![]() The staff of the Gilder Lehrman Institute has compiled a list of some of our most compelling Civil War photographs. The photographs allow a personal connection to history that the printed word cannot always deliver. The words of the New York Times reviewer still ring true. What makes these photographs so compelling? Why after 150 years do we peer intensely at them to discern the tiniest details? For many, the images are moments captured in time-remarkable witnesses to history that reflect the humanity of the people and the destructive nature of the war. Mathew Brady’s Antietam images are but a small portion of the Civil War photographs that have captured and burned themselves into our collective American memory. We are now in the midst of the 150th anniversary of the American Civil War. If he has not brought bodies and laid them in our dooryards and along the streets, he has done something very like it." BRADY has done something to bring home to us the terrible reality and earnestness of war. There is a confused mass of names, but they are all strangers we forget the horrible significance that dwells amid the jumble of type. . . We see the list in the morning paper at breakfast, but dismiss its recollection with the coffee. ![]() On October 20, 1862, an editorial in the New York Times explained that "the dead of the battle-field come up to us very rarely, even in dreams. ![]() Entitled The Dead of Antietam, the exhibition attracted large crowds and brought the war home in a way that news articles and casualty listings could not. In October 1862, Mathew Brady opened a photography exhibition at his studio in New York City. ![]()
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