Military art - Knowledge

1152: 2156: 1414: 537: 2175: 1229: 1902: 2079: 1726: 1671: 465:, but neither of which were completed. For Renaissance artists with their new skills in depicting the human figure, battle scenes allowed them to demonstrate all their skills in depicting complicated poses; Michelangelo choose a moment when a group of soldiers was surprised bathing, and almost all the figures are nude. Leonardo's battle was a cavalry one, the central section of which was very widely seen before being destroyed, and hugely influential: it "exerted a fundamental change on the whole idea of battle painting, an influence that lasted through the Late Renaissance and the Baroque up until the heroic machines of the Napoleonic painters and even the battle compositions of 2137: 750: 2265: 2200: 935: 1971: 860: 2223: 2023: 2052: 1952: 1804: 1498: 1016: 409: 2103: 30: 2246: 1643: 287: 1983: 1483: 668: 2280: 2003: 2295: 1894: 1786: 1442:, when senior commanders tended to wear their normal riding dress even on the battlefield, the distinction between a military portrait and a normal one is mostly conveyed by the background, or by a breastplate or the buff leather jerkin worn underneath armour, but once even generals began to wear military uniform, in the mid-18th century, it becomes clear again, although initially officer's uniforms were close to smart civilian costume. 1917: 47: 110: 2517:, pp. 5–6; excerpt, "This large-scale textile work of the 11th century is, to our knowledge, the only one of its kind to have survived to the present day. The Tapestry is an almost contemporary visual record of the event it depicts, one of the most significant events of Medieval times. It tells of the beginnings of the Norman Conquest; the landing of Norman and French troops in England and the Battle of Hastings" 1120: 989:, advancing against the unseen uniformed forces of the government. Turkish atrocities were to remain a recurrent theme in 19th-century painting, especially in former Ottoman territories escaped from the declining empire (often pre-rape scenes treated rather salaciously), and general anti-military sentiments, previously mostly found in prints, were also to emerge regularly in large oil paintings. 4070: 601:, who emigrated to London in 1673, and effectively founded the English tradition of naval painting, "producing a stunning visual record of the Anglo-Dutch naval wars, which set the conventions of maritime battle painting for the next 150 years". Vroom had also worked for English patrons, designing a large set of tapestries of the defeat of the 1572:, who had been wounded three times in the war and spent most of the next decade commemorating it. In the defeated nations of Germany and Austria controversy, which had a political aspect, was especially fierce, and a number of memorials considered excessively modern were removed by the Nazis, whose own memorials, such as the 1255:, the most striking art depicting the war is that emphasizing its horror. Official war artists were appointed by governments for information or propaganda purposes and to record events on the battlefield; but many artists fought as normal soldiers and recorded their experiences at the time and later, including the Germans 1702:, capturing factual, eyewitness detail as well as the emotional impression and impact of events. Art and war becomes "a tussle between the world of the imagination and the world of action" — a constant tension between the factual representation of events and an artist's interpretation of those events. 1693:

War art creates a visual account of military conflict by showing its impact as men and women are shown waiting, preparing, fighting, suffering, and celebrating.The subjects encompass many aspects of war, and the individual's experience of war, whether allied or enemy, service or civilian, military or

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In this period the uniform print, concentrating on a detailed depiction of the uniform of one or more standing figures, typically hand-coloured, also became very popular across Europe. Like other prints these were typically published in book form, but also sold individually. In Britain the 87 prints

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but with no other soldiers present. Monarchs were not often painted in military uniform until the Napoleonic period, but in the 19th century this became typical for formal portraits, perhaps because uniform was more visually appealing. A distinctively Dutch type of painting are huge group portraits

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subject matter, regardless of its style or medium. The battle scene is one of the oldest types of art in developed civilizations, as rulers have always been keen to celebrate their victories and intimidate potential opponents. The depiction of other aspects of warfare, especially the suffering of

1749:("war campaign documentary painting"). Between 1937 and 1945, approximately 200 pictures depicting Japan's military campaigns were created. These pictures were presented at large-scale exhibitions during the war years; After the end of World War II, Americans took possession of Japanese artwork. 1697:

War art, a significant expression of any culture and its significant legacies, combines artistic and documentary functions to provide a pictorial portrayal of war scenes and show "how war shapes lives." It represents an attempt to come to terms with the nature and reality of violence. War art is

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managed to make one of the most highly regarded Renaissance battle scenes, despite, or perhaps because of, having a vertical format, which was dictated by the planned setting; it was commissioned as one of a set of eight battle paintings by various artists. "It was the most detailed and panoramic

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War art has been used as an instrument of propaganda, such as a nation-building function or other persuasive ends. War art is also captured in caricature, which offers contemporary insights. Western Civilization and aesthetic tradition were both clearly marked by military conflicts throughout

883:, mark the start of the classic period. Though Rowlandson usually satirized his subjects to some degree, here the soldiers were "represented as they, and particularly their colonels who paid for their uniforms, preferred to see themselves", which remained the usual depiction in such prints. A 1474:(1642) is the most famous, although its narrative setting is atypical of the genre. Most examples just show the officers lined up as though about to eat dinner, and some show them actually eating it. Otherwise group portraits of officers are rather surprisingly rare until the 19th century. 1392:, the art critic and historian, friend of Picasso, and then in a military medical unit. Photography and film were now able to capture fast-moving action, and can fairly be said to have produced most of memorable images recording combat in the war, and certainly subsequent conflicts like the 567:

are often treated as glamorous. For Peter Paret, from the Renaissance "the glorification of the temporal leader and of his political system – which had of course also been present in medieval art – replaces the Christian faith as a determining interpretive force" in military art.

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were retained to depict the military in action; despite artists now being very close to the action the battle scene is mostly left to popular graphic media and the cinema. The term war art is sometimes used, mostly in relation to 20th century military art made during wartime.

1269:(1923), showing the dismembered bodies of the dead after an assault, caused a scandal, and was first displayed behind a curtain, before causing the dismissal of the museum director who had planned to buy it. Later, after exhibiting it in their 1937 travelling exhibition of " 1560:. The even larger losses of World War I led even small communities in most nations involved to raise some form of memorial, introducing the widespread use of the form to Australia, Canada and New Zealand, the sudden increase in demand leading to a boom for sculptors of 1173:

The British market began to develop in the middle of the 19th century. The relations between the state and its military, and the ideologies which are implied in that relationship affected the artwork, the artists and the public perceptions of both artwork and artists.

2174: 1341:. In World War II they were even more widely used. Illustrators and sketch artists such as Norman Rockwell also followed the trend away from military themed shots following the Second World War and with the rise of photographic covers in general. 1681:, 1917, oil on canvas. Bastien depicts a group of gunners struggling to release one of their guns from the mud. The focus on the gun, rather than on the soldiers, underlines the importance of this weapon to success on the battlefield. – 1737:

War artists may be involved as onlookers to the scenes, military personnel who respond to powerful inner urges to depict direct war experience, or individuals who are officially commissioned to be present and record military activity.

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Most surviving sculpture of battle scenes from antiquity is in stone reliefs, covered above. Renaissance artists and patrons were keen to revive this form, which they mostly did in much smaller scenes in stone or bronze. The tomb in

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showed most foot-soldiers in pairs in camp, in a variety of relaxed poses that showed one from the front and the other from behind. A rare oil painting by a leading artist that treats soldiers in the spirit of the uniform print is

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There are some who may choose not to create war art. During the course of World War II, the Italians created virtually no art which documented the conflict. The French began to paint the war only after the war was ended in 1945.

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World War I very largely confirmed the end of the glorification of war in art, which had been in decline since the end of the previous century. In general, and despite the establishment of large schemes employing official

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photographers began to compete strongly with artists in coverage of scenes in camp, and the aftermath of battle, but exposure times were generally too long to enable them to take pictures of battles very effectively.

2022: 1713:, for example, influenced Australian artists who grew up between the two world wars. When they were asked to depict a second multi-nation war after 1939, there was a precedent and format for them to follow. 1564:. Even more than in painting, the war brought a crisis in style, as much public opinion felt the traditional heroic styles inappropriate. One of the most successful British memorials is the starkly realist 1418: 1525:

in London still commemorates a single commander; it has very large reliefs around the base by different artists, although these are generally regarded as less memorable than other aspects of the monument.

