Teaching Packet

Civil War and Its Aftermath

Part of Uncovering America

Grade Level

Subject

Download Image Set

On this Page:

  1. Overview
  2. Selected Works
  3. Activity: 54th Regiment
  4. Additional Resources
Timothy H. O'Sullivan, Field Where General Reynolds Fell, Gettysburg, July 5, 1863, July 5, 1863, albumen print, Gift of Mary and Dan Solomon and Patrons' Permanent Fund, 2006.133.111

Overview

How do we remember the Civil War?

Whose stories are told in the art and memorials from and about the time period?

In a time when the nation was divided over the issue of slavery, artists helped to shape people’s understandings of the conflict that overtook the nation. Some artists depicted the political figures and events that drove and reflected the conflict. Other artists were on the battlefield itself, bringing the emotional toll of war home in immediate ways.

Mathew Brady, a prominent photographer of the era, photographed Lincoln after he won the Republican nomination for president, and his image was published on the cover of the widely popular magazine Harper’s Weekly. A printed reproduction of it (a lithograph) was sold by the thousands by the printmakers Currier and Ives and featured on campaign material. Brady believed his image had a significant influence on Lincoln’s winning the election.

Artist Winslow Homer, who had been chosen to illustrate President Lincoln’s inaugural address for Harper’s Weekly in 1861, later traveled with Union soldiers to the battlefields, studying camp life and translating those experiences through his painting. His focus on the common soldier humanized the conflict and made its effects that much more tangible.

Photographers saw an opportunity in the war and traveled to the front with all their supplies in order to capture views that would be virtually guaranteed to find a large market in both the public and the press. The Civil War was the first American war to be documented by photography, and the images produced by the major photography studios were the public’s first exposure to seeing dead soldiers, making clear the cost of war. Some viewers considered them unmediated and the only true records of the war that could be relied upon. The artists, however, chose their subjects and carefully composed their photographs, likely altering scenes from their original state to make a more powerful photo.

In the years following the end of the war, artists’ depictions reflected both a new order in which all men were to be free and equal, and resistance to that new order. Our present-day understandings of the Civil War are often driven by the memorialization of the people, places, and events of the period, and they present to us an opportunity to ask questions: Whose stories are being told? What are the ongoing impacts of a large-scale resistance to the emancipation and equal treatment of black Americans?

