New Acquisition: Conrad Wise Chapman: Artist & Soldier of the Confederacy

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Fascinated by all that drove public opinion during the nineteenth century, I recently acquired an excellent book: Conrad Wise Chapman: Artist  Soldier of the Confederacy (The Kent State University Press, 1998) Author Ben L. Bassham’s biography includes many of the works of both Conrad Wise and his father, artist John Gadsby Chapman.

This book, while an excellent one, is not heavy on the Civil War experience of Conrad Wise Chapman. For that, I recommend Ten Months in the “Orphan Brigade” : Conrad Wise Chapman’s Civil War Memoir (The Kent State University Press, 1999) also brought to readers by Ben L. Basham. Google Books provides a generous glimpse of Bassham’s introduction and the first few pages of Chapman’s narrative which can be viewed here.

Conrad Wise Chapman

Conrad Wise Chapman returned to America from Europe in 1861 where he joined the Confederate cause. He served in the 3rd Kentucky Regiment and was a part of Albert Sidney Johnston’s ruse in the Western Theater to appear to have more strength in numbers than was the reality. Chapman later served as Ordnance Sergeant in the 59th Virginia Regiment after requesting transfer from “The Orphan Brigade” to a unit in his parent’s home state. It was a transfer that probably saved his life given the casualties suffered by the “The Orphan Brigade.” He participated in the defense of Vicksburg.

See more of  Conrad Wise Chapman’s work on “the artists” page under here on Wig-wags. The Museum of the Confederacy has an excellent digital image of Chapman’s “The Flag of Sumter Oct. 20 1863″ here. A number of Chapman’s paintings can also be seen at Fine Art-China.com here.

Ben L. Bassham, an Emeritus professor of art history at Kent State University, is the author of The Lithographs of Robert Riggs, The Theatrical Photographs of Napoleon Sarony and editor of Memories of an American Impressionist by Abel G. Warshawsky (The Kent State University Press, 1980). He is also an accomplished artist. I perused his online studio here with great admiration.

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Winslow Homer’s Civil War at the Met and Online

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The Metropolitan Museum of Art is running an exhibition featuring several artists of the Civil War era including Winslow Homer. The exhibit, titled ” American Stories: Paintings of Everyday Life, 1765–1915, includes the section Stories of War and Reconciliation, 1860–1877. An audio episode titled, Winslow Homer’s Civil War, accompanies two of the paintings and features scholar James McPherson who comments on Winslow Homer’s paintings: Pitching Quoits (below) and The Veteran in a New Field. I found it informative. The exhibit ends on January 24th so if you live in New York, hurry in. I’m hopeful that the online exhibit will stay up for a while.

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I’ve built out a page showcasing the Civil War inspired work of Winslow Homer that you can now access here.

Pitching Quoits, 1865

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Yale's David W. Blight Lectures on the Civil War Era Online at Academic Earth

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davidblight2

A friend tipped me off on Friday to a EXCEPTIONAL site, AcademicEarth.org, which provides free audio-visual lecture series of some of the world’s best scholars.

David W. Blight’s entire Spring 2008 term course, The Civil War and Reconstruction Era, 1845-1877, is online for free viewing. Professor Blight is the Class of 1954 Professor of History at Yale University and Director of the The Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition, also at Yale University.

In addition to the course, presented in an extremely user friendly format, Academic Earth provides a syllabus, reading list (yes I’ve already ordered them all), and full text transcripts of all lectures. GOLD MINE.

I’ve made it through 13 of 27 lectures and they are both outstanding and mesmerizing. HIGHLY RECOMMEND!

