Dragoons & Dog Soldiers - The Art of Kenneth Ferguson (1 Viewer)

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I've been a member of the forum for some time now, and thought maybe some of the members might enjoy seeing some examples of my work. I'm an artist by living, specializing in historical subject matter. The painting below is of Col. Joshua Chamberlain July 2, 1863.
 

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Below is Col. Chamberlains official report on the Battle of Little Round Top, as published in the U.S. Congressional Record.


“I feared that the enemy might have nearly surrounded the Little Round Top, and only a desperate chance was left for us. My ammunition was soon exhausted. My men were firing their last shot and getting ready to "club" their muskets. It was imperative to strike before we were struck by this overwhelming force in a hand-to-hand fight, which we could not probably have withstood or survived. At that crisis, I ordered the bayonet. The word was enough. The enemy seemed to have gathered all their energies for their final assault. We had gotten our thin line into as good a shape as possible, when a strong force emerged from the scrub wood in the valley, as well as I could judge, in two lines in echelon by the right, and, opening a heavy fire, the first line came on as if they meant to sweep everything before them. We opened on them as well as we could with our scanty ammunition snatched from the field. It did not seem possible to withstand another shock like this now coming on. Our loss had been severe. One-half of my left wing had fallen, and a third of my regiment lay just behind us, dead or badly wounded. At this moment my anxiety was increased by a great roar of musketry in my rear, on the farther or northerly slope of Little Round Top, apparently on the flank of the regular brigade, which was in support or Hazlett's battery on the crest behind us. The bullets from this attack struck into my left rear, and I feared that the enemy might have nearly surrounded the Little Round Top, and only a desperate chance was left for us. My ammunition was soon exhausted. My men were firing their last shot and getting ready to "club" their muskets. It was imperative to strike before we were struck by this overwhelming force in a hand-to-hand fight, which we could not probably have withstood or survived. At that crisis, I ordered the bayonet. The word was enough. It ran like fire along the line, from man to man; and rose into a shout, with which they sprang forward upon the enemy, now not 30 yards away. The effect was surprising; many of the enemy's first line threw down their arms and surrendered. An officer fired his pistol at my head with one hand, while he handed me his sword with the other. Holding fast by our right, and swinging forward our left, we made an extended " right wheel," before which the enemy's second line broke and fell back, fighting from tree to tree, many being captured, until we had swept the valley and cleared the front of nearly our entire brigade.”
 
Colonel Chamberlain is portrayed in the painting wearing the regulation uniform of a field-grade officer. It consists of a dark blue frock coat with two rows of seven gilt buttons, and sky blue shoulder straps with embroidered eagles denoting the rank of a full colonel of infantry. Around his waist is a crimson sash, on top of which is worn a black leather belt for carrying side arms of a .45 caliber cap and ball revolver and a field-grade officer’s sword with a decoratively etched blade. His headgear is an officer’s style kepi with gilt embroidered branch of service badge; in this case, a bugle horn signifying infantry. In the center of the badge is the regimental number.
The red Maltese crosses bordering “20[SUP]th[/SUP] Maine” at the top of the painting represent the corps badge emblem of the Army of the Potomac’s 5[SUP]th[/SUP] Corps. The red color denotes the 1[SUP]st[/SUP] Division of the Corps, which the 20[SUP]th[/SUP] Maine was part of.
The map shows the location of the 20[SUP]th[/SUP] Maine and its fellow regiments of Vincent’s Brigade on the fateful day of July 2, 1863. Their heroic stand on Little Round Top prevented the Confederate forces from outflanking the entire Union line, and is one of the key events leading to a Union victory at the Battle of Gettysburg.

- Ken Ferguson www.kennethfergusonfineart.com
 
Very nice - thanks for sharing!!

The Teton Sioux is gorgeous!
 
Ken,

Wow!! What talent you have!!! I love your style. The Chamberlain example is beautiful with its bright colors and clarity.

Do you have a website where we can view more?

Please continue to post samples of your art as I'm sure many of the forum members would love to see more of your work.

Mark
 
Thank you Zack and Mark for those nice comments, and thanks everyone who clicked the 'like' button. An artist always likes to know their work is appreciated.

Mark, I do have a website www.kennethfergusonfineart.com . Check it out when you have a chance, always adding new work as it's completed.

Thanks, Ken
 
Below is my most recent painting. ''Sunka Wakan'' (Sacred Dog) - Teton Sioux, circa 1860s. Subject information on following post. Hope you enjoy. - Ken
 

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The Lakota word for horse, Sunka Wakan, means "Holy Dog" or "Spiritual Dog." The horse was extremely important to the early Lakota people. It changed their life way from a sedentary agricultural society to a nomadic hunting society. The horse provided transportation when moving and was a heroic companion on hunts and raids and in battle. A warrior and his horse depended on each other. When a warrior lost a favored horse, he would honor it by creating a horse effigy, such as the one in this painting. The creation of horse effigies was unique among the Lakota. These sculptures were intended to represent the likeness of the horse. They were decorated with markings and adornments that recounted the horse's life and achievements -- it was essentially a portrait of a specific, well-loved animal. The horse effigy would then be carried by the warrior in dances to pay tribute to the great horse before other tribal members. By making and carrying this sculptural image, it was hoped that the spirit of the horse would follow the warrior in life and give him added strength and power.
In addition to the horse effigy, the warrior portrayed carries a buffalo hide shield. It is painted and adorned with various spiritual medicines, including a yellow-headed blackbird medicine bundle. These shield adornments held special significance to the shield's possessor and were believed to be a bridge between the natural and spirit world.
Around his neck he wears a very large trade silver cross. To the Native Americans of the Plains,the cross was not associated with Christianity but instead was seen as an emblem that could represent the Morning Star, Whirlwind (in the form of dragonfly) or the Four Directions--all important to their spiritual beliefs.
The background of the painting shows a painted buffalo robe with images depicting Lakota warriors' feats of valor in their combat against tribal enemies. Many such robes were decorated with a quilled or beaded strip to cover the sewn seam of the two halves of the robe.


