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Winslow Homer
American, 1836 - 1910


Rebels Outside their Works at Yorktown Reconnoitring (sic) with Dark Lanterns (For Harper's Weekly), 1862
Engraving


Homer’s sketches were made almost entirely from a Union perspective. This work, however, dramatizes the stealthy Confederate brigades that surveyed the front lines at night. Homer was among the artist-reporters whose bravery in the field Harper’s extolled at the end of the war: “with their pencils in the field, upon their knees, upon a knapsack . . . in the dusk twilight, with freezing and fevered fingers,” they created “history quivering with life.”


2011.176JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_00D443F0_55A7_3068_41D4_381671DAF882_mobile.html =
Winslow Homer
American, 1836 - 1910


Rebels Outside their Works at Yorktown Reconnoitring (sic) with Dark Lanterns (For Harper's Weekly), 1862
Engraving


Homer’s sketches were made almost entirely from a Union perspective. This work, however, dramatizes the stealthy Confederate brigades that surveyed the front lines at night. Homer was among the artist-reporters whose bravery in the field Harper’s extolled at the end of the war: “with their pencils in the field, upon their knees, upon a knapsack . . . in the dusk twilight, with freezing and fevered fingers,” they created “history quivering with life.”


2011.176JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_010BD37E_559D_7059_41CC_F220C6B05BAC.html =
Winslow Homer
American, 1836 - 1910


Our Army Before Yorktown, Virginia (For Harper's Weekly), 1862
Print


Winslow Homer accompanied the Union Army of the Potomac to Yorktown, Virginia in 1862, where he depicted battles and camp life. While Yorktown was captured by the Union Army and remained in Union control for the rest of the war, the Union command’s slow pace and caution prevented them from achieving their ultimate objective—the capture of the Confederate capital of Richmond, Virginia and an early end to the war.


2011.25JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_010BD37E_559D_7059_41CC_F220C6B05BAC_mobile.html =
Winslow Homer
American, 1836 - 1910


Our Army Before Yorktown, Virginia (For Harper's Weekly), 1862
Print


Winslow Homer accompanied the Union Army of the Potomac to Yorktown, Virginia in 1862, where he depicted battles and camp life. While Yorktown was captured by the Union Army and remained in Union control for the rest of the war, the Union command’s slow pace and caution prevented them from achieving their ultimate objective—the capture of the Confederate capital of Richmond, Virginia and an early end to the war.


2011.25JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_0227FEBE_559B_30D8_41CF_B24027401453.html =
Winslow Homer
American, 1836 - 1910


A Bivouac Fire on the Potomac (For Harper's Weekly), 1861
Print


A Bivouac Fire on the Potomac is one of Homer’s most famous scenes of camp life during the war. In the center of the illustration, an African American man can be seen dancing around the campfire, while another plays the fiddle. It is unknown whether the two men were free men or enslaved: it was not unusual for Northern officers to own slaves and many slaves (referred to as “contrabands’) escaped to Union Army camps in an attempt to gain their freedom. In the background, soldiers can be seen standing at picket duty—a reminder that, despite the festivities, a war is underway.


2011.24JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_0227FEBE_559B_30D8_41CF_B24027401453_mobile.html =
Winslow Homer
American, 1836 - 1910


A Bivouac Fire on the Potomac (For Harper's Weekly), 1861
Print


A Bivouac Fire on the Potomac is one of Homer’s most famous scenes of camp life during the war. In the center of the illustration, an African American man can be seen dancing around the campfire, while another plays the fiddle. It is unknown whether the two men were free men or enslaved: it was not unusual for Northern officers to own slaves and many slaves (referred to as “contrabands’) escaped to Union Army camps in an attempt to gain their freedom. In the background, soldiers can be seen standing at picket duty—a reminder that, despite the festivities, a war is underway.


2011.24JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_02907C1C_559B_57D8_41A5_2CC8295B7259.html =
Winslow Homer
American, 1836 - 1910


Winter Quarters at Camp – The Inside of a Hut (For Harper's Weekly), 1862
Wood engraving


In addition to combat, many of Homer’s Civil War illustrations captured everyday life of the soldiers. During the war, the majority of fighting took place between spring and fall. Winter was primarily spent in camp in preparation for the coming season’s campaigns. In this image, Homer depicts soldiers passing the time reading, sleeping, gambling and, above all, keeping warm.


1977.01.19LIC
William F. Brooks Fund
HTMLText_02907C1C_559B_57D8_41A5_2CC8295B7259_mobile.html =
Winslow Homer
American, 1836 - 1910


Winter Quarters at Camp – The Inside of a Hut (For Harper's Weekly), 1862
Wood engraving


In addition to combat, many of Homer’s Civil War illustrations captured everyday life of the soldiers. During the war, the majority of fighting took place between spring and fall. Winter was primarily spent in camp in preparation for the coming season’s campaigns. In this image, Homer depicts soldiers passing the time reading, sleeping, gambling and, above all, keeping warm.


1977.01.19LIC
William F. Brooks Fund
HTMLText_02D49184_55AB_50A9_41CF_BB72914156B8.html =
Winslow Homer
American, 1836 - 1910


Thanksgiving in Camp (For Harper's Weekly), 1862
Print


2011.118JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_02D49184_55AB_50A9_41CF_BB72914156B8_mobile.html =
Winslow Homer
American, 1836 - 1910


Thanksgiving in Camp (For Harper's Weekly), 1862
Print


2011.118JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_09BC0ED8_4FFD_4B8B_41B9_504881E17452.html =



Kara Walker
American, b. 1969


Crest of Pine Mountain, Where General Polk Fell, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


In 1864, Union troops entered the heart of Georgia in a campaign to take the strategic city of Atlanta. This print depicts Pine Mountain, where one of the pivotal battles of the campaign took place. During the battle, Confederate General Leonidas Polk was killed by a Union artillery round, in a serious blow to the Confederate cause.


The original Harper’s illustration depicts at its center four prominently-lit tree stumps, in a poetic evocation of loss. Walker’s version of the image is dominated by a woman whose figure and kerchief link her to the pervasive “mammy” stereotype, and who lifts her arms as if in praise or lamentation. Behind her, a girl swings an ax—a reference, perhaps, to all those fallen in the war.


2019.4.1
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Crest of Pine Mountain, Where General Polk Fell, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


In 1864, Union troops entered the heart of Georgia in a campaign to take the strategic city of Atlanta. This print depicts Pine Mountain, where one of the pivotal battles of the campaign took place. During the battle, Confederate General Leonidas Polk was killed by a Union artillery round, in a serious blow to the Confederate cause.


The original Harper’s illustration depicts at its center four prominently-lit tree stumps, in a poetic evocation of loss. Walker’s version of the image is dominated by a woman whose figure and kerchief link her to the pervasive “mammy” stereotype, and who lifts her arms as if in praise or lamentation. Behind her, a girl swings an ax—a reference, perhaps, to all those fallen in the war.


