Mathew Benjamin Brady

Brady opened his own studio in New York City in 1844, and went on to photograph U.S. presidents John Quincy Adams, Abraham Lincoln, Millard Fillmore, Martin Van Buren, and other public figures. When the Civil War began, Brady's use of a mobile studio and darkroom enabled thousands of vivid battlefield photographs to bring home the reality of war to the public. He also photographed generals and politicians on both sides of the conflict, though most of these were taken by his assistants rather than by Brady himself. After the end of the Civil War, these pictures went out of fashion, and the government did not purchase the master copies as he had anticipated. Brady's fortunes declined sharply, and he died in debt.

The recorded working language is English. Subjects and genres recorded for the work are portrait. Places of work recorded in the authority are New York City and Washington, D.C. Work by Mathew Benjamin Brady is recorded in the collections of Art Institute of Chicago, The Nelson-Atkins Museum of Art, National Gallery of Victoria, Musée national des beaux-arts du Québec and Netherlands Photo Museum.

• Name — Mathew Brady • Birth Name — Mathew B. Brady • Born — c. 18 May 1822 • Birthplace — Warren County, New York, U.S. • Died — 15 January 1896 • Place of death — New York City, U.S. • Resting Place — Congressional Cemetery, Washington, D.C. • Occupation — * Photographer • photojournalist • Years Active — 1844−1875 • Relatives — Levin Corbin Handy (nephew by marriage)

• Illustration — Lithograph of Brady, c. 1845 Brady left little record of his life before photography. Speaking to the press in the last years of his life, he stated that he was born between 1822 and 1824 in Warren County, New York, near Lake George. He was the youngest of three children to Irish immigrant parents, Andrew and Samantha Julia Brady. In official documents before and during the American Civil War, however, he claimed to have been born in Ireland.

At the age of 16, Brady moved to Saratoga, New York, where he met portrait painter William Page and became Page's student. In 1839, the two traveled to Albany, and then to New York City, where Brady continued to study painting with Page and with Samuel Morse, Page's former teacher. Morse had met Louis Jacques Daguerre in France in 1839, and returned to the US to enthusiastically push the new daguerreotype invention of capturing images. At first, Brady's involvement was limited to manufacturing leather cases that held daguerreotypes. But soon he became the center of the New York artistic colony that wished to study photography. Morse opened a studio and offered classes; Brady was one of the first students. In 1844, Brady opened his own photography studio at the corner of Broadway and Fulton Street in New York, and by 1845, he began to exhibit his portraits of famous Americans, including the likes of Senator Daniel Webster and writer Edgar Allan Poe. In 1849, he opened a studio at 625 Pennsylvania Avenue in Washington, D.C., where he met Juliet (whom everybody called 'Julia') Handy, whom he married in 1850 and lived with on Staten Island. Brady's early images were daguerreotypes, and he won many awards for his work; in the 1850s, ambrotype photography became popular, which gave way to the albumen print, a paper photograph produced from large glass negatives most commonly used in the Civil War photography. In 1850, Brady produced The Gallery of Illustrious Americans, a portrait collection of prominent contemporary figures. The album, which featured noteworthy images including the elderly Andrew Jackson at the Hermitage, was not financially rewarding but invited increased attention to Brady's work and artistry. In 1854, Parisian photographer André-Adolphe-Eugène Disdéri popularized the carte de visite, and these small pictures (the size of a visiting card) rapidly became a popular novelty; thousands were created and sold in the United States and Europe. In 1856, Brady placed an ad in the New York Herald offering to produce "photographs, ambrotypes and daguerreotypes." This inventive ad pioneered, in the US, the use of typeface and fonts that were distinct from the text of the publication and from that of other advertisements.

• Illustration — An 1857 portrait of Brady by Charles Loring Elliott • Illustration — Brady upon his return from the First Battle of Bull Run in Manassas; under his long coat, he is wearing a saber awarded to him by the New York Fire Zouaves. At first, the effect of the Civil War on Brady's business was a brisk increase in sales of cartes de visite to departing soldiers. Brady marketed to parents the idea of capturing their young soldiers' images before they might be lost to war by running an ad in the New-York Daily Tribune that warned, "You cannot tell how soon it may be too late." However, he was soon taken with the idea of documenting the war itself. He first applied to an old friend, General Winfield Scott, for permission to have his photographers travel to the battle sites, and eventually he made his application to President Lincoln himself. Lincoln granted permission in 1861, with the provision that Brady finance the project himself. His efforts to document the Civil War on a grand scale by bringing his photographic studio onto the battlefields earned Brady his place in history. Despite the dangers, financial risk, and discouragement by his friends, Brady was later quoted as saying, "I had to go. A spirit in my feet said 'Go,' and I went." His first popular photographs of the conflict were at the First Battle of Bull Run, in which he got so close to the action that he barely avoided capture. While most of the time the battle had ceased before pictures were taken, Brady came under direct fire at Bull Run, Petersburg, and Fredericksburg. He employed Alexander Gardner, James Gardner, Timothy H. O'Sullivan, William Pywell, George N. Barnard, Thomas C. Roche, and seventeen other men, each of whom was given a traveling darkroom, to go out and photograph scenes from the Civil War. Brady generally resided in Washington, D.C., where he organized his assistants and rarely visited battlefields personally. However, as author Roy Meredith points out, "He [Brady] was essentially the director. The actual operation of the camera though mechanical is important, but the selection of the scene to be photographed is as important, if not more so than just 'snapping the shutter. This may have been due, at least in part, to the fact that Brady's eyesight had begun to deteriorate in the 1850s. Many of the images in Brady's collection are, in reality, thought to be the work of his assistants. Brady was criticized for failing to document the photographer, though it is unclear whether it was intentional or due simply to a lack of inclination to document the photographer of a specific image. Because so much of Brady's photography is missing information, it is difficult to know not only who took the picture, but also exactly when or where it was taken. In October 1862, Brady opened an exhibition of photographs from the Battle of Antietam in his New York City gallery, titled The Dead of Antietam. Many images in this presentation were graphic photographs of corpses, a presentation new to America. This was the first time that many Americans saw the realities of war in photographs, as distinct from previous artists' impressions. Through his many paid assistants, Brady took thousands of photos of Civil War scenes. Much of the popular understanding of the war comes from these photos. There are thousands of photos in the National Archives and the Library of Congress taken by Brady and his associates, Alexander Gardner, George Barnard and Timothy O'Sullivan. The photographs include Lincoln, General Ulysses S. Grant, and soldiers in camps and battlefields. The images provide a pictorial cross-reference of Civil War history. Brady was not able to photograph actual battle scenes, as the photographic equipment in those days was still in the infancy of its technical development and required that a subject be still for a clear photo to be produced.

