Her Research Interests focuses on the concept of place making thesocial justice issues in display of historic preservation. Focusing onnry is roadside architectural. The blue hole, an icon. Prof. Henry good morning everyone. It is great to see you. Thank you so much. So, this is what i think of when i think of a road trip. The open road. All semester, you all have been studying all kinds of themes of the freedom of the road, of who is allowed to travel when and where. Travel as a process, rather than a destination. The mythology of the car and American Society and roadside architecture in the 20 century. You a i am going to tell story that ties those themes together. Morning, it is going to be about a quest to find a magical piece of the place that i remember from my charter. The story begins in the 1990s. I the opportunity to travel to ohio on business. I had the opportunity to travel to ohio on business and i wanted to see if i could find my favorite roadside attraction, the blue hol
Irish regiment. , a caricature of lincoln writing the emancipation proclamation, the lincoln family by Francis Bicknell carpenter, victor nehligs painting, an episode of war, and some prison art. Lets look at the relationship between war and art, harold. Does war stimulate arts in america, and did art change the romantic image of war . Harold i think both. Good evening. Thanks for having me back. I think the great emphasis of american painting to the civil war was probably landscape painting. Portrait caricatures took on a martial air with all the military heroes who were portrayed. But it sent many to the field, like the soldier artists. Artists like Winslow Homer went to the field to do sketches for the weekly newspapers and evolved into very successful artists. But in terms of what it did to landscaping, it totally revolutionized the romantic attitude artists had toward this socalled american eden, the pristine landscape of the americas. The landscape was ravaged by gunfire, and the
And he didnt and he didnt. Less move on to our next artistic work. This is an etching by ladelbert work in 1963. Were in the second year where of the civil war. Its getting difficult to circulate battlefield heroes or triumphs and thats for one practical reason, most of the abledbodied artists were fighting in the war as soldiers. So this is an interesting thing to concept as far as sculptural monuments, there were none done at the time of the civil war, no artistic works. Tell us about the artist who created this etching. Hes also an american borne in bulgaria. Unlike most of the germans that came to the United States after the revolutions of the 1840 failed, he was an racist, not antislavery man. He settled in baltimore. The surroundings and environment make the man in a way. He was a dentist by trade and was obviously a very gifted draftsman. And he made these series of antiunion pro confederate etchings throughout the civil war and published them secretly with a fake london copyrig
Conversation in this series that argues that objects have the power to convey historical events and to help us understand the passed. This idea inspired Harold Holzer book, the civil war in 50 objects. The objects which were taken from the New York Historical society. This evening, we will be looking at five objects from the book and related Exhibition Group surrounding the theme of art of war. So these works are all very different and have very different background stories. We have the return of the 69th irish regiment. A caricature of lincoln writing the emancipation proclamation. We have a painting of an episode of war and some prison art. First, lets look at the relationship between more and art i harold. Did war stimulate part in america and did our change the romantic image of war . I think both. Valerie, good evening. Thanks for having me back. I think the great emphasis of the american painting up to the civil war is history painting and landscape painting. Portraiture continue
Of the Newyork Historical Society top of the articles in the joint publication. A civil war in 50. Objects they risks they discuss objects civil war technicality, includings will secret war codes. The new york Historical Society provided the video. So harold, weve been talking in the series about the power of objects being touchstones and historical event, being conduits to understanding the past. Its a thrill and extort a experience being historian in new york historian and working along these treasures and using them in my exhibitions. Lets talk about a second for the inspiration for this program a civil war in 50 objects. I can 50 objects tells such a sweeping . Story we so after cells that question often when we were whittling down the list and it was so much to choose from. I guess the way we did it as i recall, his first we discussed the medium of the object. We wanted, photographs paintings, objects, relics and then we wanted to represent every year of the civil war. First year