For me, some of the most compelling images to come out of the Civil War are the sketches produced by battlefield artists such as Alfred Waud. Since the bulky cameras of the day couldn’t really capture battles in progress, these guys followed the armies in order to draw the action for newspaper illustrations.
I find the original rough sketches more powerful than the finished illustrations printed in the papers. These guys were there while it was happening, and their work brings us about as close as we’re ever likely to get to seeing a Civil War battle play out.
The May issue of National Geographic has an article devoted to these battlefield sketch artists and the hardships they endured:
It was a cruel adventure. One special, James R. O’Neill, was killed while being held prisoner by Quantrill’s Raiders, a band of Rebel guerrillas. Two other specials, C. E. F. Hillen and Theodore Davis, were wounded. Frank Vizetelly was nearly killed at Fredericksburg, Virginia, in December 1862, when a “South Carolinian had a portion of his head carried away, within four yards of myself, by a shell.” Alfred Waud, while documenting the exploits of the Union Army in the summer of 1862, wrote to a friend: “No amount of money can pay a man for going through what we have had to suffer lately.”
The English-born Waud and Theodore Davis were the only specials who remained on assignment without respite, covering the war from the opening salvos in April 1861 through the fall of the Confederacy four years later. Davis later described what it took to be a war artist: “Total disregard for personal safety and comfort; an owl-like propensity to sit up all night and a hawky style of vigilance during the day; capacity for going on short food; willingness to ride any number of miles horseback for just one sketch, which might have to be finished at night by no better light than that of a fire.”
In spite of the remarkable courage these men displayed and the events they witnessed, their stories have gone unnoticed: Virginia native son and Union supporter D. H. Strother’s terrifying assignment sketching the Confederate Army encampments outside Washington, D.C., which got him arrested as a spy; Theodore Davis’s dangerously ill-conceived sojourn into Dixie in the summer of 1861 (he was detained and accused of spying); W. T. Crane’s heroic coverage of Charleston, South Carolina, from within the Rebel city; Alfred Waud’s detention by a company of Virginia cavalry (after he sketched a group portrait, they let him go); Frank Vizetelly’s eyewitness chronicle of Jefferson Davis’s final flight into exile.
You can see some of these sketches in an online gallery at the magazine’s website. Below is Waud’s sketch of the conflagration at the Mumma Farm:
“BATTLE OF ANTIETAM, MARYLAND, SEPTEMBER 17, 1862; LIBRARY OF CONGRESS
Confederates set Samuel Mumma’s farm ablaze to keep it from Union hands. By the time Alfred Waud made this sketch, using Chinese white pigment to depict flames, Union troops were in control of the area.”
From the May edition of National Geographic magazine