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  1. Collection/
  2. National Portrait Gallery/
  3. Edwin Forrest as Macbeth
Edwin Forrest as Macbeth, Mathew B. Brady, c. 1861

Edwin Forrest as Macbeth

c. 1861 · Photographic Negative

Notice

c. 1861
18231896
Numéro d’inventaire
NPG.88.96

Pendant ce temps, chez Mathew B. Brady

La vie entière
  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

Autres œuvres : Mathew B. Brady

Toutes les œuvres

Sous le même toit : National Portrait Gallery

Page du musée

Sur le même thème · Wall

Toutes les œuvres sur ce thème

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, portraitMathew B. BradyÉtats-Unis, 1823–1896

    Peut-on la contempler ?

    Inconnu

    NPG
    National Portrait Gallery

    Washington, États-Unis

    Le propriétaire est connu ; on ignore si l’œuvre est exposée aujourd’hui.

    Dans cet état depuis
    5 oct. 2026
    Source
    Le musée
    Sur la cartePage du musée

    Ce qu’elle montre

    WallArts and CultureShieldMustachesDress accessoriesDesignWeaponsSwords

    Au catalogue

    PhotographiesRéalismeImpressionnismeXIXe siècle

    Sources

    • National Portrait Gallery
    • Image : National Portrait Gallery — National Portrait Gallery, Smithsonian Institution (CC0)
    Untitled, Mathew B. Brady, 1860-70

    Untitled

    1860-70 · Non exposée · Museum of Modern Art

    Ernestine Souvenir, Mathew B. Brady, 1860-69

    Ernestine Souvenir

    1860-69 · Non exposée · Museum of Modern Art

    Untitled, Mathew B. Brady, c. 1860

    Untitled

    c. 1860 · Non exposée · Museum of Modern Art

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

    General Ulysses S. Grant

    1861-65 · Non exposée · Museum of Modern Art

    President Lincoln, Mathew B. Brady, c. 1862

    President Lincoln

    c. 1862 · Non exposée · Museum of Modern Art

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

    Ruins of Richmond

    1863-65 · Non exposée · Museum of Modern Art

    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 · Non exposée · Museum of Modern Art

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

    Ruins of Richmond & Petersburg Railroad Bridge, Richmond, Virginia

    April 1865 · Non exposée · Museum of Modern Art

    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

    Non exposée · National Gallery of Art

    Jon Gould, Andy Warhol, 1980-1985

    Andy Warhol

    Jon Gould, 1980-1985

    Non exposée · National Gallery of Art

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

    Rembrandt van Rijn

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

    Non exposée · National Gallery of Art

    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

    Non exposée · National Gallery of Art

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

    Francisco de Goya

    Disparate furioso (Furious Folly), in or after 1816

    Non exposée · National Gallery of Art

    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

    Non exposée · National Gallery of Art

    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

    Non exposée · National Gallery of Art

    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

    Non exposée · National Gallery of Art