Gallery Guide

GALLERY GUIDE
Original oil paintings by Mort Kunstler at the
Virgina Museum of the Civil War
13 July throguh 7 September, 2012.

About Mort Künstler

From portraits of prehistoric American life to the odyssey of the space shuttle, Mort Kunstler has painted America's story.

Considered by many as the premier historical artist in America, Mort Kunstler has focuses mainly on the American Civil War for the past 25 years. He quickly established himself as the country's most collected Civil War artist, and earned unprecedented acclaim within the genre of Civil War art.

Mr. Kunstler's talent and training were nurtured from an early age. After studying art at Brooklyn College, U.C.I..A. and Pratt Institute, he became a successful illustrator in New York where he received assignments from book and magazine publishers.

An important part of his training resulted from his affiliation with National Geographic Magazine. It was through their assignments of historical subject matter that he learned the value of working with historians so that accuracy was firmly imbued into his concept.

Kunstler continues to paint in his Oyster Bay, Long Island, studio where he brings to life human moments of intense emotion.

Heavy Traffic on the Valley Pike
Strasburg, VA Summer, 1861

According to a Strasburg newspaper article that appeared on the 7th of September, “Fourteen locomotives, a large number of railroad cars, nine miles of track, telegraph wires and about $40,000.00 worth of machinists’ tools and materials, all belonging to the B&O Railroad, have been successfully hauled overland by the Confederates.”

This remarkable event was the first time that a train relocation of this magnitude had taken place on any railroad system in the world. In order to lighten the load, every ounce of extra weight was removed from the locomotives. This included bells, whistles, pistons, cowcatchers, smokestacks and cabs. The tenders were also removed and the heavy front wheels were temporarily replaced with extra-wide wooden wheels. Teams of forty horses were then hitched together to pull the massive load. These wagon teams included mules, thoroughbreds and workhorses.

Mort Künstler’s comments:

After several tours of the route of the Old Valley Pike (present day Route 11), I finally came up with an idea that does not look at all like either one of the first two paintings.

I moved my viewpoint to street level instead of an elevation and showed Engine 208 making the final turn just before arriving at the Strasburg railroad yards. I was also able to include a view of the iconic Signal Knob peak in the painting. As an added appeal, I included the buildings seen from the corners of King Street and Massanutton Street that were there during the Civil War and still stand today.

Lion of the Valley
Jackson in Winchester, Virginia, November 1861

Mort Künstler’s Comments:
Winchester is one of my favorite places in Virginia. It was also one of Stonewall Jackson's favorites, and he spent four of the happiest months of his life there. I've painted many pictures of Winchester and the surrounding area, but none that I like more than this one. Lion of the Valley depicts General Jackson and his brigade entering Winchester the day he established his headquarters there in 1862. In it, you'll see two period structures that were familiar to everyone in Winchester during the Civil War - the 1827 House and the Red Lion Tavern, which was established in 1783. Both still look much the same today, and I believe they have never been depicted with Jackson in a painting.

Jackson's arrival at his new headquarters in early November gave me the opportunity to use the seasonal colors of the leaves which, combined with the clear blue sky and bright sunlight, impart the optimism that was felt by Jackson and the army at this time of the war. I deliberately placed only Stonewall and Little Sorrel in sunlight to make them the center of attention. To reinforce this design element, I painted Jackson as the only figure clearly silhouetted against the sky. I utilized one point perspective to additionally draw the eye to the general by having the lines of the buildings, the curbing, and the wagon tracks lead the viewer to Jackson. The Loudon Street Presbyterian Church is aptly positioned directly behind Jackson. He worshipped there and passed by countless times in the exercise of his duties.
The first national flag catches the sunlight and adds an additional touch of color to the painting; the infantry soldier's rifle lead the viewers attention always back to the painting's centerpiece: Stonewall Jackson.

A Fleeting Moment
Stonewall and Mary Anna Jackson, Winchester, Virginia, February 1, 1862

Mort Künstler’s Comments:
“Stonewall” Jackson was always active – always on the go, making sure that every order was executed and every detail was carried out. It was his personality and also a reflection of his professional motivation. He spent a lot of time that winter, in the snow, moving around Winchester and at various times was able to have a precious moment or two with his wife.

