Gettysburg Illustrations - WileyStudio

Doc reenacted as a Battlefield Illustrator-Photographer, and Dixie as an Ice Angel-Photographer. Eventually, the full color, black and white, and period-style Illustrations will cover most key events and personages of the battle held to be the turning point of the American Civil War.

INTERESTING NOTES ON CIVIL WAR BATTLEFIELD ILLUSTRATORS: Alfred Waud, Frank Vizetelly, and other Civil War Battlefield Illustrators were civilian artists who produced artworks as they followed both Union and Confederate Armies throughout the war. Their initial quick battlefield sketches were further developed in camp, then sent by horse couriers or blockade runners for conversion into engravings in publications such as Harper's Weekly, The New York Illustrated News, and The Illustrated London News. In this way, live action battlefield events were brought to American and European audiences quickly - for the time - and made the Civil War the first conflict viewable in history as it unfolded. Photography was a new technology - so the photographic work of Gardner and Brady was not yet reproducible in printed publications. In addition, camera shutter speeds were slow and not capable of capturing live action - which is why the photography of the time tended to capture after-battle scenes, portraits, and static images - making the work of battlefield illustrators the only way to convey battlefield live action scenes. Illustrators like Waud and Vizetelly lived frequently with front line troops and were in much personal peril as they worked. A typical up to 30-minute pencil sketch was further rendered in camp or in the field then sent in to a publisher in as few as two days where the conversion into wood block or metal plate engravings were made by a team of artists for printing and distribution to a waiting public. Waud, following the Army Of The Potomac worked for Northern publications and could get his work published fairly quickly, but Vizetelly - following the Army Of Northern Virginia - faced the added constraint of having to send his work to The Illustrated London News via blockade runners from Wilmington, North Carolina. Of interest; there was a Northern Bounty on both Vizetelly AND his work - as it was considered propaghanda against the north. Such was the commitment of Battlefield Illustrators and publishers at the time. Illustrated newspapers with Civil War Battlefield Scenes were in very high demand and sometimes sold more than 300.000 copies per issue.

Over The Angle

150th Gettysburg Reenactment Illustration

Hats off to Terry and Kris Shelton, the Blue Gray Alliance, and my wife Dixie (who also participated) for making this possible.

Converted from a 10-minute on-the-spot sketch and photographs, "Over The Angle" is another scene depicting the High Water Mark of the Confederacy.

I was right there - kneeling at The Angle - working as a Battlefield Illustrator embedded with Confederate General Garnet's reenactment unit that led Picket's Charge and made it to The Wall and The Angle first.

Luke, a friend of our family drew the right straw and was selected to "go over The Angle"; the objective of Garnet's Brigade - and is shown. General Armistead's Brigade has not yet made it up to The Angle.

The front corner of The Angle is lower left and both the wounded Sergeant Major and wounded Captain offering him water are friends I shared the experience with. Luke is shown with his Enfield going over The Wall at The Angle, the Copse Of Trees is behind, and many of those shown were with our Unit.

The style is similar to that made by Civil War Battlefield Illustrators 150 years ago; pencil and gouache on light sepia paper.

Time Of Execution: 24 Hours
Technique / Media: Contour Line Graphite and white Prisma-Color and gouache on sepia paper.
Size: 11" x 14"

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