Manet and the American Civil War – 5: The Sea Battle Between The Kearsarge and the Alabama

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Continuing my series on “Manet and the American Civil War,” (see posts 1 here, 2 here, 3 here, and 4 here. In posts 3 and 4, I introduced the captains and vessels of one of the most famous naval engagements of the American Civil War, the sea battle between the C.S.S. Alabama and the U.S.S. Kearsarge. And now to the battle…

Juliet Wilson-Bareau with David C. Degener, in their fascinating book Manet and the American Civil War, do an excellent job of sifting through sources for a non-partisan view of the events of Sunday, June 19, 1864, a view without the “spin” of media. [2]

"The Fight Between the Alabama and the Kearsarge" [NH59354]
The Fight Between the Alabama and the Kearsarge. Contemporary line engraving, depicting an early stage in the battle. Alabama is on the right, with Kearsarge in the left distance. Courtesy of F.S. Hicks. U.S. Naval Historical Center Photograph.

The C.S.S. Alabama anchored in the Cherbourg roads, “a huge sheet of calm water sheltered from Channel currents by a breakwater,” on June 11, 1864. It had stopped to disembark 40 captives taken during raids on U.S. merchant ships and to refuel. Captain Semmes asked permission of “Vice Admiral Adolphe-Augustin Dupouy, head of the naval district headquartered in Cherbourg,” to have the Alabama undergo repairs in the naval doc. [3] The offer was denied and the request withdrawn. Semmes was now well aware that Captain Winslow and his U.S.S. Kearsarge had come after the Confederate raider and was hovering offshore in wait. While the French attempted diplomatic maneuvers, Captain Semmes informed Samuel Barron, “his senior officer in Paris,” that he intended to fight Winslow. [4]

“On the morning of Sunday, June 19, Alabama left the Cherbourg roads followed by the French navy flagship, Couronne, and accompanied by a steam yacht flying the Union Jack and a British yach club flag. Alabama fired the first shot. Having elected to fight starboard to starboard, Alabama and Kearsarge then steamed in interlocking circles five to seven times as the current pushed them west. Alabama sank, and Kearsarge returned to anchor on the land side of Cherbourg’s breakwater.” [5]

This from George Terry Sinclair, a native of Virginia sent to Europe in 1862 to buy ships for the Confederate Navy, in a letter to his immediate superior, Samuel Barron.

“After some exchanges at long range, they passed each other, using their starboard batteries. They then passed & repassed, always using the same battery (which Semmes had told me was his intention) after passing the seventh eighth time, I observed Semmes make sail forward, and stand in, and I thought I saw smoke issuing from the ship.” [6]

He was told by another observer that “Alabama ‘went down with her colors flying…the Flag… was the last thing to disappear.’ Sinclair’s own view of the climactic moment had been obscured by a house.” [7]
 

Charles Longueville. Combat naval (L’Alabama coulant sous le feu de Kearsage [sic]. The Metropolitan Museum of Art

In the next post, Edouard Manet’s painting, The Battle of the “Kearsarge” and the “Alabama,” 1864.

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[1] Juliet Wilson-Bareau with David C. Degener, Manet and the American Civil War, (New York: The Metropolitan Museum of Art, New Haven: Yale University Press, 2003), 31.
[2] Ibid.
[3] Ibid., 28-29.
[4] Ibid., 31.
[5] Ibid., 28, 31.
[6] Ibid., 31-32.
[7] Ibid., 32.

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Manet and the ACW – 4: Captain John A. Winslow and the U.S.S. Kearsarge

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Gideon Welles

Continuing my series on “Manet and the American Civil War,” (see posts 1 here, 2 here), in post 3 here, I introduced Captain Semmes of the C.S.S. Alabama, the target of U.S.S. Kearsarge in the waters off of Cherbourg France in 1864. This post provides background on the Kearsarge and her captain, John A. Winslow.