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for many years. These works began to present a less heroic view of soldiers, who often represented a considerable threat to civilian populations even in peacetime, though the extravagant costumes of the

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casualties and civilians, has taken much longer to develop. As well as portraits of military figures, depictions of anonymous soldiers on the battlefield have been very common; since the introduction of

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are leading examples of the new type, which ignored complaints about the unsuitability of modern dress for heroic subjects. However such works had more immediate influence in France than in Britain.

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In the mid-18th century, a number of artists, especially in Britain, sought to revive military art with large works centered on a heroic incident that would once again bring the genre to the fore in

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included numerous marble reliefs round the base of the sarcophagus (which was never completed). Statues and tomb monuments of commanders continued to be the most common site until the more general

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history. War drove culture and culture drove war. The legacy of war inspired artworks reads like a series of mile markers, documenting the meandering course of civilization's evolutionary map.

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The usage of the term "military art" has evolved since the middle of the 19th century. In France, Charles Baudelaire discussed military art, and the impact on it of photography, in the Paris

1388:'s pictures concentrated entirely on soldiers relaxing or performing routine duties, and were praised by many soldiers: "He is the only person who has caught the atmosphere of this war" felt 1148:

which showed William Brydon struggling into Jalalabad on a dying horse. Dr. Brydon was the sole survivor of the 1842 retreat from Kabul, in which 16,000 were massacred by Afghan tribesmen.

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which follows a group of soldiers ravaging the countryside before eventually being rounded up by their own side and executed. Also in the first half of the 17th century, a branch of

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Holocaust monuments and national memory cultures in France and Germany since 1989: the origins and political function of the Vél' d'Hiv' in Paris and the Holocaust Monument in Berlin

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is also known as the "Waterloo Memorial", shifting to the more modern concept when "the dead were remembered essentially as soldiers who fought in the name of national collectives".

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to its style and began to portray individual soldiers with more character. Battle paintings were increasingly produced for large public buildings, and grew larger than ever before.

732: 4882: 2514: 2510: 2199: 2989: 3544: 2102: 1138:(Lady Butler) explained that she "never painted for the glory of war, but to portray its pathos and heroism." The aftermath of battle was depicted in paintings like 616:, as though from a hill nearby; this made them less interesting to paint, and the major artists now tended to avoid them. A very different view of warfare is seen in 2136: 1541:

saw the first really large group of sculptural war memorials, as well as many monuments for individuals. Among the most artistically outstanding is the Memorial to

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as a genre with the publication of the so-called 'Christmas books' ... which contained the writings of servicemen and were illustrated by the current war artists."

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A great number of World War I memorials were simply expanded in scope to cover the dead of World War II, and often subsequent conflicts. The now dominant role of

664:(1634–35) shows a crowded scene as the two sides meet peacefully to surrender the town; a theme more often copied in naval painting than land-based military art. 1413: 476:

All of these depicted frankly minor actions where Florence had defeated neighbouring cities, but important battles from distant history were equally popular.

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had become universal by 1914 and were addressed at both the military and the "home front" for various purposes, including recruitment, where the British

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Secular works produced for secular patrons often show military themes, for example in illuminated manuscript copies of histories like the 15th century

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the reverse of coins very often showed soldiers and carried an inscription praising 'our boys', no doubt in hope of delaying the next military revolt.

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is not covered in this article. Illustrations for newspapers and magazines continued a heroic style with perhaps more confidence than painters, and

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battle picture of its day", and its aerial viewpoint was to be very widely followed over the next centuries, though rarely to such dramatic effect.

165:, who lived during the late Fifth Dynasty. The scene shows Egyptian soldiers scaling the walls of a near eastern fortress on ladders. Although the 2181: 506: 1982: 1970: 1951: 2409:, or other large art reference works. As formal "wars" have largely vanished, "combat artist" seems to be replacing "war artist" in official use. 2264: 355: 2002: 4910: 4854: 4807: 1658:, the only remaining official American war artist in 2010, deployed with American forces in Haiti to provide humanitarian relief as part of 1334: 646:

of rather disorderly soldiers, not often in battle, but ransacking farmhouses or sitting around in a camp guardroom. The paintings of

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who were well known as painters of battle scenes, still often of subjects from the Napoleonic Wars or older conflicts, included

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showed very long reliefs of military campaigns winding round the body of huge columns; among the most impressive are those of

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James covers all major combatant nations of World War I; for British World War II posters, and a wider bibliography, see

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Australian Artists at War: Compiled from the Australian War Memorial Collection. Volume 1. 1885–1925; Vol. 2 1940–1970.

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often showed them on the battlefield, but with the action in the distant background; a feature probably dating back to

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Rulers have been shown in specifically military dress since ancient times; the difference is especially easy to see in

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promoted battle painting in countries such as Hungary (great attention paid to uniforms), Poland (huge forces) and the

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in Washington. More innovative memorials have often been erected for the civilian victims of war, above all those of

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of 1830 showed fighting in a positive light, but not the "military" as it shows armed civilian revolutionaries of the

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Sensô Sakusen Kirokuga ("War Campaign Documentary Painting"): Japan's National Imagery of the 'Holy War', 1937–1945.

1931:, mass donation worth 3,710+ fighters, 570,000+ enemy casualties including 250,000+ American invaders), a poster in 3217: 2061: 1455: 1233: 856:

ran competitions for sketches of art commemorating British victories, the winning entries being then commissioned.

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Military art remained popular during the remainder of the 19th century in most of Europe. French artists such as

598: 19: 1810:, 9 April 1865. This lithograph of the event shows the two men as they waited for the peace terms to be copied. 1438:

more often than not depict knights, nobles and kings in armour, whether or not they saw active service. In the

654:, often showed groups variously described as bandits or soldiers lurking in the countryside of Southern Italy. 3890: 2209: 2069: 1670: 1597: 1389: 329:, conceived as a raid on Satan's stronghold, led by Christ, to the standard group of scenes for a cycle on the 3817:, 1st edn. 1982 & many later editions, Macmillan, London, page refs to 1984 Macmillan 1st edn. paperback. 3147: 550:

Especially in Northern Europe, small groups of soldiers became a popular subject for paintings and especially

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in Berlin, since rededicated to different groups several times, and the dignified architectural forms of the

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were commissioned to create artwork in the context of a specific war for the Japanese government, including

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political, social or cultural. The thematic range embraces the causes, course and consequences of conflict.

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were removed after World War II. Other solutions were to make memorials more neutral, as in the repurposed

993: 967:, who are shown in an entirely negative light. It had a more immediate impact on European art than Goya's 424: 400:, and the high viewpoint they adopted made the scenes more easily comprehensible than many Western images. 91:

has led to new types of work portraying these, either in action or at rest. In 20th century wars official

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Naval scenes are very common, and battle scenes and "ship portraits" are mostly considered as a branch of

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Prints available online through the Washington State Library's Classics in Washington History collection

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mirror-cases, showed knights attacking a castle defended by ladies, a metaphor from the literature of

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motif shows Christ dressed as a victorious emperor in general's dress, having conquered the devil, in

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Ender M.G., Reed B.J., Absalon J.P. (2020) Popular Culture and the Military. In: Sookermany A. (eds)

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Carrier, throughout. His Chapter 1 gives an overview of the study of 19th and 20th century memorials

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The Encyclopedia of the Pharaohs: Volume I – Predynastic to the Twentieth Dynasty 3300–1069 BC.

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Military art encompasses actions of military forces in times of peace. For example, USMC Sgt.

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does not neglect the suffering of the dead and wounded on the frozen battlefield. In contrast,

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showing his victories was varied for different clients, and even sold to one of his opponents,

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The Room in the McLean House, at Appomattox C.H., in which Gen. Lee surrendered to Gen. Grant

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continued the late 18th century patterns, often on a larger scale, with the death of Admiral

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painted mostly glorifications of Napoleon and his victories, but his 1808 painting of the

8: 4718: 3293: 3236: 2921:, trans. P. E. Charvet, pp. 295, 297; excerpt, "In a section preceding the discussion of 2116: 2089: 1897:

Marines lug their packs out to the waiting helo in Haiti in 2010. Sketch by Battles, USMC

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Rice distribution at Carrefour in Haiti after the earthquake in 2010. Oil sketch by Sgt.

