Showing posts with label Women of Distinction series. Show all posts
Showing posts with label Women of Distinction series. Show all posts

Monday, August 1, 2011

Back to Work


This post title would seem to imply that I haven't been working, which certainly isn't the case! What I'm really getting at is that recently I've been posting previously completed works that relate to 1861, as 2011 is the 150th anniversary for that year. Now I think it's time to get back to my original primary intention for this blog: posting newly-completed works and work-in-progress.

In keeping with my Civil War 150 Project, and to have an image to submit to an upcoming exhibition at the Clara Barton National Historic Site entitled "The Art of Clara Burton", I completed the above image in colored pencil on Canson Mi Teintes paper (color: Sand), Study of Clara Barton. I'm still learning about Ms. Barton and I'm sure will do more works that feature her in the years to come, since she played such an enormous role in the Civil War. This piece was an effort to study her facial features and see what I might learn from them by working closely with two of her Civil War era portrait photographs. Ms. Barton's first involvement with Civil War nursing was the result of her witnessing the wounded and dying soldiers brought back to Washington (where she worked at the Patent Office) after the First Battle of Manassas, something which would have been occurring approximately 150 years ago.

Sunday, July 24, 2011

The Aftermath of Battle: "Collateral Damage"


This piece serves as homage to Judith Carter Henry, the first civilian killed in the Civil War.


The Notions of Safety and Security
The Final Chapter in the Life of Judith Carter Henry

In the summer of 1861, Judith Carter Henry was an 84-year-old widow, living on a small farm just south and east of the intersection of the Warrenton Turnpike and Manassas-Sudley Road near Manassas, Virginia; Spring Hill, the farm was called.  She had lived there for 35 years and, in fact, was born less than a mile away.  For most of those years she had lived a quiet farm life, marking the changing seasons with the cycle of planting and harvesting, and raising four children, watching them grow to adulthood.

But in July of 1861, things took a dramatic and unfortunate turn for the elderly widow.  Union and Confederate troops had gradually begun moving into the region, and Judith’s daughter Ellen, who lived with her mother, became gravely concerned.  In May her brother Hugh, living in Alexandria, VA, had written a letter emphasizing his belief that their mother’s “entire helplessness” should keep her safe from harm from the invading armies.  But Ellen, and another brother, John, who lived nearby, feared the worst. They determined to try to move their dear mother to safety.  Despite evidence that the fighting was edging ever closer, Judith, who was frail and bedridden at that point in her life, did not want to leave the familiar and comforting surroundings of her home.  She protested as, on the morning of July 21, they attempted to carry her from the house on a mattress, and the group made it only as far as the spring house: not only was Judith begging to be taken back, but Ellen and John also realized that the troops were too close and the situation was too dangerous to permit their plan to work.  So they returned to the house, and Judith was carried to her bed. They could only hope that Hugh’s earlier assurance of her safety would prove true.

As morning turned to afternoon, Union artillery moved their guns onto the Henry House property, not far from the house. They soon discovered they were being fired at by Confederate sharpshooters, who were either hidden inside the house, or just outside of it and using it for cover.  Since nearly all of the other residents of the immediate area had long since fled to safety, Captain James B. Ricketts had no idea there were civilians still inside.  His immediate goal was to put an end to the firing of the Confederate sharpshooters, and he shelled the house.  One of the shells burst in Judith’s bedroom, and she died of her wounds soon after.

A woman that history has recorded only as “Florence”, attended the memorial service for Judith Henry held on the grounds of the farm, two days after the battle. In a letter to her sister, she gave this account:

        The papers will have told you before this reaches you that old Mrs. Henry was killed during the
         battle…I do not think I ever felt more deeply than when I stood among the wreck and ruin of her
         home and saw the poor mangled body of the old lady placed in the coffin and borne to her last
         resting-place by stranger hands…Around the Henry garden, where a fence had stood on Sunday
         morning, was a hedge of althea, the only things that had escaped destruction.  They were loaded
         with crimson and white blossoms, and you cannot imagine how strangely they looked in their
         purity and beauty amidst that scene of desolation and death.  I stopped to gather a few of these
         “roses of Sharon” to place on the coffin…

In 1870, a new house was built to replace the one in which Judith’s life ended.  A photograph, taken in 1896, features a very elderly Hugh Henry seated on a chair on the porch of this house, the same house that stands on the battlefield today.  In the picture, just to the right side of the porch, can be seen a vigorous Rose of Sharon, quite possibly one of the very ones that were such a part of Judith’s happier times at Spring Hill.

Friday, July 15, 2011

150 Years Ago, Mid-July 1861: While the soldiers were marching...


Rose O’Neal Greenhow

Red-Hot Fires of Patriotism

As the 1860’s began, Rose O’Neal Greenhow was a wealthy, attractive and outgoing widow, who made no effort to conceal her strong Southern sympathies. Living just across Lafayette Park from the White House in Washington, D.C., and being a very popular member of Washington’s highest social circles, Rose was strategically positioned to secure information valuable to her beloved Confederate cause.

Armed with these facts, Col. Thomas Jordan, a United States officer with strong Southern sympathies of his own, approached Rose about developing a Confederate spy ring, and supplied her with a cipher code to use in sending messages. By April of 1861, Rose had developed a network of spies, ranging from ordinary household servants – to whom she referred as her “little birds” – to prominent professionals and government officials.

