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Dónde cuelga la obra maestra y cuándo le dejan pasar.

Colecciones: Galería Nacional de Arte, Galería Nacional de Dinamarca, Galería Nacional de Retratos, Galería Tretiakov, Harvard Art Museums, Instituto de Arte de Chicago, Instituto de Artes de Mineápolis, MoMA, Museo de Arte de Cleveland, Museo de Victoria y Alberto, Museo del Hermitage, Museo del Louvre, Museo Estatal Ruso, Museo Hirshhorn y Jardín de Esculturas, Museo J. Paul Getty, Museo Metropolitano de Arte, Museo Pushkin, Museo Smithsoniano de Arte Americano, Museo Whitney de Arte Estadounidense, National Museum of Asian Art, Rijksmuseum, Villa Getty, Catálogo Estatal del Fondo Museístico de Rusia (274 museos), Europeana (19 museos), Wikidata (6 museos), Paris Musées (12 museos) y Joconde, la base de museos del Ministerio de Cultura de Francia (495 museos). Las imágenes pertenecen a sus titulares de derechos.

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  3. Edwin Forrest as Macbeth
Edwin Forrest as Macbeth, Mathew B. Brady, c. 1861

Edwin Forrest as Macbeth

c. 1861 · Photographic Negative

Ficha

c. 1861
18231896
Número de inventario
NPG.88.96

Mientras tanto, en la vida de Mathew B. Brady

La vida entera
  1. 1850s

    His eyesight begins to fail

    In the 1850s Brady’s eyesight begins to deteriorate; this may in part explain why he later rarely visited the battlefields himself and why many images in his collection are thought to be the work of his assistants.

  2. 1861

    Lincoln permits him to photograph the war

    Taken with the idea of documenting the war itself, Brady first asks his old friend General Winfield Scott, and then President Lincoln, for permission to send his photographers to the battle sites; Lincoln agrees in 1861 on condition that Brady finances the project himself. Despite the dangers, the financial risk and his friends’ discouragement, he said he simply had to go.

  3. 1861

    Under fire at Bull Run

    His first popular photographs of the conflict are taken at the First Battle of Bull Run, where he gets so close to the action that he barely avoids capture; later he comes under direct fire at Petersburg and Fredericksburg.

  4. 1861

    Hires photographers with travelling darkrooms

    He employs Alexander Gardner, James Gardner, Timothy H. O’Sullivan, William Pywell, George N. Barnard, Thomas C. Roche and seventeen other men, giving each a travelling darkroom. Brady himself generally resides in Washington, organizing his assistants and rarely visiting the battlefields, so many images in his collection are the work of his assistants.

  5. 1861

    Offers parents portraits of departing soldiers

Más obras de Mathew B. Brady

Todas las obras

Bajo el mismo techo: Galería Nacional de Retratos

Página del museo

Sobre el mismo tema · Wall

Todas las obras sobre el tema

When the Civil War begins, sales of cartes de visite to departing soldiers rise briskly; in the New-York Daily Tribune Brady runs an advertisement warning parents that it may soon be too late to capture their sons’ likenesses.

  • October 1862

    Exhibition “The Dead of Antietam”

    He opens, in his New York gallery, an exhibition of photographs of the Battle of Antietam; many of the images show corpses, a presentation new to America — the first time many Americans saw the realities of war in photographs rather than in artists’ impressions.

  • Mathew B. Brady, retratoMathew B. BradyEstados Unidos, 1823–1896

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    GNR
    Galería Nacional de Retratos

    Washington D. C., Estados Unidos

    Se conoce el propietario; no se sabe si hoy está expuesta.

    En este estado desde
    5 oct 2026
    Fuente
    El museo
    En el mapaPágina del museo

    Lo que muestra

    WallArts and CultureShieldMustachesDress accessoriesDesignWeaponsSwords

    En el catálogo

    FotografíaRealismoImpresionismoSiglo XIX

    Fuentes

    • Galería Nacional de Retratos
    • Imagen: Galería Nacional de Retratos — National Portrait Gallery, Smithsonian Institution (CC0)
    Untitled, Mathew B. Brady, 1860-70