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Christian art produced for the church generally avoided battle scenes, although a rare

272: 228: 162: 51: 42:(1634–35) shows a crowded scene as the two sides meet peacefully to surrender the town. 4408: 3463:

Vol. 2, p. 5; excerpt, "The Australian people first became familiar with Australasian

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is a powerful image of a scrapyard of shot-down German aircraft, and the landscapist

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in 1066, the only surviving example of a type of embroidered hanging with which rich

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Mosse, 103–106 on conservatism, and generally throughout Chapter 5 on war memorials.

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of the United Kingdom. Other paintings of single soldiers were more dramatic, like

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often featuring near-contemporary scenes such as the huge set of three canvases of

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The Ackermann military prints: uniforms of the British and Indian armies, 1840–1855

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Part of the tussle includes determining how best to illustrate complex war scenes.

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commissioned by the wealthy part-time officers of city militia companies, of which

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Pepper, 3 (i) quoted on patrons; 2 (ii) quoted on van de Veldes; Slive, Chapter 9.

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followed British forces around Imperial troublespots for decades, working for the

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commemorating all the dead began to emerge in the period of the Napoleonic Wars.

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A Splendid Little War; The Spanish–American War, 1898; The Artists' Perspective.

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Australian Artists at War: Compiled from the Australian War Memorial Collection.

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British Artists and War: The Face of Battle in Paintings and Prints, 1700–1914.

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My Neighbor, my Enemy: Justice and Community in the Aftermath of Mass Atrocity.

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of 1859, Baudelaire discussed the advent of photography and its impact on art."

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Sketch showing American POWs in a Japanese prison camp in the Philippines, 1945

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Volume 1. 1885–1925; Vol. 2 1940–1970. South Melbourne, Victoria: Sun Books.

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stabbing Satan as a dragon with a cross with a spear-point at its base. Some

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Hartt, 457 on Leonardo (quoted), 470–471 on Michelangelo, 246–248 on Uccello.

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produced some very fine paintings before being shot down and killed in 1942.

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began to make drawings of the war while fighting on the Western Front in the

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from the same period shows a military victory in a more symbolic style. The

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https://link.springer.com/referenceworkentry/10.1007/978-3-030-02866-4_36-1

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Banquet of the Amsterdam Civic Guard in Celebration of the Peace of Münster

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Selected Papers, volume 3, Late Antique, Early Christian and Mediaeval Art

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The Russian crossing of Danube near Zimnitsa on 15 June 1877, painted by

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Dutch Ships Ramming Spanish Galleys off the Flemish Coast in October 1602

457:(1503–1506), which were intended to be placed opposite each other in the 393: 389: 339:, shown in military dress, were extremely popular, as were images of the 318: 252: 205: 170: 46: 4728: 4658: 4490: 4394: 4343: 4297: 4287: 4034: 1600:, and most French memorials, were content to update traditional styles. 943: 612:

The 17th and 18th centuries saw depictions of battles mostly adopting a

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Napoleon and history painting: Antoine-Jean Gros's La Bataille d'Eylau.

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Drawing the Lines of Battle : Military Art of World War II Alaska.

2970:"Pictures of war can carry more moral meaning than thousands of words," 2774: 2394: 2108: 1936: 1880: 1577: 1561: 1502: 1376: 1252: 687:

became the grandest medium for "official military art"; the Portuguese

684: 580: 256: 92: 80: 23: 846:

was among the artists who produced scenes of Nelson's victories, with

4683:

A Crisis of Brilliance: Five Young British Artists and the Great War.

4548:

Impressions of the Front: Woodcuts of the Sino Japanese War, 1894–95.

4137:

Texts from the Pyramid Age. Writings from the Ancient World (book 16)

2957: 2364: 1785: 1761:

Examples of classical war art include the friezes of warriors at the

1531: 1465: 1367: 1316: 1312: 913: 188:

showing detailed scenes of either military campaigns or hunting; the

83:; the development of other large types of military equipment such as 4821:

Bennington, Vermont: International Graphics Corporation, 1982). 10-I

1112:, they have only hovered around the edges, touching and trimming. – 4778:

Blackfoot War Art: Pictographs of the Reservation Period, 1880–2000

4735:

War Art: Murals and Graffiti – Military Life, Power and Subversion.

4647:

The War Artists: British Official War Art of the Twentieth Century.

4604:

Pretoria : Military Art Advisory Board, Defence Headquarters.

4233:

Bennington, Vermont: International Graphics Corporation, 1982. 10-I

3937:

Inexorable Modernity: Japan's Grappling with Modernity in the Arts.

2374: 2354: 2112: 1790:

Sanctuary — Edward IV and Lancastrian Fugitives at Tewkesbury Abbey

1277:

government burnt it. He produced a set of fifty prints in 1924 on

1260: 1239: 555: 462: 417: 133:

Art depicting military themes has existed throughout history. The

84: 68: 4922: 4864: 4760:

Art from the trenches: America's Uniformed Artists in World War I.

3596:

Inexorable Modernity: Japan's Grappling with Modernity in the Arts

109: 4213:

Art and war: twentieth century warfare as depicted by war artists

3224: 1349: 1311:(not actually the slogan) was repeated in the United States with 801: 733:

The Defeat of the Floating Batteries at Gibraltar, September 1782

623: 264: 248: 197: 169:

in 1274 BC appears to have been inconclusive, reliefs erected by

126: 4602:

A Selection of South African Military art, 1939–1945, 1975–1985.

3581:(AAS), Annual Meeting (Boston, Massachusetts), 22–25 March 2007. 2128: 1769:, is a linear panoramic narrative of the events surrounding the 4900: 4566:

The Art of War: New Zealand War Artists in the Field 1939–1945.

4463:

Bennington, Vermont: International Graphics Corporation, 1982.

3374:; excerpt, "records that were as much artistic as documentary." 2598:

1704 Battle of Blenheim depicted in tapestry at Blenheim Palace

1993: 1450: 1302: 1119: 959:

in 1824, showing a then notorious attack on Greek civilians by

185: 158: 4906:

Anne S. K. Brown Military Collection, Brown University Library

4418:

Canvas of War: Painting the Canadian Experience, 1914 to 1945.

376:

is a linear panoramic narrative of the events surrounding the

358:, where most of the 112 miniatures show military scenes. The 76:

such works often concentrate on showing the variety of these.

3983:(restricted access, refs to sections), accessed 22 March 2011 3723:

War Paint: Art, War, State, and Identity in Britain, 1939–45.

3365:

War Paint: Art, War, State, and Identity in Britain, 1939–45,

2685:

Russell, 73–74, quoting Ford's history of the Ackermann firm.

1989: 1510: 1362:; a very different treatment of a similar subject is seen in 427:

saw a great increase in military art by the leading artists,

365: 953:, who also painted many smaller combat scenes, finished his 814:), emphasized the brutality of the French forces during the 259:

showed crowded scenes of combat, sometimes mythological (an

4413:

Toronto: Art Canada Institute, 2021. ISBN 978-1-4871-0271-5

3776:

Images of the Army: The Military in British Art, 1815–1914.

3764:, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams), 1274: 1086: 699:, after reworking the general's faces and other details. 88: 4796:

Visions from a Foxhole: a rifleman in Patton's Ghost Corps

4629:

A Terrible Beauty: British Artists in the First World War.

4436:

Art at the Service of War: Canada, Art, and the Great War.

3741:

A Terrible Beauty: British Artists in the First World War.

3447:

A Terrible Beauty: British Artists in the First World War,

3258:

Images of the Army: The Military in British Art, 1815–1914

1741:

As an example of nation's efforts to document war events,

1295:

caused a boom for sculptors, covered below, and makers of

3979:

Pepper, Simon. "Battle pictures and military scenes", in

3861:

The public and private in Dutch culture of the Golden Age

1921: 1596:

were other ways of avoiding controversy. Some, like the

4326:

The Art of War: Paintings of Heroes, Horrors and History

4173:

Anchorage, Alaska: Anchorage Museum of History and Art.