2019.4.1
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Submit your work inspired by the exhibition here!
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Submit your work inspired by the exhibition here!
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Winslow Homer
American, 1836 - 1910


The Songs of the War (For Harper's Weekly), 1861
Print


2011.145JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_0C865829_559F_5FF8_41D1_682D02408ED3_mobile.html =
Winslow Homer
American, 1836 - 1910


The Songs of the War (For Harper's Weekly), 1861
Print


2011.145JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_131BC8AB_556B_50F8_41CA_D489FD30867B.html =



Kara Walker
American, b. 1969


Exodus of Confederates from Atlanta, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


An important rail and supply center, Atlanta, Georgia, fell to Union troops on September 2, 1864, after a series of Confederate defeats in and around the city. Many inhabitants, along with Confederate troops, began to evacuate the city before the arrival of Union troops, as depicted in this Harper’s illustration Exodus of Confederates from Atlanta.


Walker adds psychological and visual complexity to the scene, through the inclusion of two large silhouettes of an African American women and man—one nested within the other to create an aperture or window into the Harper’s image beneath. The silhouettes draw the viewer’s eye toward the center of the composition, where an African American boy can be seen loading a caravan for civilians who were ordered to evacuate the city, raising questions about the plight of the enslaved residents of Atlanta.


2019.4.12
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_131BC8AB_556B_50F8_41CA_D489FD30867B_mobile.html =



Kara Walker
American, b. 1969


Exodus of Confederates from Atlanta, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


An important rail and supply center, Atlanta, Georgia, fell to Union troops on September 2, 1864, after a series of Confederate defeats in and around the city. Many inhabitants, along with Confederate troops, began to evacuate the city before the arrival of Union troops, as depicted in this Harper’s illustration Exodus of Confederates from Atlanta.


Walker adds psychological and visual complexity to the scene, through the inclusion of two large silhouettes of an African American women and man—one nested within the other to create an aperture or window into the Harper’s image beneath. The silhouettes draw the viewer’s eye toward the center of the composition, where an African American boy can be seen loading a caravan for civilians who were ordered to evacuate the city, raising questions about the plight of the enslaved residents of Atlanta.


2019.4.12
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Foote's Gun-Boats Ascending to Attack Fort Henry, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.5
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Foote's Gun-Boats Ascending to Attack Fort Henry, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.5
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Lost Mountain at Sunrise, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.7
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_13A75421_556D_57EB_41C1_A9BF690B2663_mobile.html =



Kara Walker
American, b. 1969


Lost Mountain at Sunrise, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.7
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Click on hotspots to move location
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Kara Walker
American, b. 1969


Scene of McPherson's Death, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


James Birdseye McPherson was a career United States Army officer who served as a general in the Union Army. During the Battle for Atlanta in 1864, McPherson was shot and killed when he unexpectedly encountered Confederate skirmishers. He became the second-highest-ranking Union officer killed in action during the war. Despite his death, the city of Atlanta was overtaken by Union troops one month later.


This Harper’s illustration depicts the aftermath of McPherson’s death. The site is littered with remains of the battle, including cannonballs, wagon wheels, and a horse’s skeleton. Superimposed over this image, Walker’s silhouette of a youth looking in shock at his severed foot captures the mayhem and brutality of the era.


2019.4.8
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_1ABF2430_52EC_D7E8_41C1_1309584BF2AD_mobile.html =



Kara Walker
American, b. 1969


Scene of McPherson's Death, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


James Birdseye McPherson was a career United States Army officer who served as a general in the Union Army. During the Battle for Atlanta in 1864, McPherson was shot and killed when he unexpectedly encountered Confederate skirmishers. He became the second-highest-ranking Union officer killed in action during the war. Despite his death, the city of Atlanta was overtaken by Union troops one month later.


This Harper’s illustration depicts the aftermath of McPherson’s death. The site is littered with remains of the battle, including cannonballs, wagon wheels, and a horse’s skeleton. Superimposed over this image, Walker’s silhouette of a youth looking in shock at his severed foot captures the mayhem and brutality of the era.


2019.4.8
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Harpers Weekly
Subtitle


Normal text
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Kara Walker
American, b. 1969


An Army Train, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.6
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_1B254914_529F_71A9_41A0_C4D519E14D96_mobile.html =



Kara Walker
American, b. 1969


An Army Train, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.6
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker, 2005, Buzzard's Roost Pass, from "Harper's Pictorial History of the Civil War (Annotated)"
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Winslow Homer
American, 1836 - 1910


A shell in the Rebel Trenches (For Harper's Weekly), 1863
Wood Engraving


While the majority of his works focused on Union forces, Homer created several depictions of the Confederate Army. This image represents a group of African Americans undertaking the dangerous and difficult work of building trenches and fortifications in support of the Confederate Army—labor that put them in harm’s way of the very Union Army working toward their liberation from slavery.
1977.01.02LIC
William F. Brooks Fund


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Winslow Homer
American, 1836 - 1910


A shell in the Rebel Trenches (For Harper's Weekly), 1863
Wood Engraving


While the majority of his works focused on Union forces, Homer created several depictions of the Confederate Army. This image represents a group of African Americans undertaking the dangerous and difficult work of building trenches and fortifications in support of the Confederate Army—labor that put them in harm’s way of the very Union Army working toward their liberation from slavery.
1977.01.02LIC
William F. Brooks Fund


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Kara Walker
American, b. 1969


Deadbrook after the Battle of Ezra's Church, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.3
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Deadbrook after the Battle of Ezra's Church, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.3
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Pack-Mules in the Mountains, Summit of Maryland Heights, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.10
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Pack-Mules in the Mountains, Summit of Maryland Heights, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.10
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Occupation of Alexandria, Summit of Maryland Heights, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


This Harper’s illustration of the Occupation of Alexandria depicts the triumphant entry of the Union army into Alexandria, Louisiana, in 1863. While Union troops succeeded in seizing cotton and other goods in the ensuing months, the engagement—known as the Red River Campaign—was fraught with hardship and frustration. Upon the Union army’s retreat from the city in May of 1864, a mutinous band of soldiers set fire to city as they departed. Kara Walker’s addition of two figures in the lower right corner of the scene suggests the horror of Alexandria’s burning. As one soldier recounted: “About daylight this morning cries of fire and the ringing of the alarm bells were heard on every side. I think a hundred fires must have been started at one time… All we could do was help the people get over the levee, the only place where the heat did not reach and where there was nothing to burn... the sights and sounds were harrowing. Thousands of people, mostly women, children and old men, were wringing their hands as they stood by the little piles of what was left of all their worldly possessions.”