This painting takes place on Loudoun Street in Winchester, highlighted by the Loudoun Street Presbyterian Church. The church is still standing today, but its appearance has changed radically since the Civil War. Dedicated in 1841, the current façade and steeple were erected in 1883. The steeple replaced the cupola seen in the painting. I felt it was the perfect setting for Jackson and Mary Anna. The church and the street were familiar to both of them. They worshipped at the church that winter, and Jackson passed that way many times on his official duties. All the buildings in this latest painting are still standing except for a few in the background. This view of Loudoun Street can still be enjoyed on the walking mall in Old Historic Winchester.

I hope the painting reflects the special relationship that existed between the general and his wife, which, of course, did much to contribute to the remarkable man we all know today as “Stonewall” Jackson.

Especially For You
Winchester, Virginia, May 25, 1862

Mort Künstler’s Comments:
The setting of this painting is Winchester, Virginia. The important Shenandoah Valley town repeatedly changed hands during the war, as it was occupied at different times by Federal and Confederate armies. This event is set on May 25, 1862, as General “Stonewall” Jackson’s army enters the town in a victorious parade.

The center of interest is the young girl who is handing an apple to a young infantryman passing through town on the march.

This is a family portrait for me. My granddaughter Laura posed as the girl with the apple and her mother is my wife Deborah. My grandson Andrew posed for the boy on the sidewalk. The mother and baby are my daughter Jane and my grandson Tom.
I used a number of artistic devices to heighten the emotion of the painting. To emphasize the apple, I placed the boy’s drum directly behind the two hands, and used the dappled sunlight coming through a tree to spotlight the little girl and the soldier.

Jackson’s “Foot” Cavalry
Old Mill, Strasburg, Virginia, June 1, 1862

Mort Künstler’s Comments:
I have never tired of painting General Stonewall Jackson. He was such a remarkable commander, such a fascinating man, and he did so much that I will never run short of extraordinary exploits to paint. Each painting has its own distinctive challenges, and offers its own set of opportunities. I’ve painted scenes from his brilliant Valley Campaign on several occasions, but I really wanted to paint a study of his famous “Foot Cavalry” with Jackson at their center.

Being able to use the scenery of Virginia’s Shenandoah Valley as a backdrop is always a bonus – and especially in this picture. There’s a wonderfully picturesque old gristmill near Strasburg, Virginia – now preserved as an inn and restaurant called the Old Mill Tavern. Jackson and his “Foot Cavalry” marched by it during Jackson’s Valley Campaign. What better background for Jackson and his soldiers than this wonderful old historical landmark?

The date of the painting provided a unique color scheme. For almost a week prior to May 31, 1862, the weather had been rainy. This actually allowed me the opportunity to use a different color scheme than anything I’ve painted with Jackson in the past.

The final piece of the puzzle was how to depict the army. Jackson’s famous “Foot Cavalry” was a colorful mix of young boys in ill-fitting uniforms and savvy veterans – all understandably road-worn from their incredible forced marches. At Strasburg, where they’re here depicted, they escaped a Northern trap – to survive, achieve victory in Jackson’s “Valley Campaign” and earn a level of fame unsurpassed by any troops on either side in the Civil War. They made fascinating subjects for me.

Angel of the Battlefield
Clara Barton with
Walt Whitman at Chatham, December 1862

Mort Künstler’s Comments:
Chatham is located in Falmouth, Virginia, on the Rappahannock River. The view of the river and Fredericksburg is spectacular. The visitors list itself is awesome. It is the only building ever visited by Washington and Lincoln. Famed Virginia visitors were Thomas Jefferson and Robert E. Lee, and numerous Union generals used it as their headquarters.

What intrigued me, as an idea for a painting, was that after the battle of Fredericksburg, the building was used as a hospital, and that both Clara Barton and Walt Whitman were there at the same time! What an opportunity: to paint Clara Barton, the icon of American nursing, and Walt Whitman, an icon of Long Island and American literature! Add a beautiful building and view, and it seemed to me that this painting would almost paint itself.

