Daniels, E. H. "Apotheosis". The Lincoln sculptures.
Lincoln City, Indiana: Nancy Hanks Lincoln Memorial. 1943.




- Alana Lemon
 

This image is the final and central panel of the Nancy Hanks Lincoln Memorial in Lincoln City, Indiana. Completed in 1943, it is one of many images of Lincoln sculpted by E.H. Daniels.

While the other four images depict events in the life of the president, this final panel is representative of the memorialization of Lincoln after his assassination. In a forward to the works of Daniels, Z.C. Sanderson points to the memorial's emphasis on the pioneer roots of the president, "terminating with an apotheosis, a benediction to a man who in life guided the destiny of a nation through the terrors of war and freed a people, and who in death continues to grow in the hearts of all". Indeed the Lincoln in this sculpture has achieved the status of a god. He towers over the figures surrounding him, body masked in a flowing cloak. To one side are five figures meant to represent humanity, the world of Lincoln's life. To his other side stand Cleo, the Muse of History, and Columbia, the female personification of the America, indicating his ascension beyond the mortal realm to that of myth and legend. They extend to Lincoln a laurel branch, a traditional symbol of Victory. In the background, a small log cabin is dwarfed by the Greek temple of the Washington D.C. Lincoln Memorial, further emphasizing his rise from western farmer to historical hero.

Above Lincoln's head are engraved the poignant words "And now he belongs to the ages". Running along the top of the panel is the final sentence from the Gettysburg Address: "that this nation, under God, shall have a new birth of freedom; and that government of the people, by the people, for the people, shall not perish from the earth." As his words have been immortalized in stone time and again, Lincoln has become an immortal and transcendent figure.

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“Honest Old Abe . 30 Years Ago” Image
Occidental College Special Collections Lincolniana Box R2/43 (60)

- Jon Ingram

Visual representations of Abraham Lincoln have not always been dignified or beneficial renditions of America’s most adored president. This particular rendition of Lincoln is a throwback to his early life, a time that built his reputation as the “common man” and rail splitter, a quaint image that was used to win the hearts of the American people in the 1800s. In this probable campaign piece, the opposing party (likely the Democrats) used this depiction of his early years as a mudslinging tactic. This poster is not the original. Rather, it appears to be a copy of an older poster that likely dated from the mid-1800s.

The viewer can see in this characterization a very different portrait of “Honest Old Abe. 30 Years Ago”, as the poster’s title refers to him. While dominating the foreground of the poster, Lincoln is shown to be an extraordinarily ugly figure which plays on his natural ungainly figure and uncommon height. He is shown to seemingly be working hard. However, judging by the lack of success Lincoln is having in splitting the log, the artist is attempting to show him as incapable or unsuccessful at manual labor. This is further exemplified by the jug of rum that sits close at hand in the bottom right corner, which is an interesting addition because of the legendary tales of Lincoln’s soberness.

This poster likely emerged from the 1860 presidential campaign. This date can be inferred due to several additions in the poster and elimination of the possibilities. The “30 years ago” title gives an approximate time period due to Lincoln’s birth in 1809. Lincoln would have had to have been older than fifteen in order to be splitting rails. Furthermore, the original poster would have been used in the 1860 campaign because it was at that point that Lincoln was the unknown Republican running as a common man. These demeaning allegations attempt to show him as incapable of office due to his laborer past and questions against his state of mind, qualifications, and morals. This seems to be a twist of political ideals. At this time, the Democratic Party towed the line of being representational of the “common man”, as opposed to the rich Whigs and Republicans. Through this buffoonish Lincoln they connote all the things wrong with what they were attempting to represent, ideals that Lincoln now represented within the opposing Republican Party. No longer could the Democrats attack their opponents for being New England “blue bloods”, rather they were reduced the hypocrisy of attacking their own ideals.