2019.4.2
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Occupation of Alexandria, Summit of Maryland Heights, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


This Harper’s illustration of the Occupation of Alexandria depicts the triumphant entry of the Union army into Alexandria, Louisiana, in 1863. While Union troops succeeded in seizing cotton and other goods in the ensuing months, the engagement—known as the Red River Campaign—was fraught with hardship and frustration. Upon the Union army’s retreat from the city in May of 1864, a mutinous band of soldiers set fire to city as they departed. Kara Walker’s addition of two figures in the lower right corner of the scene suggests the horror of Alexandria’s burning. As one soldier recounted: “About daylight this morning cries of fire and the ringing of the alarm bells were heard on every side. I think a hundred fires must have been started at one time… All we could do was help the people get over the levee, the only place where the heat did not reach and where there was nothing to burn... the sights and sounds were harrowing. Thousands of people, mostly women, children and old men, were wringing their hands as they stood by the little piles of what was left of all their worldly possessions.”


2019.4.2
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Alabama Loyalists Greeting the Federal Gun-Boats, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.15
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Alabama Loyalists Greeting the Federal Gun-Boats, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.15
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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“The silhouette says a lot with very little information, but that's also what the stereotype does.” — Kara Walker


Although Kara Walker’s silhouettes appear to echo and interact with the illustrations beneath them, there is no clear narrative between the two. Her shadowy figures represent a hidden history running parallel to these published scenes. By imposing the silhouettes over images of soldiers and battles, Walker makes history’s invisible participants visible again—the flat opacity of their forms grab our attention and boldly obscure the subject of the original print. The motivations of her figures remain mysterious and the stories they tell are purposely cryptic, however, even as they force us to confront themes of race, gender, power, and violence.
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Kara Walker
American, b. 1969


Signal Station, Summit of Maryland Heights, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.13
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Signal Station, Summit of Maryland Heights, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


2019.4.13
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Harper's Weekly


Harper’s Weekly, a leading magazine of the 1800s, covered the Civil War’s unfolding events for readers on both sides of the battle, by sending reporters and artists onto the battlefield to capture news from the front. Following the war, the magazine published Harper’s Pictorial History of the Civil War, a two-volume compendium featuring over 1,000 Harper’s Weekly illustrations by artists of renown and depicting the battles, people, despair, and destruction in graphic detail.


Among a select group of artist-reporters employed by Harper’s, Winslow Homer (1836-1910) was sent to the front lines beginning in 1861 at the age of 25 to illustrate battle scenes and camp life. Embedded with Union troops, Homer undertook often dangerous and exhausting work to document his encounters—original examples of which are on view here.


Born in Boston in 1836, Homer was a primarily self-taught artist who began his career as a commercial illustrator and went on to become one of America’s most famous and beloved artists.



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Harper's Weekly


Harper’s Weekly, a leading magazine of the 1800s, covered the Civil War’s unfolding events for readers on both sides of the battle, by sending reporters and artists onto the battlefield to capture news from the front. Following the war, the magazine published Harper’s Pictorial History of the Civil War, a two-volume compendium featuring over 1,000 Harper’s Weekly illustrations by artists of renown and depicting the battles, people, despair, and destruction in graphic detail.


Among a select group of artist-reporters employed by Harper’s, Winslow Homer (1836-1910) was sent to the front lines beginning in 1861 at the age of 25 to illustrate battle scenes and camp life. Embedded with Union troops, Homer undertook often dangerous and exhausting work to document his encounters—original examples of which are on view here.


Born in Boston in 1836, Homer was a primarily self-taught artist who began his career as a commercial illustrator and went on to become one of America’s most famous and beloved artists.



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Kara Walker
American, b. 1969


Cotton Hoards in Southern Swamp, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


In the mid-1800s, the entire South was economically and politically dependent on cotton, as well as slave labor to plant, maintain, and harvest the crop. When the southern states seceded from the United States to form the Confederate States of America in 1861, they used cotton to provide revenue for its government, arms for its military, and the economic power for a diplomatic strategy for the fledgling Confederate nation.


Throughout the Civil War, Union troops were tasked with finding and confiscating cotton produced by Southern plantations. Confederates hid hoards of cotton bales in swamps along these waterways in an attempt to prevent Union troops from finding them, as depicted in this scene. Emerging from the swamp, Walker overlays a moss-covered figure, referring, perhaps, to run-away slaves who also took to hiding in swamps and marshlands during the Civil War.


2019.4.11
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Cotton Hoards in Southern Swamp, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


In the mid-1800s, the entire South was economically and politically dependent on cotton, as well as slave labor to plant, maintain, and harvest the crop. When the southern states seceded from the United States to form the Confederate States of America in 1861, they used cotton to provide revenue for its government, arms for its military, and the economic power for a diplomatic strategy for the fledgling Confederate nation.


Throughout the Civil War, Union troops were tasked with finding and confiscating cotton produced by Southern plantations. Confederates hid hoards of cotton bales in swamps along these waterways in an attempt to prevent Union troops from finding them, as depicted in this scene. Emerging from the swamp, Walker overlays a moss-covered figure, referring, perhaps, to run-away slaves who also took to hiding in swamps and marshlands during the Civil War.


2019.4.11
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Banks's Army Leaving Simmsport, Summit of Maryland Heights, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


Simmsport, Louisiana served as a base for Union General Nathanial Banks during the Red River Campaign, the Union's attempt to establish firm control in Louisiana through the occupation of Shreveport. Objectives for this campaign included freeing slaves; denying southern supplies to Confederate forces; and securing vast quantities of Louisiana and Texas cotton for northern mills. The campaign, however, was a Union failure, characterized by poor planning, mismanagement, and alleged corruption, in which not a single objective was fully accomplished.


This Harper’s illustration depicts Union troops leaving Simmsport. Superimposed on the scene, Walker overlays the silhouette of an African American man carrying a long bag used to hold picked cotton. Cotton was the principal crop produced by plantations that bordered the river area. Dependent upon the labor of slaves who planted and harvested the crop, cotton was also a major export used to support the South’s economy. The confiscation of cotton was a primary goal of the Red River Campaign, as great profits could be made from the sale of cotton as prizes of war.


2019.4.4
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Kara Walker
American, b. 1969


Banks's Army Leaving Simmsport, Summit of Maryland Heights, from "Harper's Pictorial History of the Civil War (Annotated)", 2005
Offset lithography and silkscreen on Somerset Textured paper


Simmsport, Louisiana served as a base for Union General Nathanial Banks during the Red River Campaign, the Union's attempt to establish firm control in Louisiana through the occupation of Shreveport. Objectives for this campaign included freeing slaves; denying southern supplies to Confederate forces; and securing vast quantities of Louisiana and Texas cotton for northern mills. The campaign, however, was a Union failure, characterized by poor planning, mismanagement, and alleged corruption, in which not a single objective was fully accomplished.


This Harper’s illustration depicts Union troops leaving Simmsport. Superimposed on the scene, Walker overlays the silhouette of an African American man carrying a long bag used to hold picked cotton. Cotton was the principal crop produced by plantations that bordered the river area. Dependent upon the labor of slaves who planted and harvested the crop, cotton was also a major export used to support the South’s economy. The confiscation of cotton was a primary goal of the Red River Campaign, as great profits could be made from the sale of cotton as prizes of war.