Selected Works

  • A turreted, sprawling stone castle, bronzed by the setting sun, crowns a rocky cliff at the center of this horizontal landscape painting. A round turret rises in the center of the castle’s jumble of blocky, square buildings. The buildings are dramatically outlined against a mass of roiling charcoal-gray and indigo-blue clouds, which are edged in peach, in the upper right corner. Barely noticeable amid the hulking structure, a scarlet-red flag flutters from a window in the tower overlooking a distant crag to our right. On that distant mountain, a column of amber smoke rises to mingle with the clouds above a bright band of sunlight on the horizon. Low trees and bushes grow around the base of the battlements. The land dips steeply toward us to a river below the cliff. Through the tangle of trees, a dirt road winds down the hill to a bridge of pale stone that crosses the river in front of us, to our left of center. Groups of helmeted horsemen cross the bridge, passing under a stone archway at its center. Near the bridge, tiny in scale, a herd of goats capers on the road near the horsemen as they ride on in a double column coming toward us along the clay-brown road. One rider carries a red pennant fluttering in the breeze. The riders wear ruby-red tunics and carry upright lances and shields. Light glints off their armor and helmets as they head to our right, toward the dark mass of tangled trees and rocky cliff on the border of the picture. A copse of low, gnarled trees grows near the opposite edge of the painting, to our left. Behind these trees and riders stretches a river valley spanned by another stone bridge. A cluster of people can barely be seen near and along that massive bridge in the distance. Beyond, buildings and a tall, square tower are lit by fires belching clouds of smoke. A heavy bank of gray clouds obscures the rest of the valley. Birds soar in the mist near a distant cliff, where flames and more smoke rise behind a boulder. In the deep distance to our left, a high, craggy cliff topped by a sprinkling of snow surges above the blanket of fog and clouds. In front of a clear, blue sky, it is also bathed in coral-red by the setting sun.
  • Two men, a dog, and a horse gather at the wide opening to a barn-like building that fills this horizontal painting. A light-skinned, blond man in a tall, brimmed, straw hat leans with his ankles crossed and hands in pockets against the right side of the opening. His body faces us and he turns his gaze toward the man to our left, whose face is in profile. The blond man's knee-length, olive-green jacket has black lapels, and it hangs open to reveal a close-fitting, ivory-white vest over a white shirt with a sea-blue tie. His brown, calf-high boots have a band of brick red around the top. A slender, brown and white grayhound stands facing our left in profile with its front legs stiffly straight and its hindquarters pressing against the man’s right leg. The tanned, dark-haired man near the jamb to our left bends over to work on the underside of a horse’s hoof, which he holds between his knees with his left hand. He wears a loose red shirt with an open collar and rolled-up sleeves, over wrinkled brown pants. Short black locks emerge under the edges of his olive-green cap. A wooden box of tools, with a handle for carrying, sits on the dirt ground in front of him. The horse being shod, overlapped by the workman, faces into the barn and to our left, but its head, turning to our right, is silhouetted against a landscape visible through an open window at the back of the barn. The view is dotted with haystacks and framed by tree branches. A stirrup hangs on a strap flung over a saddle on the back of the horse, whose rump stands between the laborer and a woman, who is deep in shadow. Placing her right hand, on our left, on her hip, she appears in front of the grids of window panes. She seems to have pale skin and dark, loosely bound-up hair, and she looks toward the horse. Red flames flicker in a fireplace between her and the standing blond man. The front opening of the structure is protected by a shallow wooden portico, supported on the left by a slender, trimmed tree trunk with a ring hanging from a screw near the top. Curling red and yellow leaves are scattered on the long, narrow, wooden boards that form the porch roof. Sunlight dapples the barn wall to our left, and a square patch of light falls on the face of the wall to our right, near the ground. A broken plow lies on the ground to our right, with the wooden handle of a tool propped against it. A tuft of long dark hair, like a horse’s tail, hangs on the wall over the tools. Closer to the head of the standing man, a poster is printed with black on white paper. A running man carrying an hourglass and a scythe is enclosed in a thin circle, over the words, “STOP THEIF!!!” in capital letters, though “thief” is misspelled.
