The name TIME-LIFE has become synonymous with providing readers with a deeper understanding of subjects and world events that matter to us all. Now, with the 150th anniversary of the end of the Civil War upon us, TIME-LIFE The Civil War in 500 Photographs will be an indispensable guide to a nation-changing era and the military, social, economic, and political forces that shaped it. The narrative of the Civil War, fought from 1861 to 1865, is familiarly to almost all Americans, from Presidential candidate Abraham Lincoln's noble declaration that "the government cannot endure permanently half-slave, half-free" to Confederate Gen. Robert E. Lee's surrender at Appomattox. Yet the details of the battles and battlefields, the political maneuverings, and the personalities who defined the war continue to fascinate citizens of all ages. TIME-LIFE The Civil War in 500 Photographs taps into that into that interest, providing a fresh and accessible way to appreciate this most important conflict. It will lay out the war's major developments in arresting, colorized images and cover topics from the backstory through secession, the Union's early setbacks, the Underground Railroad, victories at Gettysburg and Vicksburg, and Reconstruction. For history buffs and the newly curious, The Civil War in 500 Photographs will be the ultimate, easy-to-use guide to four years that changed our nation forever.

The name TIME-LIFE has become synonymous with providing readers with a deeper understanding of subjects and world events that matter to us all. Now, with the 150th anniversary of the end of the Civil War upon us, TIME-LIFE The Civil War in 500 Photographs will be an indispensable guide to a nation-changing era and the military, social, economic, and political forces that shaped it. The narrative of the Civil War, fought from 1861 to 1865, is familiarly to almost all Americans, from Presidential candidate Abraham Lincoln's noble declaration that "the government cannot endure permanently half-slave, half-free" to Confederate Gen. Robert E. Lee's surrender at Appomattox. Yet the details of the battles and battlefields, the political maneuverings, and the personalities who defined the war continue to fascinate citizens of all ages. TIME-LIFE The Civil War in 500 Photographs taps into that into that interest, providing a fresh and accessible way to appreciate this most important conflict. It will lay out the war's major developments in arresting, colorized images and cover topics from the backstory through secession, the Union's early setbacks, the Underground Railroad, victories at Gettysburg and Vicksburg, and Reconstruction. For history buffs and the newly curious, The Civil War in 500 Photographs will be the ultimate, easy-to-use guide to four years that changed our nation forever.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Presents key events, battles, profiles of the war's leaders, memorable quotations, and photographic timelines of the Civil War, from the debate over state's rights and first shots at Fort Sumter to the surrender at Appomatox and the Lincoln assassination.

Published to coincide with the 150th anniverary of the battle of Gettysburg, features both familiar and rarely seen Civil War images from such photographers as George Barnard, Mathew Brady, and Timothy O'Sullivan.

This is undoubtedly the most valuable collection of historic photographs in America. It is believed to be the first time that the camera was used so extensively and practically on the battle-field. It is the first known collection of its size on the Western Continent and it is the only witness of the scenes enacted during the greatest crisis in the annals of the American nation. As a contribution to history it occupies a position that the higher art of painting, or scholarly research and literal description, can never usurp. It records a tragedy that neither the imagination of the painter nor the skill of the historian can so dramatically relate. The existence of this collection is unknown by the public at large. Even while this book has been in preparation eminent photographers have pronounced it impossible, declaring that photography was not sufficiently advanced at that period to prove of such practical use in War. Distinguished veterans of the Civil War have informed me that they knew positively that there were no cameras in the wake of the army. This incredulity of men in a position to know the truth enhances the value of the collection inasmuch that its genuineness is officially proven by the testimony of those who saw the pictures taken, by the personal statement of the man who took them, and by the Government Records. For forty-two years the original negatives have been in storage, secreted from public view, except as an occasional proof is drawn for some special use. How these negatives came to be taken under most hazardous conditions in the storm and stress of a War that threatened to change the entire history of the world is itself an interesting historical incident. Moreover, it is one of the tragedies of genius. While the clouds were gathering, which finally broke into the Civil War in the United States, there died in London one named Scott-Archer, a man who had found one of the great factors in civilization, but died poor and before his time because he had overstrained his powers in the cause of science. It was necessary to raise a subscription for his widow, and the government settled upon the children a pension of fifty pounds per annum on the ground that their father was "the discoverer of a scientific process of great value to the nation, from which the inventor had reaped little or no benefit." This was in 1857, and four years later, when the American Republic became rent by a conflict of brother against brother, Mathew B. Brady of Washington and New York, asked the permission of the Government and the protection of the Secret Service to demonstrate the practicability of Scott-Archer's discovery in the severest test that the invention had ever been given. Brady was an artist by temperament and gained his technical knowledge of portraiture in the rendezvous of Paris. He had been interested in the discoveries of Niepce and Daguerre and Fox-Talbot along the crude lines of photography but with the introduction of the collodion process of Scott-Archer he accepted the science as a profession and, during twenty-five years of labor as a pioneer photographer, took the likenesses of the political celebrities of the epoch and of eminent men and women throughout the country. Brady's request was granted and he invested heavily in cameras which were made specially for the hard usage of warfare. These cameras were cumbersome and were operated by what is known as the old wet-plate process, requiring a dark room which was carried with them onto the battle-fields. The experimental operations under Brady proved so successful that they attracted the immediate attention of President Lincoln, General Grant and Allan Pinkerton, known as Major Allen and chief of the Secret Service. Equipments were hurried to all divisions of the great army and some of them found their way into the Confederate ranks. To be continue in this ebook...

In 1861, the art of photography came of age just as Civil War erupted and tore the United States apart. As a result, more than 2,000 photographers covered the conflict, making it the first historical event captured fully by the camera. Noted historian William C. Davis has chosen the finest of these images, enhancing the pictures with illuminating text that places them in context. Many of these evocative photos are rarely seen, and portray not only the battles and their tragic aftermath, but also the people caught in the devastation. "

Astonishingly clear, detailed images recall the drama, agony, and tedium of conflict. Portraits of Lincoln, Grant, Lee, and other notables, plus scenes of landmarks, camps, and battlefields. Captions, notes. 24 cards.

Lens of War grew out of an invitation to leading historians of the Civil War to select and reflect upon a single photograph. Each could choose any image and interpret it in personal and scholarly terms. The result is a remarkable set of essays by twenty-seven scholars whose numerous volumes on the Civil War have explored military, cultural, political, African American, women's, and environmental history. The essays describe a wide array of photographs and present an eclectic approach to the assignment, organized by topic: Leaders, Soldiers, Civilians, Victims, and Places. Readers will rediscover familiar photographs and figures examined in unfamiliar ways, as well as discover little-known photographs that afford intriguing perspectives. All the images are reproduced with exquisite care. Readers fascinated by the Civil War will want this unique book on their shelves, and lovers of photography will value the images and the creative, evocative reflections offered in these essays. Contributors: Stephen Berry, William A. Blair, Stephen Cushman, Gary W. Gallagher, J. Matthew Gallman, Judith A. Giesberg, Joseph T. Glatthaar, Thavolia Glymph, Earl J. Hess, Harold Holzer, Caroline E. Janney, James Marten, Kathryn Shively Meier, Megan Kate Nelson, Susan Eva O'Donovan, T. Michael Parrish, Ethan S. Rafuse, Carol Reardon, James I. Robertson Jr., Jane E. Schultz, Aaron Sheehan-Dean, Brooks D. Simpson, Daniel E. Sutherland, Emory M. Thomas, Elizabeth R. Varon, Joan Waugh, Steven E. Woodworth.