2019.4.4
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



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Winslow Homer
American, 1836 - 1910


The War for the Union 1862 – A Calvary Charge (For Harper's Weekly), 1862
Print
2011.47JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
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Winslow Homer
American, 1836 - 1910


The War for the Union 1862 – A Calvary Charge (For Harper's Weekly), 1862
Print
2011.47JULI
The JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
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Amanda Aronson's Perspective
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Amanda Aronson's Perspective
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Listen to docent Amanda Aronson offering
her perspective on the exhibition
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Listen to docent Amanda Aronson offering her perspective on the exhibition
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Enjoy these Video and Audio based materials
while you explore the exhibit
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Enjoy these Video and Audio based materials while you explore the exhibit
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{{quiz.time.remaining}}
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{{quiz.items.found}}/{{quiz.score1.item.count}} HORSES



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TO BEGIN CLICK ON A HORSE!
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Click hotspots to move location
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Contemporary art: Art and culture that is current and created in the present time.


Metaphor: Something that is representative or symbolic of something else.


Silhouette: The outline of a figure or object that is filled-in with a solid color, usually black on a white ground. The silhouette does not include details or features in its interior.
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Contemporary art: Art and culture that is current and created in the present time.


Metaphor: Something that is representative or symbolic of something else.


Silhouette: The outline of a figure or object that is filled-in with a solid color, usually black on a white ground. The silhouette does not include details or features in its interior.
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2. Collect your materials


*This is a suggested list only, you can use whichever objects
and materials you have available to you for this project!


• Plain, white paper


• Black construction paper


• Scissors


• Glue


• Black marker


• Colored markers


• White pencils or crayons (optional)
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2. Collect your materials


*This is a suggested list only, you can use whichever objects
and materials you have available to you for this project!


• Plain, white paper


• Black construction paper


• Scissors


• Glue


• Black marker


• Colored markers


• White pencils or crayons (optional)
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5. Take a picture of your creation and share it with the Museum.
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5. Take a picture of your creation and share it with the Museum using: #NBMAAatHome
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Example project addressing gender stereotypes.
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Example project addressing gender stereotypes.
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50/50 SILHOUETTES
#NBMAAatHome


Inspired by Kara Walker’s use of the silhouette as a metaphor for the stereotype, create a juxtaposed silhouette to convey the damaging nature of stereotypes and labels.
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50/50 SILHOUETTES
#NBMAAatHome


Inspired by Kara Walker’s use of the silhouette as a metaphor for the stereotype, create a juxtaposed silhouette to convey the damaging nature of stereotypes and labels.
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3. Ask yourself these questions in preparation for your artwork:


• What stereotype do I want to portray in my work?


• How will I draw the outline of my silhouette to either mimic or challenge that stereotype?


• What words or images are associated with that stereotype?


• What words or images challenge or combat that stereotype?


4. Start creating!


• Fold the black piece of paper in half and draw half of the silhouette figure on one side of the folded crease.


• Next, keep the black paper folded and cut out the figure.Only cut on the lines you drew so that the figure and the excess paper around it remain intact rather than in several pieces—you will need both to complete the activity.


• Once the figure is cut out, cut the figure in half on the creasel ine. Keep the left half of the silhouette.
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3. Ask yourself these questions in preparation for your artwork:


• What stereotype do I want to portray in my work?


• How will I draw the outline of my silhouette to either mimic or challenge that stereotype?


• What words or images are associated with that stereotype?


• What words or images challenge or combat that stereotype?


4. Start creating!


• Fold the black piece of paper in half and draw half of the silhouette figure on one side of the folded crease.


• Next, keep the black paper folded and cut out the figure.Only cut on the lines you drew so that the figure and the excess paper around it remain intact rather than in several pieces—you will need both to complete the activity.


• Once the figure is cut out, cut the figure in half on the creasel ine. Keep the left half of the silhouette.
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• Then, open up the black paper. It should have a big hole in it from where you cut out the silhouette figure. Cut it in half on the crease lines. Keep the right half.


• Find the center of your white paper. Glue the left half of the silhouette to the left side of the
white paper.


• Glue the right side of your black paper to the right side of the white paper.


• In the white space outside the silhouette on the left side of your paper, write and draw words and
symbols that represent assumptions or labels associated with the stereotype you chose for the activity.


• On the right side, in the white space inside your figure, write and draw words and symbols that
counteract the stereotype. These are characteristics that the silhouette itself cannot convey.
Think about words that describe someone’s personality, intellect, family, interests or hobbies.
You can also write and draw on the black paper with a white pencil or crayon.
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• Then, open up the black paper. It should have a big hole in it from where you cut out the silhouette figure. Cut it in half on the crease lines. Keep the right half.


• Find the center of your white paper. Glue the left half of the silhouette to the left side of the
white paper.


• Glue the right side of your black paper to the right side of the white paper.


• In the white space outside the silhouette on the left side of your paper, write and draw words and
symbols that represent assumptions or labels associated with the stereotype you chose for the activity.


• On the right side, in the white space inside your figure, write and draw words and symbols that
counteract the stereotype. These are characteristics that the silhouette itself cannot convey.
Think about words that describe someone’s personality, intellect, family, interests or hobbies.
You can also write and draw on the black paper with a white pencil or crayon.
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Kara Walker is a contemporary artist whose work focuses on ideas of race, discrimination, power, and identity. In her series of prints titled Harper’s Pictorial
History of the Civil War (Annotated), Walker overlays her large, dark silhouettes onto historical illustrations of the Civil War to demonstrate how experiences of racism towards African Americans that were left out of the original drawings.


This lesson’s focus is on the silhouette, which is an Essential element in Kara Walker’s artwork. Walker uses the silhouette as a metaphor for the stereotype. The silhouette only portrays the outline or shadow of a figure, excluding any features on its interior. For this reason, Walker states, “the silhouette says a lot with very little information, but that’s also what the stereotype does.”
HTMLText_47825F79_0230_2A4B_4174_2260D54A1851_mobile.html =
Kara Walker is a contemporary artist whose work focuses on ideas of race, discrimination, power, and identity. In her series of prints titled Harper’s Pictorial
History of the Civil War (Annotated), Walker overlays her large, dark silhouettes onto historical illustrations of the Civil War to demonstrate how experiences of racism towards African Americans that were left out of the original drawings.


This lesson’s focus is on the silhouette, which is an Essential element in Kara Walker’s artwork. Walker uses the silhouette as a metaphor for the stereotype. The silhouette only portrays the outline or shadow of a figure, excluding any features on its interior. For this reason, Walker states, “the silhouette says a lot with very little information, but that’s also what the stereotype does.”
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Kara Walker, Alabama Loyalists Greeting from the Federal Gun-Boats, from Harper’s Pictorial History of the Civil War (Annotated), 2005, Offset lithography and silkscreen on Somerset Textured paper, 39 x 53 in., Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds.
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Kara Walker, Alabama Loyalists Greeting from the Federal Gun-Boats, from Harper’s Pictorial History of the Civil War (Annotated), 2005, Offset lithography and silkscreen on Somerset Textured paper, 39 x 53 in., Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds.
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1. Before beginning the art activity, take a few minutes to discuss the following questions with a family member:


• What is a stereotype?


