The American Revolution (1775 to1783)
inspired generations of artists who sought to capture its drama, heroism,
sacrifice, and ideals. While many works were created long after the
events—often blending historical fact with artistic license and symbolism—these
paintings have profoundly shaped how Americans visualize their founding
struggle. They range from near-contemporary propaganda pieces to grand
19th-century historical epics. Among the best:
Trumbull
memorializes the June 1775 Battle of Bunker Hill and the death of Dr. Joseph
Warren, a prominent Patriot. The chaotic battle scene captures heroism and
sacrifice, drawing on Trumbull's firsthand war experience. It is one of his
series of eight major Revolutionary history paintings.
Anti-Tank
Dogs: Soviet forces trained dogs to carry explosives on their backs
and run under enemy tanks, detonating on contact. Though used with some success
early on, many dogs returned to Soviet lines creating havoc.
Combat
Camels: In the Kalmyk and Astrakhan steppes, over 300 camels were used
for transport and artillery hauling, with one reportedly spitting on the
Reichstag in Berlin.
Lend-Lease
Spam: American-supplied SPAM canned meat became a vital protein source
for the Red Army, so valued that Soviet soldiers sometimes called it
"Second Front" and Khrushchev later credited it with helping feed the
troops.
Tractor
"Tanks": In 1941 Odessa, Soviets disguised farm tractors as
tanks with fake armor, guns, and sirens to bluff and frighten Romanian forces
at night.
The American Revolution (1775 to1783)
inspired generations of artists who sought to capture its drama, heroism,
sacrifice, and ideals. While many works were created long after the
events—often blending historical fact with artistic license and symbolism—these
paintings have profoundly shaped how Americans visualize their founding
struggle. They range from near-contemporary propaganda pieces to grand
19th-century historical epics. Among the best:
Though an engraving rather than an oil
painting, this is one of the most influential images from the Revolutionary
era. Paul Revere's propaganda print shows British soldiers firing into a crowd
of unarmed Boston civilians on March 5, 1770, killing five. It exaggerates
British aggression to inflame colonial sentiment and remains a powerful example
of visual propaganda.
William Paul Roberts
(1841–1910) earned the distinction of becoming the youngest general officer in
the Confederate States Army. Born in Gates County, North Carolina, he enlisted
as a private in the 15th North Carolina Infantry at age 19. His bravery and
leadership shone through in battles like Fredericksburg and Brandy Station.
Rising rapidly through the
ranks, Roberts commanded cavalry units. On February 23, 1865, at just 23 years
old, he was promoted to brigadier general, leading a cavalry brigade in the
Army of Northern Virginia during the war’s final campaigns.
After Appomattox, he returned
to civilian life as a farmer, legislator, and state auditor.
The American Revolution (1775 to1783)
inspired generations of artists who sought to capture its drama, heroism,
sacrifice, and ideals. While many works were created long after the
events—often blending historical fact with artistic license and symbolism—these
paintings have profoundly shaped how Americans visualize their founding
struggle. They range from near-contemporary propaganda pieces to grand
19th-century historical epics. Among the best:
A Trumbull masterpiece in the Capitol
Rotunda, this depicts the British surrender at Yorktown in 1781, effectively
ending major combat. American and French forces receive the surrender
(Cornwallis himself is absent, citing illness). The painting highlights the
Franco-American alliance and military triumph, with careful attention to
uniforms and figures based on Trumbull's research and portraits.
The oddest things about the
Italian army in World War 2 include:
Tankette Obsession: Italy relied heavily on tiny L3
tankettes—light, machine-gun-only vehicles suited more for colonial policing
than modern warfare. They were often outclassed and even flipped by determined
infantry.
Bersaglieri Feather Plumes: Elite Bersaglieri light infantry
wore distinctive cock’s-feather plumes on helmets even in combat, maintaining
flamboyant traditions amid mechanized war.
Mass Surrenders with Leaflets: In North Africa, Italian units
sometimes surrendered en masse to propaganda leaflets. One story claims a
soldier asked for an extra leaflet to convince his buddy.
The American Revolution (1775 to1783)
inspired generations of artists who sought to capture its drama, heroism,
sacrifice, and ideals. While many works were created long after the
events—often blending historical fact with artistic license and symbolism—these
paintings have profoundly shaped how Americans visualize their founding
struggle. They range from near-contemporary propaganda pieces to grand
19th-century historical epics. Among the best:
Sully's
massive canvas portrays Washington on horseback overseeing the Delaware
crossing, with soldiers, horses, and cannons in dramatic action under a stormy
sky. It emphasizes tension and resolve. Though less famous than Leutze’s
version, it was an ambitious early attempt at the subject.