    Untitled

    1860-70 · No expuesta · MoMA

    Ernestine Souvenir, Mathew B. Brady, 1860-69

    Ernestine Souvenir

    1860-69 · No expuesta · MoMA

    Untitled, Mathew B. Brady, c. 1860

    Untitled

    c. 1860 · No expuesta · MoMA

    General Ulysses S. Grant, Mathew B. Brady, 1861-65

    General Ulysses S. Grant

    1861-65 · No expuesta · MoMA

    President Lincoln, Mathew B. Brady, c. 1862

    President Lincoln

    c. 1862 · No expuesta · MoMA

    Ruins of Richmond, Mathew B. Brady, 1863-65

    Ruins of Richmond

    1863-65 · No expuesta · MoMA

    Ruins of the Gallego Flour Mills, Richmond, Virginia, Mathew B. Brady (studio of), Alexander Gardner, 1865

    Ruins of the Gallego Flour Mills, Richmond, Virginia

    1865 · No expuesta · MoMA

    Ruins of Richmond & Petersburg Railroad Bridge, Richmond, Virginia, Mathew B. Brady, April 1865

    Ruins of Richmond & Petersburg Railroad Bridge, Richmond, Virginia

    April 1865 · No expuesta · MoMA

    Robert F. Kennedy, Gardner Cox, 1968

    Gardner Cox

    Robert F. Kennedy, 1968

    Babe Ruth, Paolo Garretto, 1929

    Paolo Garretto

    Babe Ruth, 1929

    Alice Dunbar Nelson, Laura Wheeler Waring, 1927

    Laura Wheeler Waring

    Alice Dunbar Nelson, 1927

    Pauline Morton Sabin, Philip Alexius de László, 1926

    Philip Alexius de László

    Pauline Morton Sabin, 1926

    Adolph Ochs, Philip Alexius de László, 1926

    Philip Alexius de László

    Adolph Ochs, 1926

    Samuel Gompers, Moses Wainer Dykaar, 1924

    Moses Wainer Dykaar

    Samuel Gompers, 1924

    Alexander Graham Bell, Moses Wainer Dykaar, 1922

    Moses Wainer Dykaar

    Alexander Graham Bell, 1922

    Lillian D. Wald, William Valentine Schevill, 1919

    William Valentine Schevill

    Lillian D. Wald, 1919

    Dying Minotaur and Compassionate Young Woman (Minotaure mourant et jeune femme pitoyable), Pablo Picasso, 1933

    Pablo Picasso

    Dying Minotaur and Compassionate Young Woman (Minotaure mourant et jeune femme pitoyable), 1933

    No expuesta · Galería Nacional de Arte

    Jon Gould, Andy Warhol, 1980-1985

    Andy Warhol

    Jon Gould, 1980-1985

    No expuesta · Galería Nacional de Arte

    Christ Preaching (The Hundred Guilder Print), Rembrandt van Rijn, c. 1649

    Rembrandt van Rijn

    Christ Preaching (The Hundred Guilder Print), c. 1649

    No expuesta · Galería Nacional de Arte

    La desgraciada muerte de Pepe Illo en la plaza de Madrid (The Unlucky Death of Pepe Illo in the Ring at Madrid), Francisco Goya, in or before 1816

    Francisco de Goya

    La desgraciada muerte de Pepe Illo en la plaza de Madrid (The Unlucky Death of Pepe Illo in the Ring at Madrid), in or before 1816

    No expuesta · Galería Nacional de Arte

    Disparate furioso (Furious Folly), Francisco Goya, in or after 1816

    Francisco de Goya

    Disparate furioso (Furious Folly), in or after 1816

    No expuesta · Galería Nacional de Arte

    Pepe Illo haciendo el recorte al toro (Pepe Illo Making the Pass of the "Recorte"), Francisco Goya, in or before 1816

    Francisco de Goya

    Pepe Illo haciendo el recorte al toro (Pepe Illo Making the Pass of the "Recorte"), in or before 1816

    No expuesta · Galería Nacional de Arte

    Valor varonil de la celebre Pajuelera en la de Zaragoza (Manly Courage of the Celebrated Pajuelera in the Ring at Saragossa), Francisco Goya, in or before 1816

    Francisco de Goya

    Valor varonil de la celebre Pajuelera en la de Zaragoza (Manly Courage of the Celebrated Pajuelera in the Ring at Saragossa), in or before 1816

    No expuesta · Galería Nacional de Arte

    Ligereza y atrevimiento de Juanito Apinani en la de Madrid (The Agility and Audacityof Juanito Apinani in the Ring at Madrid), Francisco Goya, in or before 1816

    Francisco de Goya

    Ligereza y atrevimiento de Juanito Apinani en la de Madrid (The Agility and Audacityof Juanito Apinani in the Ring at Madrid), in or before 1816

    No expuesta · Galería Nacional de Arte