• Why are stereotypes used?


• Are stereotypes positive or negative? Can they be both?


• What are some stereotypes you have heard or experienced?


• Why are stereotypes dangerous or harmful?


• How might a silhouette reproduce stereotypes? For reference, you can look at Walker’s artwork in this exhibit.


• How can you confront or challenge stereotypes and the use of stereotypes in your life?
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1. Before beginning the art activity, take a few minutes to discuss the following questions with a family member:


• What is a stereotype?


• Why are stereotypes used?


• Are stereotypes positive or negative? Can they be both?


• What are some stereotypes you have heard or experienced?


• Why are stereotypes dangerous or harmful?


• How might a silhouette reproduce stereotypes? For reference, you can look at Walker’s artwork in this exhibit.


• How can you confront or challenge stereotypes and the use of stereotypes in your life?
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—Materials—


• Piece of white paper for the drawing or painting


• Pieces of construction paper used for the silhouettes


• Pencil, crayons, colored pencils, markers, paints, links, etc


• Glue/glue sticks


• Scissors
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—Materials—


• Piece of white paper for the drawing or painting


• Pieces of construction paper used for the silhouettes


• Pencil, crayons, colored pencils, markers, paints, links, etc


• Glue/glue sticks


• Scissors
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1. Draw and color a scene that’s important or holds interest for you. For example, a part of history, a landscape, a city street, or maybe just a scene that’s beautiful.


2. Then, cut out a silhouette or silhouettes and place them over the scene. For example, you can add a silhouette of a face, a tree or shapes.


3. Make sure there is an opening in each silhouette, so you can see through it into the scene like a window. To make a shape with an opening in it, fold the shape in half. Then, cut from one side of the fold to the other. But make sure you don’t cut all the
way to either end.
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1. Draw and color a scene that’s important or holds interest for you. For example, a part of history, a landscape, a city street, or maybe just a scene that’s beautiful.


2. Then, cut out a silhouette or silhouettes and place them over the scene. For example, you can add a silhouette of a face, a tree or shapes.


3. Make sure there is an opening in each silhouette, so you can see through it into the scene like a window. To make a shape with an opening in it, fold the shape in half. Then, cut from one side of the fold to the other. But make sure you don’t cut all the
way to either end.
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4. You should place the silhouette or silhouettes over the most important part of your picture. Once it’s laid out, you can glue it down. Your picture can be just black and white like Kara Walker’s or use whatever colors you like.
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4. You should place the silhouette or silhouettes over the most important part of your picture. Once it’s laid out, you can glue it down. Your picture can be just black and white like Kara Walker’s or use whatever colors you like.
HTMLText_4FA359C6_02F0_D6B9_4168_97B46EF851E6.html =
Kara Walker (b. 1969), Exodus of Confederates from Atlanta, from Harper’s Pictorial History of the Civil War (Annotated), 2005
Offset lithography and silkscreen on Somerset Textured paper Lithograph, Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds
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Kara Walker (b. 1969), Exodus of Confederates from Atlanta, from Harper’s Pictorial History of the Civil War (Annotated), 2005
Offset lithography and silkscreen on Somerset Textured paper Lithograph, Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds
HTMLText_4FA379C6_02F0_D6B9_4188_BCBA205925E7.html =
—Kara Walker-inspired Collage with Silhouettes—


Based on the work of Kara Walker, participants will create a collage in which they place silhouettes over a scene they have drawn or painted.
HTMLText_4FA379C6_02F0_D6B9_4188_BCBA205925E7_mobile.html =
—Kara Walker-inspired Collage with Silhouettes—


Based on the work of Kara Walker, participants will create a collage in which they place silhouettes over a scene they have drawn or painted.
HTMLText_5268E4DE_48C4_CFF5_41C3_AEA2ED7F27CE.html =
{{quiz.time.remaining}}
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{{quiz.items.found}}/{{quiz.score1.item.count}} HORSES



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Kara Walker
American, b. 1969


Confederate Prisoners Being Conducted From Jonesborough to Atlanta, 2005
Offset lithography and silkscreen on Somerset Textured paper


This print depicts a group of Confederate soldiers being marched to Atlanta after being captured in Jonesborough, Georgia. Walker intervenes in the image with the overlay of a large silhouette profile of an African American man. When juxtaposed, the prisoners depicted in the original Harper’s engraving appear to gaze at the silhouette, whose oversized scale precludes it from being ignored or disregarded.


Fought over the course of two days in 1864, the Battle of Jonesborough was the final conflict of the Atlanta Campaign—a series of battles that took place throughout northwest Georgia and the area around Atlanta—which culminated in the besieged city of Atlanta falling into Union hands. The capture of Atlanta greatly aided the re-election of Abraham Lincoln in November of that year and hastened the end of the war.




2019.4.9
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_59159860_45ED_32A8_4191_CF30804CA07B.html =
Kara Walker: Harper’s Pictorial History of the Civil War (Annotated) is part of 2020/20+ Women @ NBMAA presented by Stanley Black and Decker with additional support provided by Bank of America.
Kara Walker: Harper’s Pictorial History of the Civil War (Annotated) is made possible by the generosity of the Polly Thayer Starr Charitable Trust. Programming is made possible by Connecticut Humanities.
This exhibition is made possible by the generosity of the Special Exhibition Fund donors,including John N. Howard, Sylvia Bonney, and The Aeroflex Foundation. We also gratefully acknowledge the funding of Carolyn and Elliot Joseph.
HTMLText_5917E868_45ED_32B8_41AC_7B6959D0D6C7.html =
For more information please contact


lappel@nbmaa.org
Lisa Lappe | Director of Marketing
NEW BRITAIN MUSEUM OF AMERICAN ART
56 Lexington Street
New Britain, CT 06052



Virtual tour created by ikd
office@i-k-design.com
HTMLText_5F1620FF_12C1_8070_41B0_A5455583D57F.html =
#NBMAAathome
HTMLText_5F1620FF_12C1_8070_41B0_A5455583D57F_mobile.html =
#NBMAAathome
HTMLText_604BE138_4E65_568A_41CD_0F2E088CFEA1.html =
Winslow Homer
American, 1836 - 1910


The Army of the Potomac - A Sharp-Shooter on Picket Duty (For Harper's Weekly), November 15, 1862, p. 724
Print (Newspaper)
2011.52JULI
JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_604BE138_4E65_568A_41CD_0F2E088CFEA1_mobile.html =
Winslow Homer
American, 1836 - 1910


The Army of the Potomac - A Sharp-Shooter on Picket Duty (For Harper's Weekly), November 15, 1862, p. 724
Print (Newspaper)
2011.52JULI
JULI Collection of Judith Vance Weld Brown and Lindsley Wellman
HTMLText_618BC991_4E65_499D_41C9_B3F98F642E3D.html =
Winslow Homer
American, 1836 - 1910