  • Twelve people standing and on horseback talk and gesticulate in a tight group around a wagon outside a house in this horizontal painting. The scene is loosely painted and in darker tones so some details are difficult to make out. The people all appear to be men and have light- or medium-toned skin. In the group close to us, on the far left, a man wearing an olive-green jacket, a brimmed hat with a flat crown, and a curving horn hanging from a strap across his back sits on a brown horse that faces away from us. The rider leans to the right and raises a whip in that hand. The next man stands facing away from us, wearing a pale hat, teal-green jacket, and brown pants. One hand rests on a cane and the other is held up, perhaps to hide his face. He stands next to a white horse with a rider wearing a red shirt and brimmed hat. Facing us, the rider smiles as he leans forward to read a paper braced against the horse’s mane. A brown dog with white markings on its forehead and chest sits on the ground between the two horses, facing the horse on the left.  To our right of the white horse, a standing man wears a gold-colored, thigh-length coat that flutters open over an open-necked white shirt. A red sash is tied around his waist, and he wears silvery-white pants and brown boots. He leans his weight onto one foot and holds up a paper with his other hand. In front of him and a little further to our right, two standing men talk. The first in this pair faces us with his feet widely planted, wearing a light blue jacket and red cap. He smiles up toward a taller companion, who smiles back. The second man in this pair wears an olive-green, thigh-length coat and white cap. One hand is planted on his hip, so his elbow points toward us. To our right and farther back a man in a brick-red jacket sits astride a barrel, facing toward the center. Behind the groups described, four men sit or stand on a wagon so they appear above the people standing on the ground. A fifth man next to the wagon reaches for or hands up a basket to another. Beyond these groups and on the far right, a low wooden fence opens into a yard with a sign on a tall post in front of a house a short distance away. At least three brown-skinned people wearing white, tan, and muted brown stand together in the yard and more people may be gathered closer to the house. Some pebbles and tufts of grass are spaced across the dirt ground underfoot, and clouds above are shaded with faint gray or pale, shell peach against a blue sky. The artist signed the painting with the letters AJM overlapping in a monogram in the lower right corner.
  • In a camp, two soldiers wearing blue uniforms are lost in thought as they listen to a military band playing music in the background in this vertical painting. Their uniforms consist of midnight-blue jackets, stone-blue pants, and flat-topped, brimmed hats. Brass buttons line the open fronts of their jackets, and a gold-colored emblem is affixed to the tops of their caps. One soldier, at the center of the painting, stands facing our left in profile with one hand on his hip. Another, to our right, sits in front of a tent, also looking to our left. The seated soldier’s knees are spread wide. One hand rests on at least two pieces of paper on his thigh, and he rests his chin in the other hand, also propped on his thigh. A low, triangular tent, about waist-high, is pitched to the left of the standing solider. The inside is dark but closer inspection reveals the bottom of one boot, presumably belonging to a solider lying down inside. At the lower left of the painting, gray smoke drifts up from a pot on a campfire. A knapsack and a pewter plate holding waffle-like hardtack are laid near the tent. A few branches cover the dirt ground to our right. A tan cloth draped over an arbor-like structure of sticks forms a partition between the two soldiers and the rest of the camp, dividing the composition. Rows of tents extend into the distance. A band of soldiers plays music in the distance, light glinting off their gold horn instruments. A row of tents is visible in the deep distance, perhaps across a body of water. The horizon line comes about two-thirds of the way up the composition, and puffy white clouds drift across the pale blue sky above.
  • The spruce-green silhouette of a broad-shouldered man standing among palm fronds looks up at a faint red star against a field of green circles radiating out from the horizon in this abstracted vertical painting. The scene is made with mostly flat areas of color to create silhouettes in shades of slate and indigo blue, lemon-lime and pea green, plum purple, and brick red. To our right of center, the man faces our left in profile. His eye is a slit and he has tight curly hair. The position of his feet, standing on a coffin-shaped, brick-red box, indicate his back is to us. He stands with legs apart and his arms by his sides. Terracotta-orange shackles around his wrists are linked with a black chain. A woman to our left, perhaps kneeling, holds her similarly shackled hands up overhead. A line of shackled people with their heads bowed move away from this pair, toward wavy lines indicating water in the distance. The water is pine green near the shore and lightens, in distinct bands, to asparagus green on the horizon. On our left, two, tall pea-green ships sail close to each other at the horizon, both titled at an angle to our right. Concentric circles radiate out from the horizon next to the ships to span the entire painting, subtly altering the color of the silhouettes it encounters. To our left, a buttercup-yellow beam shines from the red star in the sky across the canvas, overlapping the man’s face. Spruce-blue palm trees grow to our right while plum-purple palm fronds and leaves in smoke gray and blood red frame the painting along the left corners and edge. The artist signed the painting in the lower right, in black, “AARON DOUGLAS.”