The American Revolution (1775 to1783)
inspired generations of artists who sought to capture its drama, heroism,
sacrifice, and ideals. While many works were created long after the
events—often blending historical fact with artistic license and symbolism—these
paintings have profoundly shaped how Americans visualize their founding
struggle. They range from near-contemporary propaganda pieces to grand
19th-century historical epics. Among the best:
This
later work captures the opening skirmish at Lexington on April 19,
1775—"the shot heard round the world." It shows the tense clash
between colonial militia and British troops, conveying the sudden ignition of
war.
The American Revolution (1775 to1783)
inspired generations of artists who sought to capture its drama, heroism,
sacrifice, and ideals. While many works were created long after the
events—often blending historical fact with artistic license and symbolism—these
paintings have profoundly shaped how Americans visualize their founding
struggle. They range from near-contemporary propaganda pieces to grand
19th-century historical epics. Among the best:
Trego
depicts the Continental Army's grueling winter march to Valley Forge in
December 1777, highlighting hardship, resilience, and determination. Soldiers
trudge through snow with Washington leading; it humanizes the suffering and
endurance of the Revolutionary forces.
These
artworks, while often romanticized, have educated and inspired millions. Many
hang in major museums or the U.S. Capitol, and their reproductions appeared in
textbooks, prints, and currency. They remind us that the Revolution was not
just a series of battles but a profound story of ideas, sacrifice, and nation-building.
For deeper study, resources from the American Revolution Institute and museums
like the Met offer rich context.
Jefferson
Randolph "Soapy" Smith (1860 to 1898) stands out as the greatest and
most infamous con artist of the Old West.
Born in Georgia, he rose to become
known as the "King of the Frontier Con Men." He operated across
Texas, Colorado and Alaska during theKlondike Gold Rush. His signature scam
was the "prize soap racket": he'd wrap bars of soap, claim some
contained $100 bills, and auction them off. Shills in the crowd would
"win" big prizes to hype it up, while most buyers got plain soap.
This simple sleight-of-hand built his reputation and fortune.
Smith didn't just run small street
hustles. He organized large gangs (the "Soap Gang") that ran shell
games, three-card monte, crooked gambling, and other cons. He bribed officials,
controlled parts of towns, and posed as a civic leader donating to causes while
ruling the underworld. His reign ended on July 8, 1898, when he was shot dead
in a gunfight.
In 1925, Victor Lustig, a
sophisticated swindler, was living in Paris. He noticed a newspaper article discussing the high cost of
maintaining the Eiffel Tower. Built in 1889 as a temporary structure for the
World's Fair, the tower had become a symbol of France but was increasingly
viewed as an expensive eyesore by some city officials. The article mentioned
debates about scrapping the iron structure for its metal value. This planted a
seed in Lustig's devious mind.
Lustig saw an opportunity that was
almost too perfect. He had fake letterhead printed identifying himself as the
Deputy Director General of the Ministry of Posts and Telegraphs. He then
invited five prominent scrap metal dealers to a confidential meeting at the
luxurious Hôtel de Crillon.
During the meeting, Lustig explained
with feigned reluctance that the French government could no longer afford to
maintain the Eiffel Tower. Rather than face public embarrassment, officials had
secretly decided to sell the tower for scrap. He claimed the meeting was highly
confidential—the government wanted to avoid backlash from citizens who loved
the landmark.
To make the story believable, Lustig
arranged a private tour of the tower itself. He showed the dealers around,
pointing out its massive iron beams and discussing potential profits from
melting it down.
Lustig demanded a bribe roughly
equivalent to millions today on top of the official purchase price. The dealer Poisson,
believing he was securing a deal of a lifetime, paid the bribe and agreed to
the terms.
A few days later, Lustig collected the
money and vanished. Reporting the crime would mean admitting he tried to buy a
national monument in a shady deal, so, humiliated and embarrassed, the scrap
dealer Poisson chose silence.
What makes Lustig's story legendary is
what happened next. After fleeing to Austria with the loot, Lustig read
newspaper reports about the scam—yet no one had publicly identified the victim
or the perpetrator. Astonishingly, Lustig returned to Paris months later and
ran the exact same con a second time with a new group of scrap dealers.
This time, however, one of the targets
became suspicious and reported the scheme to the police. Lustig narrowly
escaped arrest and fled to the United States.