3526:

The Art of War: Paintings of Heroes, Horrors and History

3241:"Australia, Britain and Canada in the Second World War," 3963:

Nineteenth-Century Painters and Painting: a Dictionary.

3915:

Fallen Soldiers: Reshaping the Memory of the World Wars

2761:, Vol. 76–77, pp. 235–236; excerpt, "A collaborator of 2617:

Norman, Geraldine. (1977). "Gros, Baron Antoine Jean",

1374:. Among official World War II war artists, Paul Nash's 1216:

were "specials" and also painters who exhibited at the

691:(1470s) were an early example. A set produced for the 571:

Naval painting became conventionalized in 17th century

208:

China, a famous stone relief of c. 150–170 AD from the

2623:

Nineteenth-century Painters and Painting: A Dictionary

2185:

on the night of December 25–26, 1776, painted by

1924:

in the past 3 years” (334,053,057 people supporting a

4338:

Nevill, Ralph and William Gladstone Menzies. (1909).

4005:

Imagined Battles. Reflections of War in European Art.

1204:." Prior and other "special correspondents" such as 3829:

Picture this: World War I posters and visual culture

2900:

Imagined Battles. Reflections of War in European Art

4762:College Station: Texas A & M University Press. 2757:Sullivan, A.E. (1958). "Military Art and Artists", 1459:, which shows the emperor after his victory at the 1445:Full-length and equestrian portraits of rulers and 593:was the earliest real specialist, followed by the 514:brought a huge and "seminal" battle scene into the 4824:Harrington, Peter, and Frederic A. Sharf. (1988). 4780:. Normanm Oklahoma: University of Oklahoma Press. 4720:The war depicted by distinguished British artists. 4416:Oliver, Dean Frederick, and Laura Brandon (2000). 4195:A Bitter Truth: Avant-garde Art and the Great War. 3572:"Cultural Significance of an Invisible Emperor in 2455: 2453: 2451: 1366:'s drawings of sleeping civilians sheltering from 1089:forces joining together to smash the power of the 979:until some years later. In contrast, Delacroix's 4520:Nussbaum, Louis Frédéric and Käthe Roth. (2005). 2773:in 1859 with a scene showing a French battery at 2765:, and like him a specialist in military art, was 403: 392:the battle scene, often from a fictional work of 192:are an example of the former. The ancient Greek 4929: 3039: 3037: 2405:); note that the term does not appear at all in 1108:British painters have never fully grappled with 2649:Norman, "Goya y Lucientes, Francisco José de", 2448: 1976:Bercheny's Hussars, French light cavalry, 1776. 904:(the "Prince of Wales Own") painted in 1793 by 558:, who is unusual in that he was a professional 356:Froissart of Louis of Gruuthuse (BnF Fr 2643-6) 4308:They Drew Fire: combat artists of World War II 4169:Binek, Lynn K. and Walter A Van Horn. (1989). 4109:Stover, Eric and Harvey M. Weinstein. (2004). 3145:https://doi.org/10.1007/978-3-030-02866-4_36-1 710:, covering maps and views of country houses. 583:of the United Kingdom rejected his version of 4874:1914–1918 war, Artists of the First World War 4855:United States Army Center of Military History 3034: 2474: 2472: 2129:Offering a drink of water to a fallen soldier 1611:, which recreates the iconic 1945 photograph 683:From at least the late 15th century, sets of 239:is a large and dramatic battle scene showing 212:shows a battle between cavalry forces in the 196:show lengthy parades of the city's volunteer 4701:Art and Survival in First World War Britain. 4645:Harries, Meirion and Suzie Harries. (1983). 3289: 3287: 1796:, UK, 1867. This was an incident during the 1348:on a non-combatant populace was depicted in 1140:Calling the Roll After An Engagement, Crimea 622:("The Misfortunes of War"), a set of twelve 4139:. Atlanta: Society of Biblical Literature. 4079:The Religious Meaning of the Ruthwell Cross 4007:Chapel Hill: University of North Carolina. 3564: 2721:Norman, "Detaille, Jean Baptiste Edouard", 2033:, depicting the start of the charge by the 1004:established military genre painting in the 4737:Bootham: Council for British archaeology. 4550:Philadelphia: Philadelphia Museum of Art. 3965:Berkeley: University of California Press. 3355: 3353: 3230: 2858:Norman, "Vernet, Antoine Charles Horace", 2469: 2068:, 1890. This was a crucial battle in the 1675:Canadian Gunners in the Mud, Passchendaele 1335:World War II posters from the Soviet Union 251:, probably copying a lost painting. Many 4590:Carter, Albert Charles Robinson. (1900). 4569:Christchurch, New Zealand: Hazard Press. 3794:The Oxford Companion to Military History. 3778:Manchester: Manchester University Press. 3284: 2640:Pepper, 3 (ii); Honour & Fleming, 483 1906:Destroy this mad brute — Enlist U.S. Army 1662:after the disastrous earthquake in 2010. 1501:Sculpture made from Swiss assault rifles 697:Maximilian II Emanuel, Elector of Bavaria 300:. Individual images of each scene are at 4592:The Work of War Artists in South Africa. 3993:, 2007 (2nd edn), British Museum Press, 3857:'s Military Men; Masculinity Transformed 3066:"'The Art of War,' Learn About the Art." 2703:Norman, "Messonier, Jean Louis Ernest", 2495: 2493: 1915: 1900: 1892: 1802: 1784: 1729:Artist portraying a sergeant (1874), by 1724: 1669: 1641: 1496: 1481: 1412: 1370:bombing on the station platforms of the 1227: 1150: 1118: 1014: 933: 858: 748: 666: 535: 407: 263:is a term for a scene of battle between 153:, about 2,500 BC, is one of a number of 108: 45: 28: 4113:Cambridge: Cambridge University Press. 3576:('War Campaign Documentary Painting')." 3383: 3350: 3227:, "It's All in the Wrist", 25 May 2010. 2919:Selected Writings on Art and Literature 2769:(1836–1885), who made his debut at the 2739:Norman, "Neuville, Alphonse Marie de", 1337:, which sometimes are similar to their 4930: 4438:Toronto: University of Toronto Press. 4385:South Melbourne, Victoria: Sun Books. 4342:. London: The Connoisseur Publishing. 4251:Artists and Warfare in the Renaissance 4211:Foot, Michael Richard Daniel. (1990). 4183:. Atglen, Pennsylvania: Schiffer Pub. 3991:The British Museum Book of Chinese Art 3885:. Underground Media Publishing, 2015. 3831:, 2010, University of Nebraska Press, 3538: 247:; it is a floor mosaic excavated from 18:For the term in military science, see 4481:Columbia, South Carolina: Cerberus. 