BGuthrie Photos: DC -- Donald W. Reynolds Center (NPG) -- Exhibit: Faces of Discord -- Group Portraits

DC -- Donald W. Reynolds Center (NPG) -- Exhibit: Faces of Discord -- Group Portraits:

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. FDGRP_140608_001.JPG: Faces of Discord Civil War
2. FDGRP_140608_013.JPG: Faces of Discord -- Group Portraits: The election of Abraham Lincoln to the presidency in November of 1860 exacerbated the fears of radical leaders in the South, who vehemently defended the institution of slavery. In response, South Carolina became the first of eleven states of secede. On the heels of secession followed a sectional call to arms. "Both parties deprecated war," stated President Lincoln, "but one of them would make war rather than let the nation survive; and the other would accept war rather than let it perish. And the war came." This alcove examines a selection of group portraits of the Civil War era in three mediums: prints, photographs, and one painting, the study for Grant and His Generals. The photographs are albumen silver prints made from glass-plate negatives and were produced primarily during the war years of 1861 to 1865. The lithographic prints are commemorative in composition and were made after the war for markets in both the North and South. Southerners especially wished to remember their "Lost Cause" as a noble experiment in democracy that was doomed by overwhelming circumstances.
3. FDGRP_140608_029.JPG: The Starting Point of the Great War Between the States. Inauguration of Jefferson Davis Several flash points contributed to the start of the Civil War. One was the inauguration of Jefferson Davis as the provisional president of the Confederate States of America at the state capitol in Montgomery, Alabama, on February 18, 1861. Others included the secession of South Carolina in December 1860; the Confederate bombardment of Fort Sumter in April 1861, which triggered President Lincoln's immediate call for 75,000 troops to protect the nation's capital; the Union occupation of northern Virginia in late May; and the first major battle at Manassas in July. This 1878 chromolithograph, published thirteen years after the Confederacy surrendered, commemorates Davis's inauguration and invokes the once-sunny optimism of a proud people at what they considered the birth of a new nation. Strobridge Lithography Company, 1878
4. FDGRP_140608_035.JPG: Union Generals Hopes for a short war had already waned months before President Lincoln's new commander, General George B. McClellan, posed for this photograph. Shown with ten of his senior generals at Fortress Monroe, Virginia, in the spring of 1862, prior to the start of the Peninsula Campaign, McClellan stands beside and to the left of his predecessor, General Irvin McDowell. McClellan was called the "young Napoleon" for the self-confidence he exuded following his minor victories of the previous summer in western Virginia. Although a brilliant organizer of the Union army in northern Virginia, he was proving to be slow at engaging the enemy, and he would soon demonstrate a proclivity for retreating. In the fall of 1862, Lincoln would sack him for not pursuing General Robert E. Lee's army after the Battle of Antietam. Mathew B. Brady, c 1862
5. FDGRP_140608_046.JPG: McClellan and Family When this print was published in 1867, General George B. McClellan -- the former general in chief of the Union army and the Democratic Party's presidential candidate in 1864 -- was on an extended sojourn through Europe with his family. The McClellans' overseas itinerary, however, would not have mattered to admirers of the general, who were seeking an idealized picture of a notable American household in the postwar era. Family portraiture filled the public's fascination for celebrity much like People magazine does today; seeing pictures of the famous relaxing at home with their families was the next best thing to stepping into their parlors. Here we see Mrs. McClellan -- Nelly -- who was known for her intelligence and beauty. In front of her stands George B. McClellan Jr., a future mayor of New York City, while young May stands by her father. Tholey Lithography Company, 1867
6. FDGRP_140608_065.JPG: Liet. Gen. Thomas J. Jackson and His Family: Southern nationalism is symbolically infused in this engraving of General "Stonewall" Jackson seated with his wife, Anna, and their daughter, Julia. Prominently displayed on the back wall is a portrait of Robert E. Lee and sculpture busts of John C. Calhoun and George Washington. Lee emerged from the war as the South's premier icon; he relied heavily on Jackson's military prowess and leadership up until his lieutenant's death in 1863. Calhoun was perhaps the South's foremost pillar of states' rights and the doctrine of secession, while Washington was held in the highest esteem by both sides as a revolutionary patriot and defender of the Constitution. William Sartain, 1866
7. FDGRP_140608_069.JPG: Balling's pass from Abraham Lincoln: In preparation for his large equestrian painting of Union generals, Ole Peter Hansen Balling needed official access to Grant's headquarters. This document is a pass dated September 23, 1864, written and signed by President Abraham Lincoln and authorizing "the bearer, Mr. H. Balling to pass to Gen. Grant, to whom he is hereby introduced."