According to authors Juliet Wilson-Bareau and David C. Degener in their book Manet and the American Civil War, the U.S.S. Kearsarge was ordered built by U.S. Navy Secretary Gideon Welles (click here for bio) in 1861 as a part of the Civil War emergency shipbuilding program intended to augment the number of vessels available for blockade duty. [1]

As of March 4, 1961, the U.S. Navy possessed ninety vessels, twenty-one of which were being overhauled of those remaining only twenty-four were in commission. U.S. Navy Secretary Gideon Welles needed many more than that to blockade a coastline 3,500 miles long. Welles therefore launched an ambitious program of acquisition and construction. U.S.S. Kearsarge was one of the steam sloops that he ordered to be built. It was roughly 198 feet long, 34 feet across, and displaced 1,550 tons, third-rate in the navy’s classification system. Construction began on June 17, 1861. [2]

U.S.S. Kearsarge off Portsmouth, New Hampshire, shortly after her return from European waters in 1864.

The U.S.S. Kearsarge “was a Mohican class steam sloop of war, and was built at the Portsmouth Navy Yard, Kittery, Maine. She was commissioned in January 1862 and almost immediately deployed to European waters, where she spent nearly three years searching for Confederate raiders.” [3]

Her captain was John Ancrum Winslow (1811 – 1873), appointed in April of 1863 and given the task of patrolling European waters for Confederate raiders. He had begun his career as a midshipman in 1827 and saw action in the Mexican War and along the Mississippi during the Civil War.

Captain John A. Winslow, USN circa 1862-63

In the next post, the sea battle between the U.S.S. Kearsarge and the C.S.S. Alabama.

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References:

U.S. Library of Congress for photo of Gideon Welles available at http://hdl.loc.gov/loc.pnp/cwpb.04842 , accessed August 18, 2008.
[1,3] Naval Historical Center, http://www.history.navy.mil/photos/sh-usn/usnsh-k/kearsarg.htm, accessed August 18, 2008.
[2] Juliet Wilson-Bareau with David C. Degener, Manet and the American Civil War, (New York: The Metropolitan Museum of Art, New Haven: Yale University Press, 2003), 25.

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Manet and the American Civil War – 2 The Artist

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Edouard Manet (1832 - 1883) [photographic portrait by Nadar (public domain, source: wikicommons)

Continuing from post 1 here, in this post I explore the life of Edouard Manet, the artist. Born in 1832 to upper-middle class parents, Manet’s father was a magistrate who had hopes that his oldest son would follow him in his profession. But young Edouard had no interest in law and though attracted to art, decided to go to sea. But he couldn’t pass the French Navy’s entrance exam. Authors Wilson-Bareau and Degener provide a fascinating glimpse into the system by which young men could qualify for careers in the French Navy in their book Manet and the American Civil War which provides the reference for this series. A sixteen year old Manet would spend several months aboard the vessel, Le Havre et Guadeloupe on a trip for the sons of the wealthy who had failed the exam and could qualify to retake it if they sailed across the equator. The ship was staffed with teachers tasked with drilling the boys in the topics required for the naval exam. Manet failed the test again regardless but was exposed to the sea to a greater extent than most Frenchmen. (Wilson-Bareau and Degener, 12-13)

Manet had another tie to the military. His interest in drawing and art was sparked by an uncle who was “attached to the [Army] artillery school who spent a lot of his time sketching…” (Wilson-Bareau and Degener, 13-14)

“The schoolboy soon fell under the spell of blended lines and blurred cross-hatching. [Note: For a great glimpse of crosshatching, see a post at the blog, Big Time Attic here.) From that moment on, he had only one calling. He neglected his compositions and translations and filled the blank pages of his notebooks not with schoolwork but with portraits, landscapes, and fantasies.” (Ibid)

This diversion would lead Manet to produce arguably one of the most famous paintings of the naval engagement between the U.S.S. Kearsarge and the C.S.S. Alabama, that took place in June of 1864 off France’s Normandy coast.

The Battle of U.S.S Kearsarge and C.S.S. Alabama

Juliet Wilson-Bareau with David C. Degener, Manet and the American Civil War, (New York: The Metropolitan Museum of Art, New Haven: Yale University Press, 2003).

In the next post, the ships engaged in the battle.