Halt of a Wagon Train (For Harper's Weekly), February 6, 1864
Print (Newspaper)
2011.142JULI
JULI Collection of Judith Vance Weld Brown and Lindsley Wellman


HTMLText_618BC991_4E65_499D_41C9_B3F98F642E3D_mobile.html =
Winslow Homer
American, 1836 - 1910


Halt of a Wagon Train (For Harper's Weekly), February 6, 1864
Print (Newspaper)
2011.142JULI
JULI Collection of Judith Vance Weld Brown and Lindsley Wellman


HTMLText_619058AB_4E67_578E_41CB_4F8DB4D33CA1.html =
Kara Walker
American, b. 1969


Buzzard's Roost Pass, 2005
Offset lithography and silkscreen on Somerset Textured paper


“The silhouette says a lot with very little information, but that's also what the stereotype does.” — Kara Walker


Although Kara Walker’s silhouettes appear to echo and interact with the illustrations beneath them, there is no clear narrative between the two. Her shadowy figures represent a hidden history running parallel to these published scenes. By imposing the silhouettes over images of soldiers and battles, Walker makes history’s invisible participants visible again—the flat opacity of their forms grab our attention and boldly obscure the subject of the original print. The motivations of her figures remain mysterious and the stories they tell are purposely cryptic, however, even as they force us to confront themes of race, gender, power, and violence.


2019.4.14
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds
HTMLText_619058AB_4E67_578E_41CB_4F8DB4D33CA1_mobile.html =
Kara Walker
American, b. 1969


Buzzard's Roost Pass, 2005
Offset lithography and silkscreen on Somerset Textured paper


“The silhouette says a lot with very little information, but that's also what the stereotype does.” — Kara Walker


Although Kara Walker’s silhouettes appear to echo and interact with the illustrations beneath them, there is no clear narrative between the two. Her shadowy figures represent a hidden history running parallel to these published scenes. By imposing the silhouettes over images of soldiers and battles, Walker makes history’s invisible participants visible again—the flat opacity of their forms grab our attention and boldly obscure the subject of the original print. The motivations of her figures remain mysterious and the stories they tell are purposely cryptic, however, even as they force us to confront themes of race, gender, power, and violence.


2019.4.14
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds
HTMLText_65E78EF4_48C4_DBB5_41CF_B0B160BE9BED.html =
This panorama was created in photoshop. It's not possible to use hotspots with just images, they have to be inside some kind of panorama viewer. The Next Panorama was made with images added to a white background in 3d Vista.
HTMLText_6CA37C4B_4EA4_CE8D_41B4_E282D2D6FB0C.html =
CLOSER LOOKING ACTIVITY
FIND {{quiz.score1.item.count}} HORSES BEFORE TIME RUNS OUT!


Note to adults: this fun, interactive activity is designed to help youngsters look closer at works of art with which they might not otherwise have the opportunity to engage.


HTMLText_6CA37C4B_4EA4_CE8D_41B4_E282D2D6FB0C_mobile.html =
CLOSER LOOKING ACTIVITY
FIND {{quiz.score1.item.count}} HORSES BEFORE TIME RUNS OUT!


Note to adults: this fun, interactive activity is designed to help youngsters look closer at works of art with which they might not otherwise have the opportunity to engage.


HTMLText_6E30077B_48CC_4AB3_41BD_EE5F1ADFE7D0.html =
FIND MORE HORSES
HTMLText_6FF337F1_4DB7_BD5B_41BA_70F56974E3F2.html =


TO BEGIN CLICK ON A HORSE!
HTMLText_72A313D8_45FB_F598_41BB_A9ED7D673762_mobile.html =
Kara Walker: Harper’s Pictorial History of the Civil War (Annotated) is part of 2020/20+ Women @ NBMAA presented by Stanley Black and Decker with additional support provided by Bank of America.
Kara Walker: Harper’s Pictorial History of the Civil War (Annotated) is made possible by the generosity of the Polly Thayer Starr Charitable Trust. Programming is made possible by Connecticut Humanities.
This exhibition is made possible by the generosity of the Special Exhibition Fund donors,including John N. Howard, Sylvia Bonney, and The Aeroflex Foundation. We also gratefully acknowledge the funding of Carolyn and Elliot Joseph.
HTMLText_72AD23E8_45FB_F5B8_41AF_B00134CFE166_mobile.html =
For more information please contact


lappel@nbmaa.org
Lisa Lappe | Director of Marketing
NEW BRITAIN MUSEUM OF AMERICAN ART
56 Lexington Street
New Britain, CT 06052



Virtual tour created by ikd
office@i-k-design.com
HTMLText_7D14DE9E_4FA4_CB87_41D2_623C96CDE642.html =
Kara Walker
American, b. 1969


Confederate Prisoners Being Conducted From Jonesborough to Atlanta, 2005
Offset lithography and silkscreen on Somerset Textured paper


This print depicts a group of Confederate soldiers being marched to Atlanta after being captured in Jonesborough, Georgia. Walker intervenes in the image with the overlay of a large silhouette profile of an African American man. When juxtaposed, the prisoners depicted in the original Harper’s engraving appear to gaze at the silhouette, whose oversized scale precludes it from being ignored or disregarded.


Fought over the course of two days in 1864, the Battle of Jonesborough was the final conflict of the Atlanta Campaign—a series of battles that took place throughout northwest Georgia and the area around Atlanta—which culminated in the besieged city of Atlanta falling into Union hands. The capture of Atlanta greatly aided the re-election of Abraham Lincoln in November of that year and hastened the end of the war.


2019.4.9
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds
HTMLText_7D1A6E96_4FA4_CB87_41C4_E86F2948D661.html =
Kara Walker
American, b. 1969


Confederate Prisoners Being Conducted From Jonesborough to Atlanta, 2005
Offset lithography and silkscreen on Somerset Textured paper


This print depicts a group of Confederate soldiers being marched to Atlanta after being captured in Jonesborough, Georgia. Walker intervenes in the image with the overlay of a large silhouette profile of an African American man. When juxtaposed, the prisoners depicted in the original Harper’s engraving appear to gaze at the silhouette, whose oversized scale precludes it from being ignored or disregarded.


Fought over the course of two days in 1864, the Battle of Jonesborough was the final conflict of the Atlanta Campaign—a series of battles that took place throughout northwest Georgia and the area around Atlanta—which culminated in the besieged city of Atlanta falling into Union hands. The capture of Atlanta greatly aided the re-election of Abraham Lincoln in November of that year and hastened the end of the war.