By placing the scene outside, I was able to face southwest and not only get a view of the house, but also capture the great vista of Fredericksburg. By setting the time of day at about sunset, the lighting became my best ally. I was able to not only silhouette the city and show the Rappahannock, but use it as a spotlight on the main story – Clara Barton tending to Confederate soldier Capt. Thurman Thomas of the 13th Mississippi Volunteers. The smoke from the fires, as well as the white of the canvas from the tents that were pitched in front of Chatham, helped to emphasize Clara Barton and Walt Whitman, as well as to tell the secondary stories.

Brief Encounter
Middleburg, Virginia, February 1863
Mort Künstler’s Comments:
One of the most picturesque areas in the Virginia Piedmont is Middleburg, and that’s where I have set Brief Encounter – outside the Red Fox Inn.

I decided to use this historic setting to represent how the fortunes of war produced so many partings and so many fleeting encounters. I painted the main figures small, as if dwarfed by the events of war, and used a number of different artistic devices. I utilized the lamp light from the inn to silhouette the figures, and then emphasized the warm light by making the scene a cool colored, moonlit night.

The cavalry squadron is depicted in a brief calm moment. The center of interest is an officer tipping his hat to a young woman. Is he saying goodbye to his wife or a sweetheart? Or is it a chance encounter that holds hope for the future? You can decide. Either way, it’s a “leave-taking” in the midst of war and there may be no return.

Mrs. Jackson Comes to Winchester
“Stonewall” and Mary Anna at the Taylor Hotel, December 23, 1862

Mort Künstler’s Comments:
The following excerpt from the book Stonewall Jackson by Dr. James I. Robertson, Jr. is what inspired this painting:
“… A wonderful distraction gripped his mind: his beloved Anna was due to arrive in Winchester at any time. For weeks she had been begging to join her husband. When he seemed agreeable in mid-November, Anna packed quickly for the trip. ... Friends accompanied her to Richmond; “a kind-hearted but absent-minded old clergyman” traveled with her the rest of the way—even though he managed to lose Anna’s trunk in the process.

“The final stagecoach ride brought Anna to Winchester late at night. She disembarked in front of the Taylor Hotel without baggage and with no one to greet her. With uncertainty she started up the hotel steps. A heavily bearded soldier stepped away from a group of people on the sidewalk and slowly walked up behind her. Powerful arms swung Anna around; kisses rained on her face. It was Jackson."

Even before the war brought armies to its door, the Taylor Hotel was one of the most popular gathering places in all of Winchester. Its three-story building shadowed main-street, standing just down the road from the town’s Greek revival courthouse and alongside solid brick shops, and quaint taverns.

Although it is no longer open, the structure is still standing and has become a beacon to architectural preservationists in the area.

The Gray Ghost
Mosby in Warrenton, January 18, 1863

Mort Künstler’s Comments:
Placing John Singleton Mosby in Warrenton, Virginia was easy because he operated often out of that area. I wanted to capture a significant moment in his storied career and I also wanted a snow scene. I learned that his first independent command was formed in Warrenton and his original fifteen men stopped off at the Warren-Green Hotel for dinner on January 18, 1863.

By moving my viewpoint around to what is now the Alexandria Pike, I realized that I would not only get a very different angle of the Courthouse from a previous painting, but I could also get the Warren-Green Hotel in the background. I was delighted to learn that it was indeed a bitterly cold windy day that had turned everything white and icy. This gave me my snow scene.

Rendezvous with Destiny
Gen. John Buford at Gettysburg, June 30, 1863
Mort Künstler’s Comments:
On the morning of June 30th, Union General John Buford led two brigades of cavalry into Gettysburg, supported by six pieces of artillery. Buford led his horse soldiers by the Adams County Courthouse in Gettysburg, and positioned his artillery on Seminary Ridge. Apparently, no one has ever painted the courthouse in this setting. It’s a handsome, distinctive Civil War era building that has been beautifully restored – and I felt it was the perfect setting for this painting of Buford – Rendezvous with Destiny. I love the excitement in this painting – all the action, the bright sunlit morning, the horses and military tack and General John Buford.

It had rained in the early morning, which gave me the opportunity to paint an interesting, clearing sky radiating sunlight. The dark clouds at the top of the painting, based on weather reports of the day, lend much more drama to the scene than a blue sky. I placed the white portion of the cavalry guidon directly behind Buford’s black hat – the darkest dark against the lightest light – which draws the viewer to the center of interest. I was also able to use the brightest color, the red portion of the guidon, to attract attention to General Buford as the painting’s center of interest.