  • A white man in military uniform rides a horse in front of a regiment of five rows of Black troops in this sculpture, which is painted entirely in gold. The artist created a shallow, stage-like space with an arched top so the men are sculpted in three dimensions, though they become more compressed as they move back in space. The men and horse face our right in profile in this view. The man on the horse has a pointed, straight nose and a goatee. He wears a cap with a flat top and narrow brim, a knee-length coat, gloves, and knee-high boots with spurs. He holds a thin sword down by the side of the horse with his right hand and holds the reins of the horse with his left. The horse’s head is pulled upward by the short reins, and its mouth is open around the bit. About twenty soldiers are lined up in rows beyond the horse, and they march in unison. They carry blankets rolled atop knapsacks, canteens, and rifles resting on their right shoulders. However, the details of how their uniforms bunch up around their equipment and the way their caps have been molded and fit is unique to each person. Their ages also vary from young and cleanshaven to bearded, older men. Two men carry furled flags near the back, to our left, and a drummer boy plays at the head of the regiment, to our right. All the men look straight ahead, their lips closed. A woman in a billowing robe floats above them under the arched top of the sculpture with her eyes closed. Her left arm is outstretched, and she holds a laurel branch and poppies close to her body with her right arm. An inscription in the upper right corner is created with raised capital letters: “OMNIA RELINQVIT SERVARE REMPVBLICAM.” A longer inscription is carved into the base along the bottom edge of the memorial, also in all caps: “ROBERT GOVLD SHAW KILLED WHILE LEADING THE ASSVLT ON FORT WAGNER JVLY TWENTY THIRD EIGHTEEN HVNDRED AND SIXTY THREE.” The artist’s signature is inscribed In the lower right corner, in smaller letters: “AVGVTVS SAINT GAVDEN M-D-C-C-C-L X X X X V I I I.”
  • Printed with black against cream-white paper, a woman pointing to our right nearly fills this vertical linocut. Her body is angled slightly to our right, and she looks off in that direction with hooded eyes. She has wide cheekbones, a thin upper lip, full lower lip, and her mouth is closed over a pointed chin. Her head is covered in a patterned cloth, and she wears a knee-length coat over a long skirt. A knapsack hangs across her torso, and she braces the barrel of a rifle with her right hand, to our left, as she points with the other hand. Two people with short, dark hair stand behind her and to our right. The front person wears pants, square-toed shoes, and a jacket over a shirt. Bracelet-like objects on his wrists could be broken shackles. The other person touches that man’s arm. A fourth person digs in the background to the left. The ground, trees, hills, and sky are dense flicks, slivers, and strokes. The artist signed the sheet in the bottom right corner under the image, “Elizabeth Catlett.”
  • Two men, a woman, and three children, all with brown skin, gather around a table in a house in this horizontal painting. A bespectacled, white-haired man sits to our left, wearing a black coat and suit. He looks up and to our right, his chin slightly lifted. A black top hat and a book sit near his feet, and a gray umbrella leans against the back of his worn wooden chair. Opposite him, to our right, a younger man has short black hair and a trimmed beard. He props one elbow on a cigar box on the table and rests his chin in that hand. With his other hand, he grasps the lapel of his slate-blue jacket, which is worn over a cream-white shirt. There is a patch in one elbow of the jacket and on one of the knees in his tan-colored pants. Two small children gather around him. The smallest child turns away from us as they rest their folded arms and head on one of the man's knees. That child wears a knee-length, dress-like garment striped with parchment brown and beige. Behind the man, to our right, a slightly older boy kneels on a bench on the far side of the table and rests his elbows on the white tablecloth. That boy wears an aquamarine-blue shirt and dove-gray pants. Both children are barefoot. On the far side of the table, near the older man, a woman stands and leans forward to spoon food into the white dish he holds. She wears a red kerchief tied around her head and a fog-blue apron over a white shirt patterned with a muted indigo-blue grid. A young girl, the oldest child, stands on the far side of the table between the younger man and woman. Seen from the chest up, the girl's face and body are angled to our right, toward her father, but she looks to our left from the corners of her eyes. She wears a coral-red, high-collared garment with white polka dots. On the table is a serving bowl, cup, and a kettle. Behind the woman, one door of a tall  brick-red cupboard is ajar. Plates and vessels line the shelves within. A fireplace to the right has an opening as tall as the stooping woman. The mantle is lined with a manual coffee grinder, a white jar painted with a blue design, and clothes irons. A circus poster hangs behind the open door of the cupboard. A string of dried red chilis hangs next to a window between the poster and fireplace mantle. A banjo rests on a stool in front of the table, and a white cat licks a pie plate near the father's feet. The aritst signed and dated the painting in the lower right corner, "Richd. N. Brooke. 1881 (ELEVE DE BONNAT - PARIS)."