2019.4.9
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_7DCBDF55_4FBC_CA85_41C0_5B1E7914E347.html =
Kara Walker
American, b. 1969


Buzzard's Roost Pass, 2005
Offset lithography and silkscreen on Somerset Textured paper


“The silhouette says a lot with very little information, but that's also what the stereotype does.” — Kara Walker


Although Kara Walker’s silhouettes appear to echo and interact with the illustrations beneath them, there is no clear narrative between the two. Her shadowy figures represent a hidden history running parallel to these published scenes. By imposing the silhouettes over images of soldiers and battles, Walker makes history’s invisible participants visible again—the flat opacity of their forms grab our attention and boldly obscure the subject of the original print. The motivations of her figures remain mysterious and the stories they tell are purposely cryptic, however, even as they force us to confront themes of race, gender, power, and violence.


2019.4.14
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_7F5A3A3A_4FAF_4A8F_41D0_B35C8D14F34A.html =
Kara Walker
American, b. 1969


Confederate Prisoners Being Conducted From Jonesborough to Atlanta, 2005
Offset lithography and silkscreen on Somerset Textured paper


This print depicts a group of Confederate soldiers being marched to Atlanta after being captured in Jonesborough, Georgia. Walker intervenes in the image with the overlay of a large silhouette profile of an African American man. When juxtaposed, the prisoners depicted in the original Harper’s engraving appear to gaze at the silhouette, whose oversized scale precludes it from being ignored or disregarded.


Fought over the course of two days in 1864, the Battle of Jonesborough was the final conflict of the Atlanta Campaign—a series of battles that took place throughout northwest Georgia and the area around Atlanta—which culminated in the besieged city of Atlanta falling into Union hands. The capture of Atlanta greatly aided the re-election of Abraham Lincoln in November of that year and hastened the end of the war.




2019.4.9
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_7F5F2A44_4FAF_4AFA_41A0_1E3355B6939B.html =
Kara Walker
American, b. 1969


Confederate Prisoners Being Conducted From Jonesborough to Atlanta, 2005
Offset lithography and silkscreen on Somerset Textured paper


This print depicts a group of Confederate soldiers being marched to Atlanta after being captured in Jonesborough, Georgia. Walker intervenes in the image with the overlay of a large silhouette profile of an African American man. When juxtaposed, the prisoners depicted in the original Harper’s engraving appear to gaze at the silhouette, whose oversized scale precludes it from being ignored or disregarded.


Fought over the course of two days in 1864, the Battle of Jonesborough was the final conflict of the Atlanta Campaign—a series of battles that took place throughout northwest Georgia and the area around Atlanta—which culminated in the besieged city of Atlanta falling into Union hands. The capture of Atlanta greatly aided the re-election of Abraham Lincoln in November of that year and hastened the end of the war.


2019.4.9
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds
HTMLText_7F9E4A4B_4FA4_CA8D_41D3_AD6D83FB02AF.html =
Kara Walker
American, b. 1969


Confederate Prisoners Being Conducted From Jonesborough to Atlanta, 2005
Offset lithography and silkscreen on Somerset Textured paper


This print depicts a group of Confederate soldiers being marched to Atlanta after being captured in Jonesborough, Georgia. Walker intervenes in the image with the overlay of a large silhouette profile of an African American man. When juxtaposed, the prisoners depicted in the original Harper’s engraving appear to gaze at the silhouette, whose oversized scale precludes it from being ignored or disregarded.


Fought over the course of two days in 1864, the Battle of Jonesborough was the final conflict of the Atlanta Campaign—a series of battles that took place throughout northwest Georgia and the area around Atlanta—which culminated in the besieged city of Atlanta falling into Union hands. The capture of Atlanta greatly aided the re-election of Abraham Lincoln in November of that year and hastened the end of the war.


2019.4.9
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds
HTMLText_7F9E4A4B_4FA4_CA8D_41D3_AD6D83FB02AF_mobile.html =
Kara Walker
American, b. 1969


Confederate Prisoners Being Conducted From Jonesborough to Atlanta, 2005
Offset lithography and silkscreen on Somerset Textured paper


This print depicts a group of Confederate soldiers being marched to Atlanta after being captured in Jonesborough, Georgia. Walker intervenes in the image with the overlay of a large silhouette profile of an African American man. When juxtaposed, the prisoners depicted in the original Harper’s engraving appear to gaze at the silhouette, whose oversized scale precludes it from being ignored or disregarded.


Fought over the course of two days in 1864, the Battle of Jonesborough was the final conflict of the Atlanta Campaign—a series of battles that took place throughout northwest Georgia and the area around Atlanta—which culminated in the besieged city of Atlanta falling into Union hands. The capture of Atlanta greatly aided the re-election of Abraham Lincoln in November of that year and hastened the end of the war.


2019.4.9
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds
HTMLText_81C447BD_1343_80F0_4151_45FE5563AC7F.html =
SEE WHATS ON DISPLAY
HTMLText_81C447BD_1343_80F0_4151_45FE5563AC7F_mobile.html =
SEE WHATS ON DISPLAY
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VISITOR GALLERY SUBMISSION
HTMLText_86916692_1340_80B0_41A0_93621AC91CAA_mobile.html =
VISITOR GALLERY SUBMISSION
HTMLText_8B50152D_1341_8190_41A7_B7EF667974BB.html =
Kara Walker-inspired Collage with Sillhouettes


From a pre-school art class at NBMAA this past winter
HTMLText_8B50152D_1341_8190_41A7_B7EF667974BB_mobile.html =
Kara Walker-inspired Collage with Sillhouettes


From a pre-school art class at NBMAA this past winter
HTMLText_8E4BDEDB_1340_80B0_41A4_7AC8292EB1B6.html =
Kara Walker-inspired Collage with Sillhouettes


From a pre-school art class at NBMAA this past winter
HTMLText_8E4BDEDB_1340_80B0_41A4_7AC8292EB1B6_mobile.html =
Kara Walker-inspired Collage with Sillhouettes


From a pre-school art class at NBMAA this past winter
HTMLText_9E79E15B_E905_BA14_41E3_41FC3CC1B390.html =
Kara Walker
2005, Buzzard's Roost Pass, from "Harper's Pictorial History of the Civil War (Annotated)"


Harpers Weekly


“The silhouette says a lot with very little information, but that's also what the stereotype does.” — Kara Walker


Although Kara Walker’s silhouettes appear to echo and interact with the illustrations beneath them, there is no clear narrative between the two. Her shadowy figures represent a hidden history running parallel to these published scenes. By imposing the silhouettes over images of soldiers and battles, Walker makes history’s invisible participants visible again—the flat opacity of their forms grab our attention and boldly obscure the subject of the original print. The motivations of her figures remain mysterious and the stories they tell are purposely cryptic, however, even as they force us to confront themes of race, gender, power, and violence.