In a painting like this one, the action has to appear authentic – not just the faces, the weapons and equipment – but the feel of the moment has to be genuine. To achieve that, I had to paint the horses in the midst of urgent movement. Thankfully, I’ve studied and painted horses for decades, so I was able to apply that experience and knowledge to this scene – and I believe it works very well. I hope the viewer who studies this painting agrees – and is reminded of American heroes like John Buford and the countless others from the North and South who demonstrated such remarkable valor at Gettysburg.

Unconquered Spirit
A.P. Hill, Lee, and Longstreet, Orange, August 1863

The Orange Courthouse, built in 1859, is one of the first courthouses in the South to be based on the Italianate style. In 1949, its splendid arcaded porch was changed by bricking up the arches to create more office space. Fortunately, it was restored in 2003 and I feel very fortunate to be able to paint it for the first time as it looked during the Civil War.

Robert E. Lee was always the center of interest, in real life as he is here in this painting. I have used the perspective lines of the courthouse to lead the eye, as well as silhouetting him and his hand gesture against the sky. His black hat against the white clouds also helps to draw the eye to him. A.P. Hill, on his black horse Prince, had been given a few days’ leave to visit his family and home in nearby Culpeper. Lee’s “Old War Horse,” James Longstreet with his ever-present cigar, is to the general’s immediate right.

The Army of Northern Virginia would have taken several days to pass by the Orange County Courthouse. Having marched up the hill behind the courthouse, it made a right turn onto present day Main Street. They would eventually go into their winter camps strung out behind the Rapidan Line earthworks and prepare for what we know would be the upcoming, crucial spring campaign of 1864.

Sheridan’s Ride

During the Shenandoah campaign of 1864, Confederate Gen. Jubal A. Early attacked Union Gen. Philip H. Sheridan's army at dawn on 19 October along Cedar Creek, near Strasburg, Virginia, throwing two Union corps into panic. Sheridan, returning from Washington, D.C., had stopped at Winchester on the night of the eighteenth.

Awakened the next morning by the distant sound of artillery, he left for the front and soon encountered his routed commands. He reached the battlefield about 10:30 A.M., and his presence quickly restored confidence. By midafternoon the Confederates were in retreat. A poem written several months later by Thomas Buchanan Read, with its refrain, "And Sheridan twenty miles away," fixed his ride in the public mind as one of the heroic events of the war.

How Real Soldiers Live

Mort Künstler's Comments:
This painting can be considered a prequel to my painting “Merry Christmas, General Lee,” in which General Robert E. Lee is riding away from the famous Corbin family estate of Moss Neck. On Christmas night, as guests arrived for a party at the mansion, Lee was leaving the small office building of the grand estate where he had attended a Christmas dinner at the invitation of Stonewall Jackson.

I always wanted to do a painting of that dinner, but could not bear to do a totally indoor scene for my annual winter snow print. After years of trying to come up with a composition that would say “snow” and Christmas dinner, I finally composed this painting. It was inspired by the single paragraph in Douglas Southall Freeman’s monumental biography of Robert E. Lee that stated:

"For his own dinner he went by invitation to Jackson’s headquarters, where the doughty ‘Stonewall’ entertained him, Pendleton, and their staffs. Jackson had received many presents of food from admirers and was able to spread a sumptuous table, not forgetting to have his waiters in white aprons. This fastidious touch, in such a setting, appealed to Lee’s sense of humor. He had much jest at the lavishness of Jackson’s entourage. Jackson as his lieutenants, he said, were playing at soldier. They must come and dine with him to see how real soldiers lived. His great lieutenant, of course, was both pleased and confused at Lee’s comments."

My idea was to capture the viewer in an emotional moment. I decided to contrast the cold loneliness of the sentry peering in the window, to the warm convivial atmosphere of the party going on inside. I also used a cool color palette for the outside of the building and, quite naturally, the warm colors at the opposite end of the spectrum for the interior scene. Making the sentry large emphasized the story of the different circumstances of the officers and the sentry. I tried to depict the private as perhaps envious, but in awe of getting this close private view of the two great Confederate generals.