Through the assistance of this network, Rose was able to provide General P.G.T. Beauregard with the timetable for the Union advance on Manassas. On July 10th, a courier delivered a small package to Brigadier General Milledge Bonham to forward to General Beauregard. The package, a piece of black silk folded to the size of a silver dollar, contained the message informing General Beauregard that General Irvin McDowell would lead 35,000 Union troops out of Washington on July 16th.

Subsequent information from Rose described McDowell’s plan to advance through Arlington, Alexandria, and Centreville, Virginia on his way to his objective of destroying the railroad lines at Manassas Junction. Because this information allowed the Rebels time to consolidate their forces, Jefferson Davis credited Rose with helping the Confederate army to achieve this first major victory.

If you would like to see more of my Civil War-themed work, or are interested in ordering prints, please visit my website at http://www.CivilWarFineArt.com or email me at CivilWarFineArt@yahoo.com. 

Tuesday, May 3, 2011

And I Forgot to Mention...


My last post reminded me that I never mentioned that my colored pencil/mixed media painting featured previously on this blog, Departure, was accepted into Explore This! 7, an online exhibition of mixed media works which are 75% colored pencil, presented by the Colored Pencil Society of America through January 31, 2012. You may view the complete exhibition up until that date by visiting the CPSA website at http://www.cpsa.org/.

Great news!


I learned just yesterday that my recently-completed piece, Transformation/Liberation, was one of 117 works accepted into the Colored Pencil Society of America's 19th Annual International Exhibition, to be held June 29 - July 31 at the Charles W. Eisemann Center in Dallas, Texas. I'm very excited about this, particularly because the piece is so new and such a different approach for me that I hadn't quite concluded how I felt about it, and am extremely honored to have my newest work displayed in such a prestigious venue.

To see more of my colored pencil and mixed media Civil War-themed works, please visit http://www.civilwarfineart.com/.

Monday, April 11, 2011

150th Anniversary of the Confederate Attack on Fort Sumter


Today -- or tonight, really -- marks the anniversary of the fateful day when Major Robert Anderson decided against evacuating from Fort Sumter, off the coast of Charleston, SC, as demanded by the newly-formed Confederate government, and the Confederates retaliated by shelling the fort at around 4:30 am on April 12, 1861. 

Mary Chesnut, seen in my painting above entitled Mary Chesnut: Witness to War, was the wife of former senator James Chesnut, who had recently resigned from his position as U.S. senator to join the Confederacy. Her husband was one of the men who had taken a rowboat out to the doomed fort in hopes of negotiating a settlement with Major Anderson. She realized that the nation was embarking on an odyssey that would figure significantly in history, and determined to keep a diary of events as they transpired throughout the war. Though thoroughly Southern, Mrs. Chesnut is often characterized as having managed to keep a relatively unbiased accounting of all that occurred during that war. The quote seen below her image, "Woe to those who began this war, if they were not in bitter earnest," comes from a diary post much later in the war when the civilian population had grown disillusioned and weary of the conflict.

To  read more about this particular painting, or to see more of the works I have produced for my personal Civil War 150 project, and the Women of Distinction series, please visit my website at http://www.civilwarfineart.com/.

Thursday, March 31, 2011

2011 is the 150th Anniversary of the first year of the Civil War, 1861


As noted on the sidebar, this June I will be participating in History Meets the Arts, a part of The Gettysburg Festival. (For a full understanding of what this fabulous ten-day Festival has to offer, please read the sidebar and follow the link provided.) At my gallery, Civil War Fine Art, located at 333 Baltimore St. in Gettysburg, I will be featuring my Civil War 150 Project (full details also in sidebar). This year I will be showcasing more than twenty works which focus on the years leading up to, and including, the first year of the war, 1861.

For today's post I have included my painting of Harriet Beecher Stowe, author of Uncle Tom's Cabin. When Abraham Lincoln met her during the war, legend has it that he greeted her with, "So you're the little woman who wrote the book that started this great war." While that may be an exaggeration, there's no doubt that Ms. Stowe's publication of this novel in 1852 brought attention to the horrors of slavery in a more personal way than political speeches and newspapers could ever hope to accomplish, helping to galvanize the abolitionist cause, and thereby playing a significant role in shaping the attitudes that led to the war.

Saturday, March 26, 2011

Sarah Emma Edmonds II: Transformation/Liberation, FINAL


As I had hoped, I did manage to finish this piece yesterday afternoon and my photographer, Emily Puls, was able to photograph it for me so that now I really do have a professional photograph of it to post, where the colors and values are properly balanced! As is so often the case when I finish a long-term project, at the moment I really can't say how I feel about it -- one time I look at it, I'm very happy with it; the next time I look at it I have many, many doubts and misgivings. It will take some time, I'm sure, for me to see this one somewhat objectively.

Tuesday, March 16, 2010

Sarah Emma Edmonds I: Departure, final (really!)



(A professional photograph makes a huge difference, in my opinion! Many thanks to my photographer, Emily Puls.) This colored pencil/mixed media (powdered graphite, Lasertran waterslide decal) painting on Gessobord measures 18" x 24". I will be displaying it for the first time in the "Palm Sunday through Resurrection" exhibition, March 26 - April 24 at Art & Soul Gallery, 900 Market St., Lemoyne, PA. How does this piece fit that theme? I have indicated in earlier posts that my goal is to have several layers of meaning in my work. When displayed in non-Civil War venues, this painting will simply carry the title, Departure. There are several biblical passages that come to mind for me with this piece, and the Resurrection would be one of them. Also, Sarah Emma's mother was a devout Christian and Emma embraced her faith wholeheartedly. Gallery owner/director Lyn O'Neal graciously invited me to participate, and I am excited to have this as my first opportunity to display this new painting.