HTMLText_A339F77D_1340_8070_41B2_4215BE0A3CB1.html =
Kara Walker-inspired Collage with Sillhouettes


From a pre-school art class at NBMAA this past winter
HTMLText_A339F77D_1340_8070_41B2_4215BE0A3CB1_mobile.html =
Kara Walker-inspired Collage with Sillhouettes


From a pre-school art class at NBMAA this past winter
HTMLText_B41DC01A_E71F_9A14_41E9_F0F7E84AF84B.html =
Harpers Weekly
Additional Info
HTMLText_B7A92A24_E704_8E3C_41DB_115A8AC2D1E1.html =
Kara Walker
2005, Confederate Prisoners Being Conducted from Jonesborough to Atlanta, from "Harper's Pictorial History of the Civil War (Annotated)"
HTMLText_C8811EB0_E70C_837D_41CC_5DF47F880E3E.html =
Alice Neel
American, 1900–1984


Linda Nochlin and Daisy, 1973
Oil on canvas


Neel was one of the 20th century’s foremost practitioners of figurative painting. Working from life, she created provocative and often disarmingly frank portraits of friends and acquaintances in her New York studio. Here she portrays the distinguished art historian Linda Nochlin—whose 1971 essay “Why Have There Been No Great Women Artists?” remains a touchstone of feminist art history—and her daughter, Daisy.


At Neel’s invitation, Nochlin sat several times for this portrait; ultimately, the artist chose to depict her not as a writer but as a mother, and she captured the pair with her characteristic lush and vivid colors and free brushwork. For most of her career, Neel worked in obscurity, only receiving the acclaim of critics and curators when she was in her seventies.


Seth K. Sweetser Fund, 1983
1983.496
© The Estate of Alice Neel
Courtesy David Zwirner, New York/London




HTMLText_C8811EB0_E70C_837D_41CC_5DF47F880E3E_mobile.html =
Alice Neel
American, 1900–1984


Linda Nochlin and Daisy, 1973
Oil on canvas


Neel was one of the 20th century’s foremost practitioners of figurative painting. Working from life, she created provocative and often disarmingly frank portraits of friends and acquaintances in her New York studio. Here she portrays the distinguished art historian Linda Nochlin—whose 1971 essay “Why Have There Been No Great Women Artists?” remains a touchstone of feminist art history—and her daughter, Daisy.


At Neel’s invitation, Nochlin sat several times for this portrait; ultimately, the artist chose to depict her not as a writer but as a mother, and she captured the pair with her characteristic lush and vivid colors and free brushwork. For most of her career, Neel worked in obscurity, only receiving the acclaim of critics and curators when she was in her seventies.


Seth K. Sweetser Fund, 1983
1983.496
© The Estate of Alice Neel
Courtesy David Zwirner, New York/London




HTMLText_CE635A46_E921_8D4B_41E4_BCA32A0D9AAB.html =
Educational Activities
#NBMAAatHome
HTMLText_CE635A46_E921_8D4B_41E4_BCA32A0D9AAB_mobile.html =
Educational Activities
#NBMAAatHome
HTMLText_F57D35E0_EBF3_BD4D_41DF_74B5834136DA.html =
Kara Walker
American, b. 1969


Confederate Prisoners Being Conducted From Jonesborough to Atlanta, 2005
Offset lithography and silkscreen on Somerset Textured paper


This print depicts a group of Confederate soldiers being marched to Atlanta after being captured in Jonesborough, Georgia. Walker intervenes in the image with the overlay of a large silhouette profile of an African American man. When juxtaposed, the prisoners depicted in the original Harper’s engraving appear to gaze at the silhouette, whose oversized scale precludes it from being ignored or disregarded.


Fought over the course of two days in 1864, the Battle of Jonesborough was the final conflict of the Atlanta Campaign—a series of battles that took place throughout northwest Georgia and the area around Atlanta—which culminated in the besieged city of Atlanta falling into Union hands. The capture of Atlanta greatly aided the re-election of Abraham Lincoln in November of that year and hastened the end of the war.




2019.4.9
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_F57D35E0_EBF3_BD4D_41DF_74B5834136DA_mobile.html =
Kara Walker
American, b. 1969


Confederate Prisoners Being Conducted From Jonesborough to Atlanta, 2005
Offset lithography and silkscreen on Somerset Textured paper


This print depicts a group of Confederate soldiers being marched to Atlanta after being captured in Jonesborough, Georgia. Walker intervenes in the image with the overlay of a large silhouette profile of an African American man. When juxtaposed, the prisoners depicted in the original Harper’s engraving appear to gaze at the silhouette, whose oversized scale precludes it from being ignored or disregarded.


Fought over the course of two days in 1864, the Battle of Jonesborough was the final conflict of the Atlanta Campaign—a series of battles that took place throughout northwest Georgia and the area around Atlanta—which culminated in the besieged city of Atlanta falling into Union hands. The capture of Atlanta greatly aided the re-election of Abraham Lincoln in November of that year and hastened the end of the war.




2019.4.9
Stephen B. Lawrence and Bette Batchelor Memorial Acquisition Funds



HTMLText_FD84EC9E_E70B_8722_41D4_B39C67660600.html =
The Original Image is superimposed by a large silhouette profile of an African-Anerican man. When juxtaposed the soldiers depicted in the original Harper's engraving appear to gaze at the silhouette whose oversized scale precludes it from being ignored or disregarded. Although absent from the original scene, and many Civil War depictions for that matter, Walker's work reminds us emphatically of the pight of African American slaves and their presence in this American conflict.




## Media ### Title album_5584E363_49C4_4AD3_419B_7BA778A9BD80.label = Photo Album Walker, Kara, Alabama Loyalists Greeting the Federal Gun-Boats, 2019.4.15 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_0.label = Walker, Kara, Alabama Loyalists Greeting the Federal Gun-Boats, 2019.4.15 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_1.label = Walker, Kara, An Army Train, 2019.4.6 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_10.label = Walker, Kara, Lost Mountain at Sunrise, 2019.4.7 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_11.label = Walker, Kara, Occupation of Alexandria, 2019.4.2 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_12.label = Walker, Kara, Pack-Mules in the Mountains, 2019.4.10 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_13.label = Walker, Kara, Scene of McPherson's Death, 2019.4.8 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_14.label = Walker, Kara, Signal Station, Summit of Maryland Heights, 2019.4.13 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_2.label = Walker, Kara, Banks's Army Leaving Simmsport, 2019.4.4 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_3.label = Walker, Kara, Buzzard's Roost Pass, 2019.4.14 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_4.label = Walker, Kara, Confederate Prisoners Being Conducted from JOnesborough to Atlanta, 2019.4.9 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_5.label = Walker, Kara, Cotton Hoards in Southern Swamp, 2019.4.11 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_6.label = Walker, Kara, Crest of Pine Mountain, Where General Polk Fell, 2019.4.1 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_7.label = Walker, Kara, Deadbrook after the Battle of Ezra's Church, 2019.4.3 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_8.label = Walker, Kara, Exodus of Confederates from Atlanta, 2019.4.12 album_5584E363_49C4_4AD3_419B_7BA778A9BD80_9.label = Walker, Kara, Foote's Gun-Boats Ascending to Attack Fort Henry, 2019.4.5 map_729DC930_4B47_C64D_41D1_961DCD11F905.label = Game Plan map_B4130028_E71C_9A34_41CC_E8DE7CF0E218.label = Plan 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