8. FDGRP_140608_080.JPG: Study for Grant and His Generals: Study for Grant and His Generals As the Civil War moved into its final stages in the fall of 1864, the Norwegian artist Ole Peter Hansen Balling and a prosperous New Yorker conceived of the idea for a large equestrian painting depicting the commander of the Union armies, Ulysses S. Grant, flanked by an array of generals who served under him. Upon completion, the painting would be used to raise funds for the United States Sanitary Commission, a private organization for aiding sick and wounded soldiers. To obtain likenesses of the twenty-seven figures in the picture, Balling traveled to Union army encampments to make life studies of his subjects. Among the most cooperative was Grant, who gave Balling repeated opportunities to draw studies of him as he rode with staff officers to survey the forward lines near his headquarters at City Point, Virginia. The final rendering of Grant and His Generals approached being life-sized. Balling also painted this smaller version, most likely to serve as the template for a color lithograph of the picture. Today both paintings are in the National Portrait Gallery's collections; the large version is on display in the nearby stairwell. Ole Peter Hansen Balling, c 1866 Left to right: Thomas C. Devin (1822–1878), George A. Custer (1839–1876), Hugh J. Kilpatrick (1836–1881), William H. Emory (1811–1887), Philip H. Sheridan (1831–1888), James B. McPherson (1828–1864), George Crook (1830–1890), Wesley Merritt (1834–1910), George H. Thomas (1816–1870), Gouverneur Kemble Warren (1830–1882), George G. Meade (1815–1872), John G. Parke (1827–1900), William T. Sherman (1820–1891), John A. Logan (1826–1886), Ulysses S. Grant (1822–1885), Ambrose E. Burnside (1824–1881), Joseph Hooker (1814–1879), Winfield Scott Hancock (1824–1886), John A. Rawlins (1831–1869), Edward O. C. Ord (1818–1883), Francis Preston Blair (1821–1875), Alfred H. Terry (1827–1890), Henry W. Slocum (1827–1894), Jefferson C. Davis (1828–1879), Oliver O. Howard (1830–1909), John M. Schofield (1831–1906), Joseph A. Mower (1827–1870)
9. FDGRP_140608_088.JPG: I cannot find terms sufficiently strong to express my admiration for Mr. Balling's war picture. The likenesses are accurate and lifelike, the positions well chosen. Certainly nothing of this kind has been produced which compared with it in excellence. -- George Armstrong Custer, USA
10. FDGRP_140608_091.JPG: I have seen & admired Mr. Balling's excellent pictures. -- George G. Meade
11. FDGRP_140608_095.JPG: Visited Mr. Balling's excellent composition this date. -- U.S. Grant
12. FDGRP_140608_098.JPG: Autographed commentary about Grant and His Generals: Ole Peter Hansen Balling's completed masterpiece Grant and His Generals was exhibited in New York City in 1866. Three generals in the painting -- Ulysses S. Grant, George C. Meade, and George A. Custer -- singed a book of commentary that accompanies the exhibition. Custer wrote, "I cannot find terms sufficiently strong to express my admiration for Mr. Balling's war picture. The likenesses are accurate and lifelike, the positions well chosen. Certainly nothing of this kind has been produced which compared with it in excellence."
13. FDGRP_140608_101.JPG: General Philip Sheridan and his cavalry officers: In this 1864 photograph, Union cavalry General Philip Sheridan stands beside his headquarters' flag in the company of his division officers. The exact location is unknown, but that fall he was making a name for himself as his army began winning control of Virginia's verdant Shenandoah Valley. This was an indispensable breadbasket for the Confederacy, which Sheridan systematically put to the torch. His victory at Cedar Creek, near Winchester, in mid-October earned him lasting fame and provided an important win for the Lincoln administration, which was seeking political momentum on the eve of the presidential election. Mathew Brady Studio, 1864
14. FDGRP_140608_108.JPG: Mathew Brady and his camera crew in the field: The name of Mathew Brady is synonymous with Civil War photography. His oeuvre alone made the war the nation's first epic event to be recorded visually on a grand scale. Brady had studios in New York City and Washington, DC, where he burnished his reputation for making celebrity portraiture. Yet it was his work in the battlefields -- at Antietam, Gettysburg, the Wilderness, Petersburg, and Richmond -- that was revelatory at the time as it still so transfixing today. Photographic technology could not yet record motion or live action, but Brady's after-battle scenes are as close as we can get to visually experiencing the Civil War. This photograph shows Brady, standing second from the right, in camp with his camera crew at an undisclosed Virginia location. Mathew Brady Studio, 1862