Activity: 54th Regiment

A white man in military uniform rides a horse in front of a regiment of five rows of Black troops in this sculpture, which is painted entirely in gold. The artist created a shallow, stage-like space with an arched top so the men are sculpted in three dimensions, though they become more compressed as they move back in space. The men and horse face our right in profile in this view. The man on the horse has a pointed, straight nose and a goatee. He wears a cap with a flat top and narrow brim, a knee-length coat, gloves, and knee-high boots with spurs. He holds a thin sword down by the side of the horse with his right hand and holds the reins of the horse with his left. The horse’s head is pulled upward by the short reins, and its mouth is open around the bit. About twenty soldiers are lined up in rows beyond the horse, and they march in unison. They carry blankets rolled atop knapsacks, canteens, and rifles resting on their right shoulders. However, the details of how their uniforms bunch up around their equipment and the way their caps have been molded and fit is unique to each person. Their ages also vary from young and cleanshaven to bearded, older men. Two men carry furled flags near the back, to our left, and a drummer boy plays at the head of the regiment, to our right. All the men look straight ahead, their lips closed. A woman in a billowing robe floats above them under the arched top of the sculpture with her eyes closed. Her left arm is outstretched, and she holds a laurel branch and poppies close to her body with her right arm. An inscription in the upper right corner is created with raised capital letters: “OMNIA RELINQVIT SERVARE REMPVBLICAM.” A longer inscription is carved into the base along the bottom edge of the memorial, also in all caps: “ROBERT GOVLD SHAW KILLED WHILE LEADING THE ASSVLT ON FORT WAGNER JVLY TWENTY THIRD EIGHTEEN HVNDRED AND SIXTY THREE.” The artist’s signature is inscribed In the lower right corner, in smaller letters: “AVGVTVS SAINT GAVDEN M-D-C-C-C-L X X X X V I I I.”
Augustus Saint-Gaudens, The Shaw 54th Regiment Memorial, 1900, patinated plaster, U.S. Department of the Interior, National Park Service, Saint-Gaudens National Historic Site, Cornish, New Hampshire, X.15233

For black people living in the United States during the Civil War era, the abolition of slavery throughout the nation was the goal, and some who were free decided to form their own regiments to fight for the Union in pursuit of that goal. They were paid less than white soldiers or were not paid at all, received poor equipment, and often ran out of supplies. To make matters worse, Confederate soldiers threatened to enslave or kill any black soldiers they captured and kill their white commanders. Overcoming these hardships, black soldiers proved themselves heroically in battle. The bravery of the 54th Regiment of Massachusetts, an all-black regiment, is among the most well known and is remembered in the Shaw Memorial, a sculpture by Augustus Saint-Gaudens.

At the beginning of the Civil War, Richard Harvey Cain was among a group of black students from Wilberforce University who attempted to join the Union army in Ohio. Cain was turned down. He wrote about the events after the first shots were fired at Fort Sumter and the importance of the 54th Massachusetts:

I shall never forget the thrill that ran through my soul when I thought of the coming consequences of that shot. There were one hundred and fifteen of us students at the University, who, anxious to vindicate the stars and stripes, made up a company and offered our services to the Governor of Ohio; and sir, we were told that this is a white man’s war and that the Negro had nothing to do with it. Sir, we returned, docile, patient, waiting, casting our eyes to the Heavens whence help always comes. We knew that there would come a period in the history of this nation when our strong black arms would be needed. We waited patiently; we waited until Massachusetts, through her noble Governor, sounded the alarm, and we hastened to hear the summons and obey it.

Letter by Richard Harvey Cain written at the time of the Civil War, quoted in Zak Mettger, Till Victory Is Won: Black Soldiers in the Civil War (New York: Puffin Books, 1997), 2.

Why do you think Cain and his fellow students were eager to fight? Is there a cause for which you would feel the same and take action? Have students write a short essay on a cause they feel strongly about and what can be done to address it. For older students, have them write an op-ed and encourage students to submit their writing to local and national publications.

Additional Resources

The American Civil War: A “Terrible Swift Sword” lesson unit, National Endowment for the Humanities

Abraham Lincoln on the American Union: “A Word Fitly Spoken” lesson unit, National Endowment for the Humanities

You may also like

Educational Resource:  Civil War and Its Aftermath

In a time when the nation was divided over the issue of slavery, artists helped to shape people’s understandings of the conflict that overtook the nation. Some artists depicted the political figures and events that drove and reflected the conflict. Other artists were on the battlefield itself, bringing the emotional toll of war home in immediate ways.

Educational Resource:  Uncovering America: Activism and Protest

Artists in the United States are protected under the First Amendment, which guarantees freedoms of speech and press. This module features works created by artists with a range of perspectives and motivations.