Civil War POW Folk Art

The American Civil War left many scars on this nation politically, economically, and socially, but it also left many soldiers physically and psychologically wounded as well. Some of the most poignant stories come not from the battlefields but from the prisoner-of-war camps in both the North and South. The men who were confined in these institutions would have struggled with the process of being captured and imprisoned, not knowing if or when they would be released and allowed to see their families. As there were few outlets that were allowed to most prisoners, art and crafts provided a way to cope with their condition, feel productive, and in some cases provide for themselves and their loved ones back home.

The condition of each camp varied from one to another, but all of them were unpleasant and sanitary conditions were subpar at best. Several camps were occupied for a short time, sometimes for mere months. Johnson’s Island Civil War Prison was a long-standing Union structure during the war, and had better conditions than most. The men who were confined there were officers which meant they were better educated and of a higher class than most soldiers. These circumstances allowed for a greater variety and amount of materials to be produced, and archaeological investigations have allowed for a better understanding of the process of creating art and crafts.

At Point Lookout, MD and Elmira, NY, materials were harder to locate due to worse prison conditions and lack of studies completed by historians and archaeologists. Sketches were more popular at these sites, and John Jacob Omenhausser’s sketch book of Point Lookout Prison contains some of the most famous images from a prisoner-of-war camp (see the top two images here). Several prisoners were stationed at multiple prisons, which would have allowed for a transmission of styles and forms of art being created.

Examples from Southern prisons are harder to find, possibly due to conditions and inability to obtain materials. For these prisons, art created after the war was greatly produced, but may not accurately depict the prisons or the psychology of the POW. Thomas O'Dea from Pennsylvania did the painting of Andersonville Prison in Georgia (third from the top) after the war; in fact it took him six years to complete, from 1879 to 1885. He later said "I never drew a picture before in my life. Were I an artist, I could have completed it in a short time." The work shows the innermost fears of prisoners: death and the leaving behind of family. Robert Sneden of the 40th NY Volunteers produced the above sketch of Millen Prison (Georgia) after his release, although he based it on an original sketch done during his incarceration. These folk artists may have altered some details by relying on memory, but their work captures the psychological realities that stayed with them for the rest of their lives.

by Amanda Manahan, American Folk Art course, Cooperstown Graduate Program

A Civil War Army Hospital In the Round

I live for those rare moments when the scenes in the Fenimore Art Museum folk art collection can be understood in far greater depth owing to the emergence of new information or images. Here is another of those works which have, over the years, caught my eye only fleetingly as I was searching the storage racks for more important pieces. I can recall thinking what a strange architectural rendering it was, and how odd the building looked compared to our plethora of farmscapes and house portraits from the nineteenth century. Unlike the staid farmhouses in many of our paintings, this complex radiates outward from a central courtyard in all directions.

It certainly looked like an institutional portrait, of course, but I never gave it much thought until now. The main reason for this new-found interest in the piece was finding period photographs of the site online. Our piece is a small oil painting (about 10" x 25") by an unknown artist depicting the Mower U. S. Army Hospital in the Chestnut Hill section of Philadelphia. We have known for a long time that it was based on a lithograph of the hospital issued in 1863 (below). We didn’t know, or didn’t realize until recently, that the Library Company of Philadelphia has an online database of images of the hospital from the same time period by Philadelphia photographer John Moran.

The Mower U. S. Army Hospital was opened in January 1863 to serve the Union army, and at the time it was one of the largest Federal military hospitals. The Union wounded were sent from Southern battlefields by train to Mower from 1863 until the end of the war in 1865. The hospital had 3,600 beds, and treated more than 20,000 wounded or ill soldiers during the course of the war. It was a state-of-the-art medical facility, with indoor plumbing and hot water, isolation wards for patients with infections, and a centralized storage area for speed and efficiency in treating the patients.

The design was really ideal. Architect John McArthur, Jr. (who also designed Philadelphia’s City Hall) created a central compound from which no fewer than 47 wings radiate outward. The Reading Railroad went right to its front door.

Our little oil is a pretty good rendition of the lithograph, with some nice touches that the artist added, including emphasizing the patterns created by the radiating buildings and enhancing the landscape around the complex. But the real treat is comparing the period photographs with the renderings of both the artist and lithographer. The hospital was a real place, and its visceral reality adds depth and meaning to its artistic representation.