15. FDGRP_140608_122.JPG: Mosby and his rangers: Colonel John S. Mosby was the commander of the Forty-third Battalion, Virginia Cavalry, more commonly known as Mosby's Rangers. At its peak the command numbered about 400 troopers, but routinely it operated behind enemy lines in bands of 20 to 150 men, mostly at night. Raids were designed to destroy enemy supply trains, disrupt communication lines, and isolate federal troops from their base commands. Mosby's "Confederacy" was centered in Loudoun and Fauquier counties, where most of the raiders lived. Armed principally with Colt revolvers, the rangers were so effective in their hit-and-run tactics in 1863–64 that the aura of fear they created was itself a weapon. This photograph of Mosby with a cadre of rangers is believed to have been taken in Baltimore, Maryland, after the war. Daniel Bendann and David Bendann, c 1865
16. FDGRP_140608_126.JPG: General Wesley Merritt and his staff General Wesley Merritt (seated, center) poses with his staff before the camera of Mathew Brady in this 1864 photograph. A highly competent cavalry officer, Merritt commanded the First Cavalry Division of General Philip Sheridan's Army of the Shenandoah. His commendable performance at the Battle of Brandy Station, Virginia, in June 1863, in part led to his unprecedented leap in promotion from captain to brigadier general of volunteers. Mathew B. Brady, 1864
17. FDGRP_140608_137.JPG: General George Meade and his generals On the eve of the battle of Gettysburg, July 1–3, 1863, President Lincoln appointed General George G. Meade commander of the Army of the Potomac. In this photograph of generals from that army, Meade stands fourth from the right. Although Gettysburg was a badly needed victory for the Union, Lincoln was distraught that Meade did not pursue Lee's retreating and crippled army and crush it once and for all. Meade contended that his army needed rest and refitting, and days of torrential rains hampered his efforts to mobilize an effective pursuit. Meade would keep his command to the end of the war, but in 1864 Ulysses Grant became general-in-chief of the army and chose to make his headquarters with Meade's troops, which essentially pitted Lee against Grant on the fields of battle and in the realm of American memory. Timothy O'Sullivan, c 1865
18. FDGRP_140608_166.JPG: The Room in the McLean House, at Appomattox C.H., in which Gen. Lee surrendered to Gen. Grant: Most written accounts of Robert E. Lee's surrender to Ulysses S. Grant at Appomattox on April 9, 1865, noted the difference between Lee's stiff dignity and Grant's more relaxed demeanor. This lithograph of the event, showing the two men as they waited for the peace terms to be copied, captures that difference better than most. After the surrender, Wilmer McLean, the owner of the house, lost much of his furniture to soldiers desiring mementos of the historic event. Later, in what proved to be a futile effort to recoup his losses and raise funds for his needy family, he commissioned this print. Major and Knapp Lithography Company, 1867 Left to right: Sitter: John Gibbon, 1827 - 1896 Sitter: George Armstrong Custer, 5 Dec 1839 - 25 Jun 1876 Sitter: Cyrus Ballou Comstock, 1831 - 1910 Sitter: Orville E. Babcock, 1835 - 1884 Sitter: Charles Marshall, 1830 - 1902 Sitter: Walter Herron Taylor, 1838 - 1916 (above Lee) Sitter: Robert Edward Lee, 19 Jan 1807 - 12 Oct 1870 Sitter: Philip Henry Sheridan, 6 Mar 1831 - 5 Aug 1888 Sitter: Ulysses Simpson Grant, 27 Apr 1822 - 23 Jul 1885 Sitter: John Aaron Rawlins, 13 Feb 1831 - 6 Sep 1869 (above Grant) Sitter: Horace Porter, 1837 - 1921 (with huge mustache) Sitter: Charles Griffin, 1825 - 1867 Sitter: George Gordon Meade, 31 Dec 1815 - 6 Nov 1872 Sitter: Ely Samuel Parker, 1828 - 1895 Sitter: James William Forsyth, 1836 - 1906 Sitter: Wesley Merritt, 16 Jun 1834 - 3 Dec 1910 Sitter: Theodore Shelton Bowers, 1832 - 1866 Sitter: Edward Otho Cresap Ord, 18 Oct 1818 - 22 Jul 1883
19. FDGRP_140608_186.JPG: The Surrender of Genl. Joe Johnston near Greensboro, NC April 26th, 1865 After Lee surrendered at Appomattox, Confederate General Joseph E. Johnston considered the war to be a lost cause and sought terms of peace with his nemesis-in-blue, General William T. Sherman. This print celebrates the formal surrender of Johnston's army on April 26, 1865, near Greensboro, North Carolina. After the war, Johnston and Sherman, both West Pointers, became friends. In February 1891, Johnston served as a pallbearer at Sherman's funeral in New York City, where he caught a cold and died of complications from pneumonia the next month. Currier and Ives Lithography Company, 1865
20. FDGRP_140608_200.JPG: Joseph E. Johnston 1807-1891 Robert E. Lee 1807-1870 In April 1870, in Savannah, Georgia, two former Confederate generals and West Point classmates, Robert E. Lee and Joseph E. Johnston (left), met for the first time since the war ended; five years earlier, they had surrendered the South's last two effective armies. Both sixty-three, they aspired to be productive in civilian life as best as circumstances would allow. Lee was the president of Washington College in Lexington, Virginia, and Johnston was in the insurance business in Savannah. The noticeable shine on Lee's shoes, in contrast to Johnston's, was characteristic of that model officer, who had graduated from the U.S. Military Academy forty-one years earlier without a single demerit. They posed for photographer David J. Ryan of Savannah, probably in his downtown studio. DJ Ryan, 1870
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