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Andrew David Lytle produced thousands of photographic images in the sixty years during which he lived in Baton Rouge and operated Lytle Studio. His heirs, alas, reportedly shattered his glass-plate negatives by dropping them down a dry well soon after his death, not realizing their value. Andrew D. Lytle's Baton Rouge preserves some of the only images that remain, a vintage treasure for contemporary viewers. These 120 photographs give entrée into life in Louisiana's capital city from the 1860s through the early 1900s. They compose the largest extant collection of photos created in a professional studio in nineteenth-century Baton Rouge. Together they capture the day-to-day existence of the community, fleeting moments of great importance, and long-term changes over time, revealing not only the perceptions of the photographer but also the self-perceptions of his subjects. In a superb introductory overview of the collection, Mark E. Martin recounts Lytle's life and career within the context of Baton Rouge history and culture, noting advances in camera and printing technologies. Martin then discusses the photographs thematically, beginning with Baton Rouge's occupation by Federal forces during the Civil War. Thousands of northern soldiers and sailors came through the city during that time, and Lytle, a native of Ohio, photographed them in his studio, on the riverfront, in camps, on boats and ships, and from a bird's-eye view atop buildings. This work brought Lytle fame fifty years later when select images were published in The Photographic History of the Civil War along with the claim that Lytle had been a secret agent, a "camera spy," for the Confederacy. Martin exposes the impossibility of this popular belief, which nonetheless persisted well into the twentieth century. Over the years Lytle Studio, which Andrew's son Howard eventually joined, produced commercial images of the Louisiana State Penitentiary, the forestry industry, railways and waterways, LSU sports teams, outdoor landscapes, and individuals. Andrew Lytle was more than a studio photographer, though. A husband, father, and grandfather, he took an active role in the community as an entrepreneur; volunteer firefighter,'member of religious, social, and fraternal organizations; and participant in local theatrical productions and other entertainments. His photography provides in many cases the only visual record of the life and times of Baton Rouge and its people in that period.Much of what is depicted in Andrew D. Lytle's Baton Rouge remains central to the city's vitality today: politics, family, home, commerce and industry, social events, parades, LSU sports, and the riverfront (now with levees). Readers will find here a priceless glimpse at a bygone world, yet one still recognizable.
In 1699, on a high bluff along the Mississippi River, explorer Pierre Le Moyne, Sieur dIberville, found the fabled Red Stick, a post that marked the line between two Native American nations and gave Baton Rouge, Louisiana, its name. This book chronicles 150 years of the daily activities of Baton Rouges residents through images of the citys growth and development; life during the Civil War, floods, hurricanes, and economic depressions; and people working, playing, and celebrating.
For many immigrants to Baton Rouge, being buried in the highlands of their European homes was a dream. Recognizing that this desire was unlikely to come to fruition, they christened the bluff above the Mississippi River south of the town as "Highland" and established Highland Cemetery in 1819. The military fort had a burial ground; churches established cemeteries; owners, family members, and slaves were buried on the plantations; towns offered municipal cemeteries and paupers' plots; and families distant from towns created family cemeteries. Magnolia Cemetery was established for white citizens in 1852. Sweet Olive and the Lutheran Cemeteries were for free people of color and slaves. St. Joseph's Catholic Cemetery, established in 1826, did not discriminate on race but on religious affiliation, as did the Jewish cemetery. Civil War Union soldiers were separated from Confederates buried in Magnolia Cemetery and interred in the Baton Rouge National Cemetery. In 1921, Roselawn Park Cemetery represented the beginning of cemeteries as business. Beautiful statuary, elaborate tombstones and memorials, unique monuments to the departed, and lush gardens accentuate Baton Rouge's cities of the dead.
With a history tied to the Mississippi River, Baton Rouge has grown from its colonial past as a military outpost favored by the French, English, and Spanish, in turn, into an American city of modern industry and rich diversity. Through the years, the people of Baton Rouge have weathered travails while developing a unique culture and city. Baton Rouge has seen occupation during the Civil War, the destruction by fire and reconstruction of the State Capitol, catastrophic flooding, and political and civil conflict—but also the economic impact of a growing port, the historic arrivals of Louisiana State University and Southern University, and the joyful rituals of Saturday football and the Washington’s Birthday Firemen’s Parade. Telling the city’s story in words and vivid black and white images, Historic Photos of Baton Rouge documents 100-plus years in the life of the "Red Stick” as only the camera can capture it—one engaging image at a time.
