical. The sketchbook follows the movements of the 44th Massachusetts Volunteer Infantry in New Bern, North Carolina. The cartoon sketches satirize the Northern press, former slaves, Confederate General Pierre G. T. Beauregard, and military life.

Action and Adventure

One group of sketches depicts George being captured by Confederates while on patrol duty. The cartoon-like images show George being rescued by his friends only to be eaten by a crocodile while escaping.

Several images satirize Northern newspapers. In each sketch the author juxtaposed an image of the newspaper headline with the humorous and less exciting reality. Newspapers, like letters, were a source of camp entertainment, and the news reports from the front lines were not always accurate.

Soldier Life

The author frequently used puns to dramatize soldier life. "Dodging the Bum-shells at Fredericksburg" shows residents throwing chamber pots out of windows at soldiers. Instead of depicting the military battle, the drawing "Bull Run" has a bull with large horns charging soldiers fleeing over a fence.


VisualCulture of the AmericanCivil War

Alice Fahs, professor of history at the University of California, Irvine, presents a broad range of images that made up the visual landscape of the 1860s and discusses how the Civil War changed and failed to change pictorial representation—especially of African Americans and women. This talk took place on July 9, 2012, as part of The Visual Culture of the American Civil War, an NEH Summer Institute for College and University Teachers.

Bibliography

Print

Fahs, Alice. The Imagined Civil War: Popular Literature of the North and South, 1861-1865. Chapel Hill, 2001.

Harvey, Eleanor Jones. The Civil War and American Art. New Haven, 2012.

Holzer, Harold, and Neely, Mark E., Jr. Mine Eyes Have Seen the Glory: The Civil War in Art. New York, 1993.

Katz, Harry L., and Virga, Vincent. Civil War Sketch Book: Drawings from the Battlefront. New York, 2012.

Rosenheim, Jeff L. Photography and the American Civil War. New York, 2013.


Rare and Manuscript Collections

Timothy O’Sullivan (1821-1882). Harvest of Death, Gettysburg. July, 1863. Albumen print photograph.

Students of American history and culture will find documentation of the Civil War, particularly as it was experienced in Upstate New York, in abundance. Evidence of how the Civil war affected the daily life of families in the region can be found in numerous collections of family papers, all acquired as Cornell’s regional history collection was built. Letters home from soldiers, diaries of those waiting at home, evidence of the impact of war on the economic and social lives of ordinary people, are all found in family papers and add immeasurably to an appreciation of the impact of the War on American life. Military history, in the form of muster rolls and regimental histories, including volunteers, offers researchers insight into the official history of the Civil War. Most spectacular among this documentary evidence is Cornell’s copy of the Gettysburg address, handwritten by Abraham Lincoln in 1864. Cornell’s copy is one of five in existence. Evidence of public opinion and popular culture can be found in our spectacular collection of Civil War covers. These 2000 plus covers portray the players and events of the Civil War from a Northern perspective. Cornell’s seven-millionth volume is Gardner’s Photographic Sketch Book of the War, widely considered the most important piece of photographic literature produced during the Civil War era.

Cornell’s strong collection of antebellum writers and activists assists researchers in understanding the context of the Civil War. Cornell’s holdings include the papers of Lydia Maria Child, and a growing collection of antislavery materials of which the May Anti-Slavery collection is the most significant.


Civil War Sketchbook - HISTORY

Digital History >Virtual Exhibits> Water Color Sketchbook by Private Henry Berckhoff

Water Color Sketchbook by Private Henry Berckhoff
8th New York "German Rifles"
27 May 1861 to 23 May 1863

What did the Civil War look like to the soldiers who fought in it? The pictures in this exhibition were drawn by a young Union soldier, Henry Berckhoff, during the war. Berckhoff sketched these pictures in graphite and later added ink and watercolor. He also attached the images to paper boards and bound them together.

Berckhoff's paintings of large groups of soldiers marching and fighting are shown in part one of this exhibit. In part two, there are more personal and solitary scenes of camp life. His drawings allow us to see the Civil War through a soldier's eyes.

Berckhoff was a career soldier. He served in the military almost continually from the time he fought with the Union army until his retirement in February 1894. Twenty years old when he enlisted in New York City, Berckhoff became a private in the Eighth New York Volunteer Infantry, Company B, which was also known as the First German Rifles. This was an "ethnic regiment" composed of approximately 1,000 German immigrants. The drawings displayed here represent the early years of Berckhoff's military career.


Gardner's Photographic Sketch Book of the Civil War

Gardner&aposs Photographic Sketch Book is a remarkable historic document of the Civil War. Though Matthew Brady is considered the superstar of Civil War photography, Gardner was the one who traveled, cumbersome 19th century photographic equipment in tow, to battlefields to document the action. It is for that reason that this photographic record is so significant.

I&aposll admit that the reading of the book was arduous, not simply because of the subject matter, which includes multiple photos of dead sold Gardner's Photographic Sketch Book is a remarkable historic document of the Civil War. Though Matthew Brady is considered the superstar of Civil War photography, Gardner was the one who traveled, cumbersome 19th century photographic equipment in tow, to battlefields to document the action. It is for that reason that this photographic record is so significant.

I'll admit that the reading of the book was arduous, not simply because of the subject matter, which includes multiple photos of dead soldiers and skeletons, but also because of the density of the language used to explain the photos. Even so, the photography is astounding and strangely contemporary. Just because of my interest level, I've studied and read many Civil War books. Even so, I never had a clear understanding of what, exactly, a bivouac looked like or how encampments were constructed. The men who designed and constructed such things were engineering geniuses. Make a bridge out of scavenged logs? Sure. How about floating a bridge over boats? Of course. Gardner records all of these things, not to mention the devastation, both to human life and to dozens of towns near battlefields, that the war brought. If you are at all interested in Civil War history, this is a necessary read. . more


Civil War sketchbook highlights Cowan's auction

CINCINNATI — Cowan’s Auctions, Inc. will host their American History: Live Salesroom Auction on Nov. 21. The 302-lot auction will be held in Cowan’s salesroom, in Cincinnati, Ohio, and will include scarce daguerreotypes, photographs of the American West, 19th century photography, manuscripts, books, maps, political campaign ephemera and flags. Live online bidding also is available.

Cowan’s will be offering one of the most important photograph sketchbooks of the Civil War. Alexander Gardner’s Photographic Sketchbook of the War by Philp & Solomons, 1865-1866, is estimated to bring anywhere between $100,000/150,000.

“This sale is rich in diversity,” notes Katie Horstman, Director, American History Department. 𠇏rom the Gardner book, to Harry S. Truman’s poker table, the over 300 lots featured in the auction represent the people, places and events that made our great country what it is today.”


US History Blog

Here at US History we're reviewing the new book by Harry L. Katz and Vincent Virga, "Civil War Sketch Book - Drawings from the Battlefront". It's a remarkable collections of drawings from the Civil War with extensive historical narrative. Soon available. Publisher is W.W. Norton and Company. The lowest price we've seen is via Amazon.com at about $33, available via pre-order.

May 2012's National Geographic will be featuring some of this extensive Civil War collection, the largest organized sketch book collection to date.

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Civil war sketch book is written by Harry L Katz together with Vincent Virga. The summary is: At a time before the camera lens could capture the frenzy and terror of battle action, illustrators known as “Special Artists”—among them such famous draftsmen as Winslow Homer and Thomas Nast—created for the American public some of the most important and lasting images of the Civil War.

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Watch the video: Restored sketchbook of Civil War soldiers life (August 2022).