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Art of the Americas to World War I
Course: Art of the Americas to World War I > Unit 7
Lesson 5: Realism in the United States- Becoming a city: daily life in 1820, Brooklyn
- John Wesley Jarvis, Black Hawk and His Son Whirling Thunder
- Mount, Bargaining for a Horse
- John James Audubon, The Wild Turkey
- Asher B. Durand, Kindred Spirits
- Richard Caton Woodville, War News from Mexico
- Before the Civil War, the Mexican-American War as prelude
- Face to face with the voters: Bingham's Country Politician
- Frederic Church, The Natural Bridge, Virginia
- Blythe, Justice
- Martyr or murderer? Hovenden's The Last Moments of John Brown
- The Civil War: putting Liberty front and center
- Johnson, A Ride for Liberty -- The Fugitive Slaves
- Mending America, women and the Civil War
- Cotton, oil, and the economics of history
- Eakins, The Champion Single Sculls (Max Schmitt in a Single Scull)
- Heroes of modern surgery: Eakins' Dr. Gross and Dr. Agnew
- Eakins, The Gross Clinic
- The U.S. Civil War, sharpshooters, and Winslow Homer
- Winslow Homer, Army Teamsters
- Winslow Homer, Taking Sunflower to Teacher
- Homer, The Life Line
- Homer, The Fog Warning (Halibut Fishing)
- Homer, Northeaster
- Brown, View of the Lower Falls, Grand Canyon of the Yellowstone
- The closing of the frontier and The Fall of the Cowboy
- The Radical Floriography of Sarah Mapps Douglass
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Winslow Homer, Army Teamsters
Winslow Homer, Army Teamsters, 1866, oil on canvas, 45.72 x 72.39 cm (Virginia Museum of Fine Arts, Richmond)
speakers: Dr. Christopher Oliver, Bev Purdue Jennings Assistant Curator of American Art, and Dr. Beth Harris. Created by Smarthistory.
speakers: Dr. Christopher Oliver, Bev Purdue Jennings Assistant Curator of American Art, and Dr. Beth Harris. Created by Smarthistory.
Video transcript
(upbeat piano music) - [Beth] We're in the American galleries at the Virginia Museum of Fine Arts, and we're looking at a
really interesting painting by Winslow Homer called
"Army Teamsters," 1866. So this is painted just after
the end of the Civil War, but Homer spent quite
a bit of time painting and making prints showing the
war to a Northern audience. - [Christopher] In Homer's
travels with the Union Army, he became acquainted
with the everyday aspects of this huge operation
that required the moving of so many men, goods, arms,
and so in "Army Teamsters," we see five men who are
presumably taking a moment off from their main role in
moving the Union Army. - [Beth] In art history,
when we think about paintings of war time, we
think about battle scenes or depictions of heroic
victory or heroic death, but here we have a very everyday scene which Homer would have
witnessed, and these are the men who are driving the wagons
that we see in the background. - [Christopher] For him,
it was that interest in the humanity of all
of these different people with the army, and
recognizing their hard work. The four men who are
leaning against the tent are those that who are
absolutely exhausted from having moved these wagons and mules. Now, the mules themselves,
all looking quite bedraggled, show the amount of work
that has just occurred. - [Beth] And we know that the issue of black people serving in the Union Army was a contentious one. - [Christopher] So the
Union Army did train and arm many black Americans,
but also men like these might've been swept up into the Union Army as they went through
especially Southern states and they flocked to their
freedom to the Union Army, where they could be enlisted
or at least provided with the daily requirements of life. through this very arduous labor. - [Beth] During the Civil War, enslaved people who make
their way to the Union Army, who make their way north,
don't have to be returned as property to their
owners, but can be kept as what was called contraband of war. And contraband is a difficult term to use to talk about human beings.
- Yeah, absolutely. - [Beth] And so, one term that
we used instead is refugees. These figures who fled north, who want to serve in the Union Army and are often put in
the role of Teamsters, of driving mule trains. - [Christopher] They are self-emancipating and they are trying to make the best of their lives through
continued hard labor. These figures don't seem
to rely on caricature. We have Homer's original sketches that are presumably based on five people, and I think he's recognizing them as fellow participants
in this cataclysmic war. - [Beth] And in fact, when
we compare Homer's figures to illustrations in Harpers,
there's one in particular of Teamsters who were being paid where the black figures
are very caricatured. We clearly see that that's
not what Homer is doing here. Nevertheless, a scene of black figures relaxing in the sunshine did bring to mind stereotyped images of
enslaved people as lazy. - [Christopher] Critics and
viewers were responding to that. There is a decades-long visual
history of precisely that, the black body in a moment of
relaxation asleep in the sun, something akin to what we see here. - [Beth] And for Homer,
this interest in this lovely late afternoon light where
the figures are casting long shadows on the tent behind them. - [Christopher] Perhaps
there's a coolness setting in and capturing those last
moments of warm sunlight is important to these men. - [Beth] And "The Bright Side," perhaps alluding to the
future of these men, a future that's brighter than enslavement. - [Christopher] Homer sees that as looking towards what's coming. - [Beth] Let's talk for
a minute about the figure who is sticking his
head out from the tent, and who's the only figure who
seems to be engaging with us. - [Christopher] Critics did
respond to his expression. His emerging from the tent
is wholly playing into preexisting stereotypes and caricatures of the comic black
figure that you could see in places like popular illustration, but also the minstrel stage. But what's interesting
is the grin or smirk that were often ascribed to him in contemporary printed reviews doesn't seem to be apparent
in the actual painting itself. - [Beth] We have four figures here, one of whom's torso and
head are almost completely eclipsed by the figure in the foreground. - [Christopher] So the
Figure in the foreground, who's holding a whip, seems
to be blocking the view of a man who's wearing a
blue Union Army kepi cap, something that would have been given to the enlisted soldiers. - [Beth] It's impossible
not to read the whip, which would have been used
to drive the mule train, also as a instrument of
punishment for enslaved people. - [Christopher] This object was previously used for punishment. It can now drive one forward
into a new stage in life. - [Beth] Because Homer is
embedded with the Union troops, we get this view into the
everyday life of the Union Army and the role that formerly
enslaved people could play serving the Union effort. - [Christopher] for Homer
and many of his colleagues, he would have seen this
as a positive element, being able to offer these men
freedom, labor, housing, food, all in the continued effort to win the war and be done with slavery once and for all. (upbeat piano music)