• Illustration — A U.S. postage stamp of U.S. president Abraham Lincoln based on Brady's portrait photo of Lincoln During the war, Brady spent over $100,000 (about $1,981,889.57 in 2025) to create over 10,000 plates. He expected the U.S. government to buy the photographs when the Civil War ended. Despite a recommendation from Congress' Joint Committee on the Library, the government declined to do so and Brady was forced to sell his New York City studio and file for bankruptcy. Congress granted Brady $25,000 in 1875, but he remained deeply in debt. Unwilling to dwell on the gruesomeness of the Civil War after it ended, private collectors for Brady's works were scarce. Depressed by his financial situation and loss of eyesight, and devastated by the death of his wife in 1887, Brady died penniless in the charity ward of Presbyterian Hospital in New York City on January 15, 1896, from complications from a streetcar accident. Brady's funeral was financed by veterans of the 7th New York Infantry, and he was buried in the Congressional Cemetery in Washington, D.C.

On September 19, 1862, two days after the Battle of Antietam, the bloodiest day of combat on U.S. soil with more than 23,000 killed, wounded or missing, Brady sent photographer Alexander Gardner and his assistant James Gibson to photograph the carnage. In October 1862, Brady displayed the photos by Gardner at his New York gallery under the title "The Dead of Antietam". The New York Times published a review. In October 2012, the National Museum of Civil War Medicine displayed 21 original Mathew Brady photographs from 1862 documenting the Battle of Antietam.

Mathew Benjamin Brady is recorded as photographer, photojournalist, journalist and war correspondent. Recorded at birth as Mathew Brady Brady. Recognition and collections.

• Illustration — Thomas Nast cartoon of Brady at work • Illustration — Mid-19th century "Brady stand" photo model's armrest table • Illustration — Brady with his wife Juliet Handy Brady (front left) and sister Ellen Brady Haggerty (front right) • Illustration — General William J. Worth; a related picture also by Brady can be found on the George Eastman House Collection website. • Illustration — Photo of John Quincy Adams between 1843 and 1848 by Brady • Illustration — Photo of Andrew Jackson by Edward Anthony, later copied by Brady • Illustration — Photo of Martin Van Buren by Brady 1849 • Illustration — Photo of James K. Polk by Brady 1849 • Illustration — Photo of Zachary Taylor by Brady • Illustration — Photo of Millard Fillmore by Brady • Illustration — Photo of John Tyler by Brady • Illustration — Photo of Franklin Pierce by Brady • Illustration — Photo of James Buchanan by Brady • Illustration — Photo of Abraham Lincoln by Brady on the day of Lincoln's Cooper Union speech, 1860 • Illustration — Photo of Andrew Johnson by Brady • Illustration — Photo of Ulysses S. Grant by Brady • Illustration — Photo of Rutherford B. Hayes by Brady • Illustration — Photo of James A. Garfield by Brady • Illustration — Photo of Benjamin Harrison by Brady • Illustration — Photo of William McKinley by Brady, 1865 • Illustration — Picture of "Confederate dead on Matthews Hill, Bull Run", Brady Handy Collection • Illustration — Soldier guarding arsenal, Washington, D.C., 1862 • Illustration — Brady (center, wearing straw hat), with General Ambrose Burnside (reading newspaper), taken in May 1864 • Illustration — Brady's photos of generals Ulysses S. Grant and Robert E. Lee • Illustration — U.S. Sanitary Commission • Illustration — Photo plate of Cornelius R. Agnew • Illustration — Congressman Van. H. Manning • Illustration — Photograph of Brady, c. 1889 • Illustration — Brady's grave at Congressional Cemetery • Illustration — Emperor Pedro II of Brazil • Illustration — Brady's original grave marker, with incorrect death year

• Lossing, Benson John, and Mathew B. Brady. Mathew Brady's Illustrated History of the Civil War, 1861-65 and the Causes that Led Up to the Great Conflict (1912) online. • Wilson, Robert (2013). Mathew Brady: Portraits of a Nation. London: Bloomsbury,. online