In America, Lustig continued his
criminal ways. He famously conned Al Capone (though he wisely returned the
gangster's money to avoid deadly consequences) and pulled off numerous other
elaborate schemes. His luck eventually ran out in 1935 when he was arrested for
counterfeiting and sent to Alcatraz. He died in 1947 from complications of
pneumonia while serving his sentence.
The
American Revolution (1775 to1783) inspired generations of artists who sought to
capture its drama, heroism, sacrifice, and ideals. While many works were
created long after the events—often blending historical fact with artistic
license and symbolism—these paintings have profoundly shaped how Americans
visualize their founding struggle. They range from near-contemporary propaganda
pieces to grand 19th-century historical epics. Among the best:
This is arguably the single most
famous painting of the Revolution. German-American artist Emanuel Leutze
depicted General George Washington leading his troops across the icy Delaware
River on Christmas night 1776 for a surprise attack on Trenton. Washington
stands dramatically in the boat, flag waving, amid choppy waters and massive
ice floes. Though historically imprecise (the actual crossing used larger
Durham boats at night, and the flag shown post-dates the event), it symbolizes
leadership, perseverance, and audacity. Housed in the Metropolitan Museum of
Art, it became a cultural icon shortly after its debut.
The
American Revolution (1775 to1783) inspired generations of artists who sought to
capture its drama, heroism, sacrifice, and ideals. While many works were
created long after the events—often blending historical fact with artistic
license and symbolism—these paintings have profoundly shaped how Americans
visualize their founding struggle. They range from near-contemporary propaganda
pieces to grand 19th-century historical epics. Among the best:
John Trumbull, a Continental Army
veteran often called the "Painter of the Revolution," created this
iconic scene of the Committee of Five (including Thomas Jefferson, John Adams,
and Benjamin Franklin) presenting the Declaration draft to Congress on June 28,
1776. The painting idealizes the moment with key founders prominently featured
in a grand hall. Multiple versions exist; the large one hangs in the U.S.
Capitol Rotunda. It prioritizes symbolic unity over strict historical accuracy.
Historians estimate that between 400
and 1,000 women—on both Union and Confederate sides—disguised themselves as men
to enlist and fight in the American Civil War.
Many served undetected for months or
years, participating in major battles, enduring camp life, and facing the same
risks as their male comrades.
Sarah Rosetta Wakeman (1843 to1864) enlisted in 1862 as Private Lyons Wakeman in the 153rd New York Infantry. She served nearly two years,
participating in the Red River Campaign. Her letters home—discovered decades
later—provide rare primary insight into a female soldier's experiences,
including pride in her service and hopes for family support.
Wakeman died of dysentery in a New
Orleans hospital in 1864 and was buried under her male name in Chalmette
National Cemetery. Her sex remained undiscovered during her service.
Historians estimate that between 400
and 1,000 women—on both Union and Confederate sides—disguised themselves as men
to enlist and fight in the American Civil War.
Many served undetected for months or
years, participating in major battles, enduring camp life, and facing the same
risks as their male comrades.
Frances Claytonenlisted with her husband in a
Missouri Union unit as Jack Williams. She reportedly fought in 18
battles, including Fort Donelson (where she was wounded), Shiloh, and Stones
River (where her husband was reportedly killed in front of her). She continued
fighting afterward.
Historians estimate that between 400
and 1,000 women—on both Union and Confederate sides—disguised themselves as men
to enlist and fight in the American Civil War.
Many served undetected for months or
years, participating in major battles, enduring camp life, and facing the same
risks as their male comrades.
On the Confederate side, Loreta Janeta Velázquez(1842 to 1897), a
Cuban-born woman, served as Lieutenant
Harry Buford. She raised a company at her own expense, fought at First
Bull Run and Shiloh, and worked as a spy. Her 1876 memoir,The Woman in
Battle, is colorful but debated for exaggerations.
Historians estimate that between 400
and 1,000 women—on both Union and Confederate sides—disguised themselves as men
to enlist and fight in the American Civil War.
Many served undetected for months or
years, participating in major battles, enduring camp life, and facing the same
risks as their male comrades.
Jennie Hodgers(1843 to 1915), an Irish immigrant,
enlisted in 1862 as Albert D.J. Cashierin the 95th Illinois Infantry.
She fought in approximately 40 engagements, including the Siege of Vicksburg,
and served until the war's end without detection.
Cashier continued living as a man
postwar, working as a laborer and drawing a pension. Her identity was only
revealed in 1913 during a medical examination for dementia.
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