4409:War Art in Canada: A Critical History 4085:, 1980, Chatto & Windus, London, 3388:. Underground Media. pp. 27–29. 3214:"With Sketchpads and Guns, Semper Fi" 2876:Norman, "Vernet, Emile Jean Horace", 2490: 1756: 1607:in depicting war is reflected in the 1556:in Boston, with a second cast in the 929: 818:in Spain. British depictions of the 4810:about experience and exhibit at the 4253:. New Haven: Yale University Press. 3917:. Oxford University Press US, 1991. 3546:Oxford Companion to Military History 2568:Oxford Companion to Military History 2464:Oxford Companion to Military History 2399:Oxford Companion to Military History 1223: 833:The Death of Nelson, 21 October 1805 347:illustrated the many battles in the 4868:, 1500 New Zealand art works online 4420:Vancouver: Douglas & McIntyre. 3939:Lanham, Maryland: Lexington Books. 2377:, a recent tradition of Afghanistan 1558:National Gallery of Art, Washington 902:Soldiers of the 10th Light Dragoons 13: 4594:London: "The Art Journal" Office. 4296:. New York: Grosset & Dunlap. 4236:Gallatin, Albert Eugene. (1919). 4197:New Haven: Yale University Press. 4163: 3762:History of Italian Renaissance Art 3725:New Haven: Yale University Press. 2759:Army Quarterly and Defence Journal 2348:New Zealander official war artists 2166: 1426:, 232 × 547 cm (91.34 × 215.35 in) 1322:Beat the Whites with the Red Wedge 1104:exhibition of 1861 observed that 1100:of 1859. A British critic of the 469:", according to the art historian 388:used to decorate their homes. In 296:The entire 70-metre-long (230 ft) 14: 4954: 4843: 4733:Thorniley-Walker, Jane. (2006). 4352:Oxford: Oxford University Press. 4348:Prendergast, Christopher (1997). 4041:Colours of War: War Art, 1939–45. 3796:Oxford: Oxford University Press. 3670:DP Becker in KL Spangeberg (ed), 2968:Mcintyre, Ben. 10 September 2009 2579:Pepper, 2 (i); Kettering, 104–109 2286:Our boys need sox - knit your bit 1584:(widely imitated) and the German 1283:("The War"). The English artist 826:quickly producing large works by 502:Maximilian II, Holy Roman Emperor 4294:WW II: a Chronicle of Soldiering 2293: 2278: 2271:The Woman's Land Army of America 2263: 2244: 2221: 2198: 2182:Washington Crossing the Delaware 2173: 2154: 2135: 2101: 2077: 2062:Battle of Las Queseras del Medio 2050: 2021: 2001: 1981: 1969: 1950: 1513:of the brilliant French general 1456:Equestrian Portrait of Charles V 1134:In contrast, the British artist 1032:European artists in a generally 619:Les Grandes Misères de la guerre 525:The Battle of Alexander at Issus 507:The Battle of the Milvian Bridge 447:(1504–1506) by Michelangelo and 285: 125:; a floor mosaic excavated from 104: 4883:MoD art collection, war artists 4685:London: Old Street Publishing. 3674:, Cincinnati Art Museum, 1993. 3620: 3607: 3584: 3551: 3518: 3506: 3488: 3470: 3453: 3438: 3420: 3402: 3377: 3332: 3309: 3246: 3206: 3197: 3188: 3179: 3170: 3161: 3152: 3133: 3124: 3115: 3106: 3083: 3070: 3055: 3046: 3016: 2998: 2990:"The Disasters in Afghanistan," 2978: 2962: 2932: 2888: 2870: 2852: 2834: 2816: 2798: 2780: 2751: 2733: 2715: 2697: 2688: 2679: 2670: 2661: 2643: 2634: 2611: 2602: 2591: 2582: 2573: 2556: 2547: 2538: 2535:Pepper, 1 (iii), Kettering, 104 2529: 2520: 2323:Australian official war artists 2300:Victory garden poster, US, 1945 1515:Gaston of Foix, Duke of Nemours 723:The Death of Captain James Cook 599:son team of Willem van de Velde 184:mainly consists of large stone 20:Military art (military science) 4915:, British World War II posters 4814:from 22 January – 9 April 2010 4600:Huntingford, N. P. C. (1986). 3672:Six Centuries of Master Prints 3052:Pepper, Introduction and 3, ii 2840:Norman, "Michalowski, Piotr", 2822:Norman, "Keyser, Nicaise de", 2481: 2439: 2430: 2421: 2412: 2388: 2070:Venezuelan War of Independence 1720: 1598:Canadian National War Memorial 1568:in London, the masterpiece of 1408: 873:The Loyal Volunteers of London 404:Renaissance to Napoleonic Wars 1: 4703:New York: St. Martins Press. 4681:Haycock, David Boyd. (2009). 4631:Bristol: Sansom and Company. 3895:McCloskey, Barbara. (2005). 3650: 3579:Association for Asian Studies 3557:McCloskey, Barbara. (2005). 3298:About the Imperial War Museum 3141:Handbook of Military Sciences 2343:Japanese official war artists 2333:Canadian official war artists 2318:American official war artists 2237: 1743:official Japanese war artists 1049:Antoine Charles Horace Vernet 605:which was destroyed when the 579:found when the "Sailor King" 321:. The violent tastes of the 315:Christ treading on the beasts 143:Protodynastic Period of Egypt 4135:Strudwick, Nigel C. (2005). 2975:(London). 10 September 2009. 2328:British official war artists 2230:Nikolai Dmitriev-Orenburgsky 2147:Jean-Louis-Ernest Meissonier 1637: 1614:Raising the Flag on Iwo Jima 1477: 1403: 891:of the splendid uniforms of 425:Italian Renaissance painting 396:, was a frequent subject in 177:opponents with his chariot. 54:in 1356, in a manuscript of 7: 4819:War Art of the Third Reich. 4758:Cornebise, Alfred. (1991). 4663:Harrington, Peter. (1983). 4563:Haworth, Jennifer. (2007). 4461:War Art of the Third Reich. 4231:War Art of the Third Reich. 4053:, Osprey Publishing, 2001, 3961:Norman, Geraldine. (1977). 3899:Westport: Greenwood Press. 3774:Hichberger, J.W.M. (1991). 3252:Hichberger, J.W.M. (1991). 2694:Honour and Fleming, 487–488 2338:German official war artists 2305: 1958:Knight, Death and the Devil 1920:“Great achievements of the 1879:, Theodore Shelton Bowers, 1210:Richard Caton Woodville Jr. 1085:sentiment, showing various 554:by many artists, including 504:riding on a huge carriage. 361:Siege of the Castle of Love 278: 204:show scenes of combat. In 10: 4959: 4794:Foley, William A. (2003). 4776:Dempsey, L James. (2007). 4499:New York: Crescent Books. 4497:German War Art, 1939–1945. 4495:Yenne, William P. (1983). 4477:Weber, John Paul. (1979). 4051:Discovering Antique Prints 3852:Kettering, Alison McNeal. 3743:Bristol: Sansom & Co. 3461:Australian Artists at War, 3267:; Brandon, Laura. (2008). 2804:Norman, "Albrecht, Adam", 1996:Light Cavalry, circa 1845. 1943: 1780: 1688: 1665: 1660:Operation Unified Response 1609:National Iwo Jima Memorial 1486:One of the figures on the 1424:Bartholomeus van der Helst 1238:, etching and aquatint by 1208:were known as "specials". 