curator eleanor jones harvey describes, how art was influenced by the conflict and how the 19th century public saw symbolic significance for the war and landscape paintings and genre paintings or scenes of everyday life. we begin with a press briefing about the exhibit and then we follow along for a tour of the galleries. this is part one of a two-part program. this is a project that's been gestating for an awfully long time in the wake of the bicentennial american art scholarship really took off like a rocket but one of the things that happened as a result of the bicentennial i think is that we tended to look at historical events as benchmarks along the way nodes of progress as this great country developed, but there wasn't a lot of analytical work done on the effect of some of those events and unless you were working on an artist like winslow homer who directly engages with the civil war in general the war occurs as an event in a number of these artists' lives. it's sometimes shows up directly in works, but most of the time not and as a result, they're never really had been a deep stu

eleanor jones harvey reveals how the civil war can be seen in seemingly unrelated works such as landscape paintings. examines the work of several soldier artists. >> today's lecture where's the intriguing title automotive fourth amendment. the professor will speak about 30 minutes and then we will take questions. if you have questions or comments for the professor, please submit them via the q&a feature. the director will review those communications and present to professor as many as we can get into our somewhat constrained time limits. about our speaker. she is a professor at columbia law school. she is a legal historian of criminal law and procedure in 20th century united states. her recent c-span -- book entitled policing the open road: how cars transform american freedom. examines the history of the automobile in order to explain the evolution of the fourth amendment and to explore the dilemma of police discretion in a society committed to the rule of law. the book was named one of 2019 10 best history books by the smithsonian magazine. it also received a number of prizes including t

curator eleanor jones harvey describes, how art was influenced by the conflict and how the 19th century public saw symbolic significance for the war and landscape paintings and genre paintings or scenes of everyday life. we begin with a press briefing about the exhibit and then we follow along for a tour of the galleries. this is part one of a two-part program. this is a project that's been gestating for an awfully long time in the wake of the bicentennial american art scholarship really took off like a rocket but one of the things that happened as a

eleanor jones harvey reveals how the civil war can be seen in seemingly unrelated works such as landscape's lecture where's the intriguing title automotive fourth amendment. the professor will speak about 30 minutes and then we will take questions. if you have questions or comments for the professor, please submit them via the q&a feature.

museum where an exhibit features paintings and photographs created during the civil war curator eleanor jones harvey gives a group of journalists a tour of the galleries and describes how the conflict transformed photography and art in ways that are not always obvious. this is part two of a two-part program. one of my favorites is an artist that oh, i would say next to none of you know much about and that's conrad wise chapman. conrad is the radical confederate in the family. he is 21 years old when the war breaks out conrad grew up in italy. and he ends up coming back to the united states specifically to fight he is that rabbit about all of this the nine little oil sketches in the matching frames that you see here are all his works conrad wise chapman is at his heart a landscape painter and i think he and sanford gifford actually are kind of doppelgangers for each other if you look at gifford's pictures and you look at chapman's pictures, there are a lot of parallels in the way that they handle the skies and the emotion and the little teeny tiny figures and they're better doing little ones than the