Marie Adrien Persac (1823-1873) was a French-born Louisiana artist who worked in a range of mediums to produce a unique view of the lower Mississippi Valley at midcentury. In the first catalogued exhibition devoted solely to this multifaceted but overlooked talent, paintings, drawings, maps, and photographs from numerous holdings have been brought together to present fresh insights and reevaluate this artist's place in the annals of American history and material culture. Due in part to his broad talents artist, cartographer, architect, civil engineer, photographer, and art teacher Persac's work is of major importance to Southern history researchers and art historians. His paintings of south Louisiana plantation houses have captured that now-varnished lifestyle in minute detail, approximating the exactitude of architectural drafting. Today this series is invaluable to scholars of the period, as is Persac's painting of a steamboat interior -- the only one known to exist -- and another French Opera House, which burned to the ground in 1919.
Baton Rouge has always been a baseball town. The game was played by occupying Union troops during the Civil War, continued during the Reconstruction Period, and marched forward with the Louisiana State University Tigers in the 1890s. LSU would become one of the winningest teams in the history of the College World Series. Baton Rouge has hosted Southern University's Jaguars and a variety of minor leagues, including the famous Evangeline League, as well as the powerhouse Esso team. An epidemic, floods, the Great Depression, and decades of racial tension have all impacted baseball in this city, but the game has endured.
What is War Photography The objective of war photography is to capture images of armed conflict and the effects it has on individuals and locations. As a result of their participation in this genre, photographers may find themselves in dangerous situations, and they may even lose their lives while attempting to remove their photographs from the battlefield. How you will benefit (I) Insights, and validations about the following topics: Chapter 1: War photography Chapter 2: Photojournalism Chapter 3: Mathew Brady Chapter 4: Photographers of the American Civil War Chapter 5: Roger Fenton Chapter 6: Tintype Chapter 7: Alexander Gardner (photographer) Chapter 8: Felice A. Beato Chapter 9: History of photography Chapter 10: James Robertson (photographer) (II) Answering the public top questions about war photography. Who this book is for Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of War Photography.
The capital of Louisiana, Baton Rouge, has been the scene of fundamental changes in recent decades. In the context of the tripole of petrochemistry, Louisiana State University (LSU) and public administration (especially of the state of Louisiana), which has been fully developed since the end of the 1920s, general processes (such as the transition from modern to post-modern spatial development) mix with specific local and regional characteristics and logics, also in dealing with spaces (such as the eccentric location of the downtown area, the limited influence of spatial planning). The result is a social-spatial formation of a 'multivillage metropolis'. The investigation of this 'multivillage metropolis' follows a neopragmatic approach that triangulates different theories, methods, data and researcher perspectives. Videos per App: Laden Sie die Springer Nature More Media kostenlos herunter - Abbildungen im Buch per App mit Handy oder Tablet scannen, um Videos zu streamen.
From the accounts of 18th-century travelers to the interpretations of 21st-century historians, Jumonville lists more than 6,800 books, chapters, articles, theses, dissertations, and government documents that describe the rich history of America's 18th state. Here are references to sources on the Louisiana Purchase, the Battle of New Orleans, Carnival, and Cajuns. Less-explored topics such as the rebellion of 1768, the changing roles of women, and civic development are also covered. It is a sweeping guide to the publications that best illuminate the land, the people, and the multifaceted history of the Pelican State. Arranged according to discipline and time period, chapters cover such topics as the environment, the Civil War and Reconstruction, social and cultural history, the people of Louisiana, local, parish, and sectional histories, and New Orleans. It also lists major historical sites and repositories of primary materials. As the only comprehensive bibliography of the secondary sources about the state, ^ILouisiana History^R is an invaluable resource for scholars and researchers.