982:Liberty Leading the People 812:Los Desastres de la Guerra 739:The Death of Major Pierson 713:The Death of General Wolfe 673:The Death of Major Peirson 500:shows both, leading up to 214:Campaign against Dong Zhuo 99: 22:. For artists of war, see 17: 4897:Aviation and Military art 4812:Pritzker Military Library 4097:Dutch Painting, 1600–1800 3792:Holmes, Richard. (2003). 3091:The Lessons of Guernica," 1623:Vietnam Veterans Memorial 1327:Lazar Markovich Lissitzky 965:Greek War of Independence 640:Dutch Golden Age painting 573:Dutch Golden Age painting 325:elite managed to add the 4717:Holme, Charles. (1918). 4699:Sillars, Stuart (1987). 4649:London: Michael Joseph. 4526:Harvard University Press 4434:Tippett, Maria. (1984). 4157:University of Pittsburgh 4149:Tsuruya, Mayu. (2005). 3897:Artists of World War II. 3710:, Berghahn Books, 2006, 3684:Brandon, Laura. (2008). 3315:Brandon, Laura. (2008). 2505:17 February 2012 at the 2427:Strudwick (2005), p. 371 2382: 1817:Portraits, left to right 1632: 1566:Royal Artillery Memorial 1488:Royal Artillery Memorial 1308:Lord Kitchener Wants You 1114:William Michael Rossetti 1053:Emile Jean Horace Vernet 864:10th Regiment of Hussars 434:The Battle of San Romano 364:, often found on Gothic 304:. (Swipe left or right.) 173:show him scattering his 163:21st nome of Upper Egypt 4851:Army art of World War I 4479:The German War Artists. 4406:Brandon, Laura (2021). 4340:British Military Prints 4274:Johnson, Peter (1978). 4243:New York: E.P. Dutton. 3935:Nara, Hiroshi. (2007). 3690:New York: I.B. Tauris. 3656:Baker, Darrell (2008). 3590:Nara, Hiroshi. (2007). 3559:Artists of World War II 3384:Maenius, Chase (2015). 3303:5 December 2010 at the 3096:4 December 2010 at the 2925:in his articles on the 2143:Relief after the battle 1825:George Armstrong Custer 1619:National D-Day Memorial 1570:Charles Sargeant Jagger 1537:The huge losses of the 1492:Charles Sargeant Jagger 1432:Ancient Roman sculpture 1197:Illustrated London News 1166:Illustrated London News 1012:in the United Kingdom. 849:The Battle of Trafalgar 589:because of inaccuracy. 586:The Battle of Trafalgar 345:illuminated manuscripts 225:Roman triumphal columns 4888:National Archives (UK) 4381:Reid, John B. (1977). 4310:. New York: TV Books. 4179:Carman, W. Y. (2003). 4095:Slive, Seymour Slive. 4021:Reid, John B. (1977). 3815:A World History of Art 3660:Stacey International. 3636:My Neighbor, my Enemy, 3574:Sensô Sakusen Kirokuga 3459:Reid, John B. (1977). 3225:Sketchpad Warrior blog 3062:National Archives (UK) 2258:, Australia, 1914-1918 1988:Portrait of a mounted 1940: 1913: 1898: 1890: 1800: 1747:sensō sakusen kirokuga 1734: 1685: 1651: 1554:Augustus Saint-Gaudens 1505: 1494: 1427: 1247: 1170: 1131: 1117: 1029: 947: 867: 791:The Second of May 1808 763: 708:topographical painting 680: 657:The Surrender of Breda 547: 497:Triumphs of Maximilian 421: 302:Bayeux Tapestry tituli 130: 61: 57:Froissart's Chronicles 43: 35:The Surrender of Breda 4627:Gough, Paul. (2010). 4542:Okamoto, Shumpei and 4292:Jones, James (1975). 4266:The War Illustrators. 4264:Hodgson, Pat (1977). 4239:Art and the Great War 4193:Cork, Richard. 1994. 4003:Paret, Peter (1997). 3739:Gough, Paul. (2010). 3721:Foss, Brian. (2006). 3359:Foss, Brian. (2006). 2894:Paret, Peter (1997). 2511:Nomination Form, p. 4 2403:penultimate paragraph 1919: 1904: 1896: 1806: 1788: 1728: 1673: 1645: 1500: 1485: 1416: 1352:'s 1937 masterpiece, 1231: 1161:Battle of Majuba Hill 1154: 1122: 1106: 1018: 973:The Third of May 1808 956:The Massacre at Chios 937: 923:The Charging Chasseur 862: 797:The Third of May 1808 755:The Charging Chasseur 752: 744:John Singleton Copley 678:John Singleton Copley 670: 539: 411: 151:Stele of the Vultures 112: 49: 32: 4923:War Art digitization 4919:Archives New Zealand 4215:. London: Headline. 4155:Ph.D. dissertation, 4039:Ross, Alan. (1983). 3613:Ross, Alan. (1983). 3444:Gough, Paul. (2010) 2988:10 September 2009; 2767:Alphonse de Neuville 2509:, Bayeaux tapestry, 2418:Pepper, Introduction 2212:in 1796, painted by 1586:Laboe Naval Memorial 1002:Alphonse de Neuville 828:Arthur William Devis 807:The Disasters of War 609:burnt down in 1834. 607:Houses of Parliament 372:. The 11th century 245:Darius III of Persia 123:Darius III of Persia 4912:Weapons on the Wall 4879:Ministry of Defence 4828:London: Greenhill. 4667:London: Greenhill. 4522:Japan Encyclopedia. 4276:Front-Line Artists. 4249:Hale, John (1990). 3294:Imperial War Museum 3237:Canadian War Museum 3078:Weapons on the Wall 2436:Baker (2008), p. 84 2117:Battle of Friedland 2090:Battle of Friedland 1813:Officers shown here 1683:Canadian War Museum 1574:Tannenberg Memorial 1528:Wellington's Column 1440:Early Modern period 1360:bombing of Guernica 1358:, showing the 1937 1329:but soon turned to 1236:Advancing Under Gas 1214:Charles Edwin Fripp 1177:By the time of the 1145:Remnants of an Army 854:British Institution 839:The Death of Nelson 788:'s large paintings 693:Duke of Marlborough 689:Pastrana Tapestries 441:, and the abortive 414:Battle of Marignano 241:Alexander the Great 223:the most elaborate 135:Battlefield Palette 119:Alexander the Great 4872:Mémorial de Caen, 4302:Lanker, Brian and 3813:and John Fleming, 3143:. Springer, Cham. 2911:Charles Baudelaire 2564:"Military Artists" 2460:"Military Artists" 2206:Napoleon Bonaparte 2086:French 4th Hussars 2043:Elizabeth Thompson 2039:Battle of Waterloo 1941: 1914: 1899: 1891: 1885:Joshua Chamberlain 1857:John Aaron Rawlins 1833:Orville E. Babcock 1801: 1775:Battle of Hastings 1757:Classical examples 1735: 1686: 1656:Kristopher Battles 1652: 1648:Kristopher Battles 1582:Cenotaph in London 1539:American Civil War 1506: 1495: 1461:Battle of Mühlberg 1428: 1372:London Underground 1344:The impact of the 1248: 1179:American Civil War 1171: 1136:Elizabeth Thompson 1132: 1078:Battle of Grunwald 1057:Wilhelm Camphausen 1030: 1021:Battle of Grunwald 963:forces during the 948: 930:Nineteenth century 918:Théodore Géricault 868: 764: 760:Théodore Géricault 681: 548: 530:Albrecht Altdorfer 483:Triumphs of Caesar 450:Battle of Anghiari 422: 398:Persian miniatures 382:Battle of Hastings 131: 62: 52:Battle of Poitiers 44: 4834:978-1-85367-316-0 4798:. NY: Ballantine 4786:978-0-8061-3804-6 4768:978-0-89096-349-4 4743:978-1-902771-56-4 4709:978-0-312-00544-3 4691:978-1-905847-84-6 4673:978-1-85367-157-9 4655:978-0-7181-2314-7 4637:978-1-906593-00-1 4575:978-1-877393-24-2 4534:978-0-674-01753-5 4505:978-0-517-34846-8 4487:978-0-933590-00-7 4469:978-0-86556-018-5 4444:978-0-8020-2541-8 4426:978-1-55054-772-6 4391:978-0-7251-0254-8 4366:978-0-19-817422-6 4358:978-0-19-817402-8 4316:978-1-57500-085-5 4284:978-0-304-30011-2 4278:London: Cassell. 