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By Brandon, Laura

This is a very encyclopaedic survey of artists' responses -- either ""official"" and private -- to ""the horrors of war."" Art and War finds the sheer variety of artists' portrayals of this so much devastating point of the human -- from the ""heroic"" work of Benjamin West and of John Singer Sargent to brutal and iconic works by way of artists from Goya to Picasso, and the both oppositional paintings of Leon Golub, Nancy Spero and others who reacted with fury to the Vietnam conflict. specific consciousness is paid to paintings produced in line with the 1st and moment global Wars and to newer artwork and memorial paintings via artists as assorted as Barbara Kruger, Alfredo Jarr and Maya Lin. The publication appears to be like eventually to the reactions of latest artists comparable to Langlands and Bell to the united states invasion in 2001 of Afghanistan and the conflict in Iraq.

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The change in taste affected Hayman’s four compositions for the Rotunda Saloon. Along with the Amherst painting, the artist’s subjects included Clive at Plassey, Hawke at Quiberon Bay, and an allegorical scene of Britannia distributing laurels. 30 Art and War The starting point for the four massive works lay in classical history painting – the accepted format for recording major national events, adding the appropriate grandeur and gravitas. In the Amherst composition and its studies, the inspiration comes from the recorded exploits of the classical heroes Scipio and Alexander the Great, well known for their magnanimity after battle.

13 Canada’s official war art programme remains the visual measure of the country’s wartime achievement. The model for the British and Australian schemes in both the First and Second World Wars, it produced nearly 1,000 works by over 100 artists, only a third of them Canadian, most of the balance being British. Not only does it powerfully capture Canada’s part in the conflict, but it also helped shape the development of Canadian art. Much of the familiar landscape art of the celebrated Group of Seven, for example, owes its genesis to what members saw and recorded in the mud and trenches of the western front in France and Belgium.

Many younger artists found themselves in trenches in France instead of in studios in Paris. However, had people not valued art so highly, perhaps it might not have become a valuable instrument for recording the war experience of Australia, Britain, and Canada, which all had particularly substantial official war art programmes, and of other countries. Without formal programmes, more artists might have died in battle. This chapter describes British artists’ substantial contributions to Britain’s and Canada’s official war art programmes, some notable portrayals of war’s participants, compelling studies of its landscapes, and the Christian symbolism that infused several major British works completed for Canada.

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