In Douglas L. Wilson’s Honor’s Voice we can see how these types of representations have played out in the memory of Lincoln. [1] Lincoln’s early years are made up of much speculation, hearsay, and tall tales that contain both truth and fiction. Wilson reveals this in his attempts to trace the different accounts of Lincoln’s life. The key point that emerges from this is that Wilson is able to show the large amount of ambiguity about this time period and Lincoln’s progression to the presidency. This ambiguity is highlighted and played on by the poster copy, as it relies on a very vague and unclear time period in Lincoln’s life, a period which Lincoln himself never elaborated much on. The poster’s ultimate purpose is to make insinuations about aspects of Lincoln’s character and sow doubt in voter’s minds. Despite these insinuations, the poster can help modern historians analyze the opinions of the time and how people viewed Lincoln as a presidential candidate.

[1] Wilson, Douglas L. Honor's Voice: The Transformation of Abraham Lincoln. Vintage, 1999.                                                 

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Hamilton, Charles  and Ostendorf, Lloyd. Lincoln in Photographs: An Album of Every Known Pose
Norman: University of Oklahoma Press, 1963. 182-183.

- Peter Fúster

 

This portrait of Lincoln reading a book with his youngest son, Tad, is one of the most famous and beloved portraits of the President.  Compared to the theme of the immortal, strong Great Emancipator which tends to define the portraits taken of him during the Civil War, Lincoln appears like a gentle, approachable father figure in this picture, wearing his reading glasses as Tad stands at his side looking on.  The moving image of the legendary president sharing a touching moment with his son makes Lincoln appear human, which adds another aspect to the legend of “Father Abraham”.  This portrait became so famous, that it inspired numerous portraits and sculptures based on the same father and son theme, such as the examples displayed here.

In addition to being portrayed as a father figure, Lincoln is also portrayed as an empathetic family man.  The fact that he is finding time to be with his son despite having had two sons die already and having to deal with the daily carnage of the Civil War makes this moment even more tender and emotional.  We feel for Lincoln, since this is probably of the few joys he has left in his life since becoming President.  In addition, the sight of a father reading with his son is a pleasant contrast to the reality of young men dying on the battlefield by the thousands.  In the end, this photo is popular and poignant because it shows a different side of Lincoln, a side that does not deal with slavery or the Civil War.  It is a sign of light and hope in the darkness of a divided union.

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Wilson, Rufus Rockwell. “Attained”  Lincoln in Caricature.
New York: Horizon Press, 1953. Plate #163. from "London Fun," May 6, 1865

- Aaron Stanton

 

This cartoon captioned “Attained” from “London Fun” in May of 1865 is a great representation of Lincoln as martyr. The cartoon portrays the triumphant Lincoln reaching for the cup of victory, but just before he can fully grasp it, he is stabbed from behind. This portrayal of Lincoln’s death at the moment of his greatest triumph invokes the feeling that Lincoln was cut down too early, at the hour when the country as a whole, needed him most. While this cartoon may bring elements of satire and irony, being it was published in a British magazine, it also portrays an image of what Drew Gilpin Faust calls the “good death.” [1] That is, dying honorably in the pursuit of a greater purpose, in this case the unifying of the Union through the Civil War. However, another aspect of the good death is that the one dying should die bravely in the company of family and loved ones. Lincoln in this caricature, while portrayed triumphant, is shown being killed in a very dishonorable way that some may argue blemishes Lincoln’s honorable or “good death” for the posterity.

However, I would argue that even though Lincoln’s portrayal in this cartoon may go against 19th century ideals about the good death, the four years of fighting had already begun to take their toll on notions about dying. Because of this, and the fact that Lincoln’s death was an assassination, any qualms about the memory of the murder and Lincoln himself are rectified. Also, the fact that Lincoln was killed at the height of his popularity and success helps to enshrine the President forever as a martyr and hero. This portrayal may be one of many ways in which Abraham Lincoln is remembered, but to many it is one of the most powerful.

[1] Faust, Drew Gilpin. This Republic of Suffering: Death and the American Civil War. New York: Knopf,  2008.

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