4221:978-0-7472-0286-8 4203:978-0-300-05704-1 4145:978-1-58983-680-8 4127:978-0-521-54264-7 4119:978-0-521-83495-7 4081:(orig. 1944), in 4067:978-0-7478-0499-4 4049:Russell, Ronald, 4043:London: J. Cape. 4031:978-0-7251-0254-8 4013:978-0-8078-2356-9 3999:978-0-7141-2446-9 3971:978-0-520-03328-3 3953:978-0-7391-1842-9 3945:978-0-7391-1841-2 3931:978-0-19-507139-9 3905:978-0-313-32153-5 3877:978-0-87413-640-1 3845:978-0-8032-2610-4 3802:978-0-19-860696-3 3784:978-0-7190-2675-1 3731:978-0-300-10890-3 3696:978-1-84511-237-0 3666:978-1-905299-37-9 3089:Walker, William. 3080:in external links 2676:Hichberger, 14–28 2608:Hichberger, 10–11 2562:Becker, 155–156; 2121:Ernest Meissonier 2035:Royal Scots Greys 2030:Scotland Forever! 2014:Anglo-Persian War 2010:Battle of Kooshab 1829:Cyrus B. Comstock 1765:in Greece or the 1731:Ernest Meissonier 1543:Robert Gould Shaw 1346:Spanish Civil War 1331:socialist realism 1224:Twentieth century 1206:Frederic Villiers 1046:Piotr Michałowski 1042:Nicaise de Keyser 994:Ernest Meissonier 881:Rudolph Ackermann 877:Thomas Rowlandson 866:, by Carle Vernet 455:Leonardo da Vinci 444:Battle of Cascina 341:Archangel Michael 327:Harrowing of Hell 273:Late Roman Empire 221:Ancient Roman art 210:Wu family shrines 194:Parthenon Marbles 121:(left) defeating 74:military uniforms 4950: 4858: 4817:Gilkey, Gordon. 4808:Artist Interview 4459:Gilkey, Gordon. 4268:London: Osprey. 4229:Gilkey, Gordon. 4099:, Yale UP, 1995, 3981:Grove Art Online 3881:Maenius, Chase. 3855:Gerard ter Borch 3758:Hartt, Frederick 3704:Carrier, Peter. 3645: 3624: 3618: 3611: 3605: 3588: 3582: 3568: 3562: 3555: 3549: 3542: 3536: 3522: 3516: 3510: 3504: 3492: 3486: 3474: 3468: 3457: 3451: 3442: 3436: 3424: 3418: 3406: 3400: 3399: 3381: 3375: 3357: 3348: 3336: 3330: 3313: 3307: 3291: 3282: 3250: 3244: 3234: 3228: 3210: 3204: 3201: 3195: 3192: 3186: 3183: 3177: 3174: 3168: 3165: 3159: 3156: 3150: 3137: 3131: 3128: 3122: 3119: 3113: 3110: 3104: 3103:9 February 2003. 3087: 3081: 3074: 3068: 3059: 3053: 3050: 3044: 3041: 3032: 3020: 3014: 3002: 2996: 2982: 2976: 2966: 2960: 2936: 2930: 2892: 2886: 2874: 2868: 2856: 2850: 2838: 2832: 2820: 2814: 2802: 2796: 2784: 2778: 2755: 2749: 2737: 2731: 2719: 2713: 2701: 2695: 2692: 2686: 2683: 2677: 2674: 2668: 2665: 2659: 2647: 2641: 2638: 2632: 2615: 2609: 2606: 2600: 2595: 2589: 2586: 2580: 2577: 2571: 2570:, on Answers.com 2560: 2554: 2551: 2545: 2542: 2536: 2533: 2527: 2524: 2518: 2497: 2488: 2485: 2479: 2476: 2467: 2466:, on Answers.com 2457: 2446: 2443: 2437: 2434: 2428: 2425: 2419: 2416: 2410: 2407:Grove Art Online 2392: 2360:The Horse in Art 2297: 2282: 2267: 2248: 2232:in Paris in 1883 2225: 2210:bridge of Arcole 2202: 2177: 2158: 2139: 2105: 2094:Edouard Detaille 2081: 2066:Arturo Michelena 2054: 2025: 2005: 1985: 1973: 1954: 1873:James W. Forsyth 1863:, unidentified, 1853:Ulysses S. Grant 1841:Walter H. Taylor 1837:Charles Marshall 1798:War of the Roses 1794:Richard Burchett 1763:Temple of Aphaia 1386:Edward Ardizzone 1339:Nazi equivalents 1333:, used for most 1319:posters such as 1155:Engraving after 1124:Battle of Chesma 1091:Teutonic Knights 1081:(1878) reflects 998:Edouard Detaille 951:Eugène Delacroix 938:Battle scene at 910:Colonel in Chief 704:history painting 644:guardroom scenes 632:Thirty Years War 429:battle paintings 289: 237:Alexander Mosaic 200:force, and many 167:Battle of Kadesh 139:cosmetic palette 115:Alexander Mosaic 4958: 4957: 4953: 4952: 4951: 4949: 4948: 4947: 4928: 4927: 4849: 4846: 4324:Chase Maenius. 4166: 4164:Further reading 4075:Schapiro, Meyer 3987:Rawson, Jessica 3883:13 Masterpieces 3718:, 9781845452957 3653: 3648: 3625: 3621: 3615:Colours of War, 3612: 3608: 3589: 3585: 3570:Tsuruya, Mayu. 3569: 3565: 3556: 3552: 3543: 3539: 3524:Chase Maenius. 3523: 3519: 3511: 3507: 3493: 3489: 3475: 3471: 3458: 3454: 3443: 3439: 3425: 3421: 3407: 3403: 3396: 3386:13 Masterpieces 3382: 3378: 3358: 3351: 3337: 3333: 3314: 3310: 3305:Wayback Machine 3292: 3285: 3251: 3247: 3235: 3231: 3221:New York Times. 3211: 3207: 3202: 3198: 3193: 3189: 3184: 3180: 3175: 3171: 3166: 3162: 3157: 3153: 3138: 3134: 3129: 3125: 3120: 3116: 3111: 3107: 3098:Wayback Machine 3088: 3084: 3075: 3071: 3060: 3056: 3051: 3047: 3043:Pepper, 3, (ii) 3042: 3035: 3021: 3017: 3003: 2999: 2983: 2979: 2967: 2963: 2937: 2933: 2913:. (1992). "The 2893: 2889: 2875: 2871: 2857: 2853: 2839: 2835: 2821: 2817: 2803: 2799: 2785: 2781: 2756: 2752: 2738: 2734: 2720: 2716: 2702: 2698: 2693: 2689: 2684: 2680: 2675: 2671: 2666: 2662: 2648: 2644: 2639: 2635: 2616: 2612: 2607: 2603: 2596: 2592: 2587: 2583: 2578: 2574: 2561: 2557: 2552: 2548: 2543: 2539: 2534: 2530: 2525: 2521: 2515:Nomination Form 2507:Wayback Machine 2498: 2491: 2486: 2482: 2477: 2470: 2458: 2449: 2444: 2440: 2435: 2431: 2426: 2422: 2417: 2413: 2393: 2389: 2385: 2380: 2370:War photography 2308: 2301: 2298: 2289: 2288:, US, 1917-1918 2283: 2274: 2268: 2259: 2249: 2240: 2233: 2226: 2217: 2203: 2194: 2178: 2169: 2167:River crossings 2162: 2159: 2150: 2140: 2131: 2124: 2106: 2097: 2082: 2073: 2055: 2046: 2026: 2017: 2008:Cavalry at the 2006: 1997: 1986: 1977: 1974: 1965: 1964:, 16th century. 1955: 1946: 1889: 1888: 1861:Charles Griffin 1849:Philip Sheridan 1814: 1783: 1771:Norman Conquest 1767:Bayeux Tapestry 1759: 1723: 1691: 1668: 1640: 1635: 1590:Unknown Warrior 1588:; tombs of the 1523:Nelson's Column 1480: 1453:'s magisterial 1411: 1406: 1226: 1220:and elsewhere. 