Copyright Kenneth Ferguson 2016. www.kennethfergusonfineart.com
 
''Mr. Lincoln Finds His General'' (Major General Ulysses S. Grant, circa 1863) - Original watercolor of one of my favorite generals.
 

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U.S. Grant was acknowledged by his peers as a self-assured and determined general. Said General William T. Sherman:

"It will be a thousand years before Grant's character is fully appreciated. Grant is the greatest soldier of our time if not all time... he fixes in his mind what is the true objective and abandons all minor ones. He dismisses all possibility of defeat. He believes in himself and in victory. If his plans go wrong he is never disconcerted but promptly devises a new one and is sure to win in the end. Grant more nearly impersonated the American character of 1861-65 than any other living man. Therefore he will stand as the typical hero of the great Civil War in America."

This painting depicts General Grant in 1863, at the time of his doggedly determined Vicksburg campaign. After a number of failed attempts to take this "Gibraltar of the Confederacy," Grant determined that he would march his armies on the western side of the Mississippi River and cross far south of the city, which entailed cutting his army loose from its supply line. This was a bold but successful move that sealed the fate of the Confederacy's last major hold on the Mississippi River and was acknowledged as such by President Abraham Lincoln:

"I do not remember that you and I ever met personally. I write this now as a grateful acknowledgement for the almost inestimable service you have done the country. I wish to say a word further. When you first reached the vicinity of Vicksburg, I thought you should do, what you finally did--march the troops across the neck, run the batteries with the transports, and thus go below; and I never had any faith, except a general hope that you knew better than I, the Yazoo Pass expedition and the like could succeed. When you got below, and took Port-Gibson, Grand Gulf, and vicinity, I thought you should go down the river and join Gen. Banks; and when you turned Northward East of the Big Black, I feared it was a mistake. I know wish to make the personal acknowledgement that you were right, and I was wrong. Yours Very Truly, A. Lincoln.''

As is often the case with men of strong military character, Grant was a devoted family man. He and his wife Julia had four children, which he is said to have spoiled to a fault. While it is often remarked that Grant had a drinking problem, research shows that he was provoked to drink primarily by boredom and desperate loneliness in the face of separation from his family during the long hard days of the war. Grant did not imbibe when the campaigning was active, or when reunited with his family.


Copyright Kenneth Ferguson www.kennethfergusonfineart.com
 
...stunning work exhibiting fantastic artistry...how very kind of you to share with us....
 
''The Last Campaign'' Lt. Col. George Armstrong Custer, circa 1876 - Original watercolor by Kenneth Ferguson
 

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''The Last Campaign'' Lt. Col. George Armstrong Custer, circa 1876

George Armstrong Custer was famous in his own lifetime. A hero of the American Civil War, he became one of the youngest generals in the Union’s Volunteer Army. At the end of the conflict, his permanent military rank was reduced to Lieutenant Colonel, with which he was given the active command of the newly created United States 7[SUP]th[/SUP] Cavalry.

In the spring of 1876, in what was believed to be the final campaign to rein in the free roaming tribes of the Northern Plains, Custer and his 7[SUP]th[/SUP] Cavalry led the vanguard of this punitive expedition. Whether attempting to regain the fame he had achieved in the Civil War or acting with the instincts of a born cavalry commander, Custer found and attacked the hostile village on June 25. Far outnumbered, he and his immediate command were wiped out by victorious Sioux and Cheyenne warriors on the banks of the Little Big Horn River. In a fateful decision, Custer had divided his force before the approach on the village, leaving his immediate command greatly outnumbered and vulnerable to attack.

The news of the defeat shocked the nation and proved to be a pyrrhic victory for the Plains Indians as larger and more successful military campaigns were launched within the year, forever ending the free-roaming life way of the nomadic people of the Northern Plains.

www.kennethfergusonfineart.com
 
You do fantastic work, Ken.
And thank you very much for the historical info to the people you painted.
You sharing your work here is much appreciated.

Konrad
 
...stunning work exhibiting fantastic artistry...how very kind of you to share with us....

Thank you Cairnbeg. When the time allows, I'm hoping to do a Culloden themed piece featuring a rather weathered Highlander, with a sepia toned battle map as the background. Something I've been wanting to do for some time now, but it keeps getting put off. - Ken
 
You do fantastic work, Ken.
And thank you very much for the historical info to the people you painted.
You sharing your work here is much appreciated.

Konrad

Thanks Konrad, Subject matter is important to my work. Since each piece can take awhile to complete, it helps for me to actually like what I'm painting.
Caught the history bug quite early. Can probably blame it on seeing ''Zulu'' at a movie theatre when it was first released. :wink2:
 
Simply beautiful Ken! Outstanding colors that really "pop".

Thanks so much for sharing your work with us!!

Mark
 

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