{
"data": {
"id": 154039,
"accession_number": "1988.159",
"share_license_status": "CC0",
"tombstone": "Battlefield of New Hope Church, Georgia, No. 2, 1865\u20131866. George N. Barnard (American, 1819\u20131902). Albumen print from wet collodion negative; image: 25.4 x 35.6 cm (10 x 14 in.); matted: 50.8 x 61 cm (20 x 24 in.). The Cleveland Museum of Art, John L. Severance Fund, 1988.159",
"current_location": null,
"title": "Battlefield of New Hope Church, Georgia, No. 2",
"creation_date": "1865\u20131866",
"creation_date_earliest": 1865,
"creation_date_latest": 1866,
"artists_tags": [
"male"
],
"culture": [
"America"
],
"technique": "albumen print from wet collodion negative",
"support_materials": [],
"department": "Photography",
"collection": "Photography",
"type": "Photograph",
"measurements": "Image: 25.4 x 35.6 cm (10 x 14 in.); Matted: 50.8 x 61 cm (20 x 24 in.)",
"dimensions": {
"image": {
"height": 0.254,
"height_inch": 10,
"height_inch_fraction": 0.0,
"width": 0.356,
"width_inch": 14,
"width_inch_fraction": 0.0
},
"matted": {
"height": 0.508,
"height_inch": 20,
"height_inch_fraction": 0.0,
"width": 0.61,
"width_inch": 24,
"width_inch_fraction": 0.0
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [],
"exhibitions": {
"current": [
{
"id": 310247,
"title": "Photographs: Recent Acquisitions",
"description": "Photographs: Recent Acquisitions. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-May 14, 1989).",
"opening_date": "1989-03-17T05:00:00"
},
{
"id": 311875,
"title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art",
"description": "Legacy of Light: Master Photographs from the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).",
"opening_date": "1996-11-24T05:00:00"
},
{
"id": 203110,
"title": "BIG: Photographs from the Collection",
"description": "BIG: Photographs from the Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 12-October 9, 2016).",
"opening_date": "2016-06-04T04:00:00"
}
],
"legacy": [
{
"description": "The Documentary Photograph as a Work of Art: American Photographs, 1860-1876. The David and Alfred Smart Gallery, University of Chicago, Chicago, IL (October 13-December 12, 1976).",
"opening_date": "1976-10-13T00:00:00"
},
{
"description": "Photography: The First Eighty Years. P & D Colnaghi & Co., Ltd., London, UK (October 27-December 1, 1976).",
"opening_date": "1976-10-27T00:00:00"
}
]
},
"provenance": [],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": null,
"early_education_description": null,
"artlens_description": null,
"description": "From the medium\u2019s beginnings in the 1830s through the 1880s, most photographs were intimately scaled objects meant for the hand, the album, and the home. As the medium began being used to document landscapes and monuments in the 1850s, larger scale processes arose such as the glass-plate negative. The mammoth print truly seemed gargantuan in the 1860s. For much of the 20th century, the 8-x-10-inch gelatin silver print was the norm for photojournalism; these prints were destined for reproduction in books and magazines around the same scale.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q60755015"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1988.159-battlefield-of-new-h"
]
},
"citations": [
{
"citation": "David and Alfred Smart Gallery, Joel Snyder, and Doug Munson. The Documentary Photograph As a Work of Art: American Photographs, 1860-1876. [Chicago]: David and Alfred Smart Gallery, University of Chicago, 1976.",
"page_number": "p. 41, no. 3",
"url": null
},
{
"citation": "P. & D. Colnaghi & Co, Howard Ricketts, and Harry Lunn. Photography: The First Eighty Years : [Catalogue of an Exhibition] 27 October to 1 December 1976. London: P. & D. Colnaghi, 1976.",
"page_number": "exh. cat. no. 239, p. 142",
"url": null
},
{
"citation": "Cleveland Museum of Art, Tom E Hinson. Catalogue of Photography. Cleveland, OH: Cleveland Museum of Art, 1996.",
"page_number": "Reproduced: P. 92",
"url": ""
}
],
"url": "https://clevelandart.org/art/1988.159",
"images": {
"annotation": null,
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1988.159/1988.159_web.jpg",
"width": "1252",
"height": "893",
"filesize": "837740",
"filename": "1988.159_web.jpg"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1988.159/1988.159_print.jpg",
"width": "3400",
"height": "2425",
"filesize": "5086419",
"filename": "1988.159_print.jpg"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1988.159/1988.159_full.tif",
"width": "5812",
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"filesize": "72322340",
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}
},
"alternate_images": [],
"creditline": "John L. Severance Fund",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 154039,
"creators": [
{
"id": 217,
"description": "George N. Barnard (American, 1819\u20131902)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "George N. Barnard American, 1819 - 1902\r\n\r\nBorn in Connecticut, in 1843 George Barnard opened one of America's first daguerreotype studios in Oswego, New York, shortly after the invention of photography. Ten years later, he produced a daguerreotype of the Ames Mill fire in Oswego (now in the collection of George Eastman House, Rochester). Considered the first news photograph, this image was reproduced as an engraving and circulated widely, gaining Barnard the public's attention.\r\n\tIn 1854 Barnard moved his studio to Syracuse, where he began to use the collodion process. By the time of the Civil War, he had been hired by Mathew Brady and soon met many other fellow photographers\u2014including Timothy O'Sullivan and Alexander Gardner, who also had adopted the wet plate process and whose work during these years paralleled Barnard's. Over the course of his career, he had several professional partners, including Alonzo C. Nichols and James F. Gibson.\r\n\tBarnard's Civil War work is probably his best known. In 1864 he was appointed official photographer for General William T. Sherman's march to the sea, a position that resulted in the 61 plates that constitute his Photographic Views of Sherman's Campaign (1866). A classic work of photographic reportage, its somewhat romantic style is quite distinct from that of his colleagues. After the war, Barnard operated a studio in Chicago, which was destroyed by the Great Fire of 1871 -- a scene that he photographed. He later worked briefly with George Eastman and from 1884-86 operated a studio in Painesville, Ohio, before his death in New York state. T.W.F.",
"name_in_original_language": null,
"birth_year": "1819",
"death_year": "1902",
"use_in_caption": true,
"include_extent": false,
"weight": 1
}
],
"legal_status": "accessioned",
"accession_date": "1989-06-29T00:00:00",
"sortable_date": 1865,
"date_added_to_oa": null,
"date_text": "1865\u20131866",
"collapse_artists": false,
"on_loan": false,
"recently_acquired": false,
"record_type": "object",
"conservation_statement": null,
"has_conservation_images": false,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-05-29 07:57:55.413000"
}
}