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Editorial Reviews
Amazon.com
Much of our image of the Civil War era comes from the photographs of Matthew Brady, and in Matthew Brady and the Image of History Mary Panzer, curator of photographs at the National Portrait Gallery in Washington, D. C., examines the work of this American icon. Brady, she writes, "used art to forge a relationship between photography and history, but when the memory of Brady the artist vanished, we came to accept his images as facts." Brady composed his photographs along classical models, always seeking the heroic in his subjects--who, until the advent of the Civil War, tended to be the business and social leaders who could afford his fees. Panzer's account of Brady's wartime work is especially revealing: where assistants like Timothy O'Sullivan and Alexander Gardner favored realistic studies of the dead in battle, Brady favored sweeping panoramas that obscured individual soldiers. For all that, it is Brady we remember as the man who, a contemporary journalist observed, "has done something to bring home to us the terrible reality and earnestness of war." The book is richly illustrated with the work of Brady and his carefully credited assistants, and it deserves a place in the library of anyone with an interest in 19th-century American history.
New York Times Book Review
Opens a new chapter in thinking about the portrayal of American life of the last century. --This text refers to the Paperback edition.
See all Editorial Reviews
Much of our image of the Civil War era comes from the photographs of Matthew Brady, and in Matthew Brady and the Image of History Mary Panzer, curator of photographs at the National Portrait Gallery in Washington, D. C., examines the work of this American icon. Brady, she writes, "used art to forge a relationship between photography and history, but when the memory of Brady the artist vanished, we came to accept his images as facts." Brady composed his photographs along classical models, always seeking the heroic in his subjects--who, until the advent of the Civil War, tended to be the business and social leaders who could afford his fees. Panzer's account of Brady's wartime work is especially revealing: where assistants like Timothy O'Sullivan and Alexander Gardner favored realistic studies of the dead in battle, Brady favored sweeping panoramas that obscured individual soldiers. For all that, it is Brady we remember as the man who, a contemporary journalist observed, "has done something to bring home to us the terrible reality and earnestness of war." The book is richly illustrated with the work of Brady and his carefully credited assistants, and it deserves a place in the library of anyone with an interest in 19th-century American history.
New York Times Book Review
Opens a new chapter in thinking about the portrayal of American life of the last century. --This text refers to the Paperback edition.
See all Editorial Reviews
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8
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- A Chance Meeting: Intertwined Lives of American Writers and Artists, 1854-1967 by Rachel Cohen on 4 pages
- Making Culture Visible: Photography and its Display at Industrial Fairs, International Exhibitions and Institutional Exhibitions in the United States 1847-1900 (Documenting the Image) by Julie K. Brown on 4 pages
- A Chance Meeting: Intertwined Lives of American Writers and Artists by Rachel Cohen in Back Matter (1), Back Matter (2), and Back Matter (3)
- Silent Film and the Triumph of the American Myth by Paula Marantz Cohen in Back Matter (1), and Back Matter (2)
- Through the Negative: The Photographic Image and the Written Word in Nineteenth-Century American Literature (Literary Criticism and Cultural Theory) by Megan Rowley Williams in Back Matter
See all 8 books citing this book