1188:War photography 1128:Ivan Aivazovsky 1063:. The rise of 987:July Revolution 932: 879:, published by 844:J. M. W. Turner 820:Napoleonic Wars 781:Battle of Eylau 770:, France added 642:specialized in 614:bird's eye view 577:J. M. W. Turner 560:Swiss mercenary 522:. The unusual 488:Roman triumphal 478:Andrea Mantegna 471:Frederick Hartt 459:Palazzo Vecchio 406: 378:Norman Conquest 374:Bayeux Tapestry 307: 306: 305: 298:Bayeux Tapestry 295: 290: 281: 233:Marcus Aurelius 190:Lachish reliefs 107: 102: 40:Diego Velázquez 27: 12: 11: 5: 4956: 4946: 4945: 4940: 4926: 4925: 4916: 4908: 4903: 4894: 4892:The Art of War 4885: 4876: 4870: 4862: 4845: 4844:External links 4842: 4841: 4840: 4838:OCLC 260112479 4822: 4815: 4792: 4774: 4755: 4754: 4750: 4749: 4747:OCLC 238785409 4731: 4715: 4697: 4695:OCLC 318876179 4679: 4661: 4643: 4641:OCLC 559763485 4624: 4623: 4622:United Kingdom 4619: 4618: 4614: 4613: 4609: 4608: 4598: 4587: 4586: 4582: 4581: 4579:OCLC 174078159 4560: 4559: 4555: 4554: 4552:OCLC 179964815 4540: 4517: 4516: 4512: 4511: 4509:OCLC 611620194 4493: 4475: 4473:OCLC 223704492 4456: 4455: 4451: 4450: 4432: 4414: 4403: 4402: 4398: 4397: 4378: 4377: 4373: 4372: 4346: 4336: 4334:978-1320309554 4322: 4304:Nicole Newnham 4300: 4290: 4272: 4270:OCLC 462210052 4262: 4247: 4234: 4227: 4209: 4207:OCLC 185692286 4191: 4177: 4165: 4162: 4161: 4160: 4147: 4133: 4131:OCLC 183926798 4107: 4093: 4072: 4047: 4045:OCLC 122459647 4037: 4019: 4017:OCLC 260076007 4001: 3984: 3977: 3975:OCLC 300187133 3959: 3957:OCLC 238825589 3933: 3911: 3909:OCLC 475496457 3893: 3879: 3850: 3827:James, Pearl. 3825: 3808: 3806:OCLC 231975512 3790: 3788:OCLC 232947212 3772: 3755: 3753:OCLC 559763485 3737: 3735:OCLC 166478725 3719: 3702: 3700:OCLC 225345535 3682: 3668: 3652: 3649: 3647: 3646: 3619: 3606: 3583: 3563: 3561:, pp. 111–126. 3550: 3537: 3534:978-1320309554 3517: 3505: 3487: 3469: 3452: 3437: 3419: 3401: 3395:978-1320309554 3394: 3376: 3349: 3331: 3308: 3283: 3245: 3229: 3223:13 July 2010; 3205: 3196: 3187: 3178: 3169: 3167:Slive, 250–251 3160: 3158:Kettering, 100 3151: 3132: 3130:Brandon, 77–83 3123: 3114: 3105: 3082: 3069: 3054: 3045: 3033: 3015: 2997: 2977: 2961: 2931: 2887: 2869: 2851: 2833: 2815: 2797: 2779: 2750: 2732: 2714: 2696: 2687: 2678: 2669: 2660: 2642: 2633: 2610: 2601: 2590: 2581: 2572: 2555: 2546: 2537: 2528: 2519: 2489: 2480: 2468: 2447: 2438: 2429: 2420: 2411: 2386: 2384: 2381: 2379: 2378: 2372: 2367: 2362: 2357: 2352: 2351: 2350: 2345: 2340: 2335: 2330: 2325: 2320: 2309: 2307: 2304: 2303: 2302: 2299: 2292: 2290: 2284: 2277: 2275: 2269: 2262: 2260: 2256:Norman Lindsay 2250: 2243: 2239: 2236: 2235: 2234: 2227: 2220: 2218: 2204: 2197: 2195: 2187:Emanuel Leutze 2179: 2172: 2168: 2165: 2164: 2163: 2160: 2153: 2151: 2149:, 19th century 2141: 2134: 2130: 2127: 2126: 2125: 2107: 2100: 2098: 2083: 2076: 2074: 2056: 2049: 2047: 2027: 2020: 2018: 2016:, circa 1850s. 2007: 2000: 1998: 1987: 1980: 1978: 1975: 1968: 1966: 1962:Albrecht Dürer 1956: 1949: 1945: 1942: 1933:mainland China 1910:Harry R. Hopps 1877:Wesley Merritt 1815: 1812: 1811: 1782: 1779: 1758: 1755: 1722: 1719: 1690: 1687: 1679:Alfred Bastien 1677:by Lieutenant 1667: 1664: 1639: 1636: 1634: 1631: 1594:eternal flames 1490:in London, by 1479: 1476: 1410: 1407: 1405: 1402: 1390:Douglas Cooper 1382:Eric Ravilious 1289:Artists Rifles 1271:Degenerate art 1225: 1222: 1034:academic style 931: 928: 824:Horatio Nelson 816:Peninsular War 768:Napoleonic era 728:Johann Zoffany 650:, essentially 636:genre painting 628:Jacques Callot 603:Spanish Armada 591:Hendrick Vroom 545:Hendrick Vroom 520:Vatican Palace 405: 402: 337:Soldier saints 332:Life of Christ 292: 291: 284: 283: 282: 280: 277: 235:in Rome. The 147:Narmer Palette 106: 103: 101: 98: 67:is art with a 9: 6: 4: 3: 2: 4955: 4944: 4941: 4939: 4936: 4935: 4933: 4924: 4920: 4917: 4914: 4913: 4909: 4907: 4904: 4902: 4898: 4895: 4893: 4889: 4886: 4884: 4880: 4877: 4875: 4871: 4869: 4867: 4863: 4861: 4856: 4852: 4848: 4847: 4839: 4835: 4831: 4827: 4823: 4820: 4816: 4813: 4809: 4805: 4804:9780891418122 4801: 4797: 4793: 4791: 4790:OCLC 70839712 4787: 4783: 4779: 4775: 4773: 4772:OCLC 22892632 4769: 4765: 4761: 4757: 4756: 4753:United States 4752: 4751: 4748: 4744: 4740: 4736: 4732: 4730: 4726: 4722: 4721: 4716: 4714: 4713:OCLC 14932245 4710: 4706: 4702: 4698: 4696: 4692: 4688: 4684: 4680: 4678: 4677:OCLC 28708501 4674: 4670: 4666: 4662: 4660: 4656: 4652: 4648: 4644: 4642: 4638: 4634: 4630: 4626: 4625: 4621: 4620: 4616: 4615: 4611: 4610: 4607: 4606:OCLC 79317946 4603: 4599: 4597: 4596:OCLC 25938498 4593: 4589: 4588: 4584: 4583: 4580: 4576: 4572: 4568: 4567: 4562: 4561: 4557: 4556: 4553: 4549: 4545: 4541: 4539: 4538:OCLC 48943301 4535: 4531: 4527: 4523: 4519: 4518: 4514: 4513: 4510: 4506: 4502: 4498: 4494: 4492: 4488: 4484: 4480: 4476: 4474: 4470: 4466: 4462: 4458: 4457: 4453: 4452: 4449: 4448:OCLC 13858984 4445: 4441: 4437: 4433: 4431: 4430:OCLC 43283109 4427: 4423: 4419: 4415: 4412: 4410: 4405: 4404: 4400: 4399: 4396: 4392: 4388: 4384: 4380: 4379: 4375: 4374: 4371: 4370:OCLC 35777393 4367: 4363: 4359: 4355: 4351: 4347: 4345: 4341: 4337: 4335: 4331: 4327: 4323: 4321: 4320:OCLC 43245885 4317: 4313: 4309: 4305: 4301: 4299: 4295: 4291: 4289: 4285: 4281: 4277: 4273: 4271: 4267: 4263: 4260: 4259:0-300-04840-8 4256: 4252: 4248: 4246: 4242: 4240: 4235: 4232: 4228: 4226: 4225:OCLC 21407670 4222: 4218: 4214: 4210: 4208: 4204: 4200: 4196: 4192: 4190: 4189:0-7643-1671-0 4186: 4182: 4178: 4176: 4175:OCLC 20830388 4172: 4168: 4167: 4158: 4154: 4153: 4148: 4146: 4142: 4138: 4134: 4132: 4128: 4124: 4120: 4116: 4112: 4108: 4106: 4105:0-300-07451-4 4102: 4098: 4094: 4092: 4091:0-7011-2514-4 4088: 4084: 4080: 4076: 4073: 4071: 4068: 4064: 4060: 4059:0-7478-0499-0 4056: 4052: 4048: 4046: 4042: 4038: 4036: 4032: 4028: 4024: 4020: 4018: 4014: 4010: 4006: 4002: 4000: 3996: 3992: 3988: 3985: 3982: 3978: 3976: 3972: 3968: 3964: 3960: 3958: 3954: 3950: 3946: 3942: 3938: 3934: 3932: 3928: 3924: 3923:0-19-507139-5 3920: 3916: 3912: 3910: 3906: 3902: 3898: 3894: 3892: 3888: 3884: 3880: 3878: 3874: 3870: 3869:0-87413-640-7 3866: 3862: 3858: 3856: 3851: 3849: 3846: 3842: 3838: 3837:0-8032-2610-1 3834: 3830: 3826: 3824: 3823:0-333-37185-2 3820: 3816: 3812: 3809: 3807: 3803: 3799: 3795: 3791: 3789: 3785: 3781: 3777: 3773: 3771: 3770:0-500-23510-4 3767: 3763: 3759: 3756: 3754: 3750: 3749:9781906593001 3746: 3742: 3738: 3736: 3732: 3728: 3724: 3720: 3717: 3716:1-84545-295-X 3713: 3709: 3708: 3703: 3701: 3697: 3693: 3689: 3688: 3683: 3681: 3680:0-931537-15-0 3677: 3673: 3669: 3667: 3663: 3659: 3655: 3654: 3644: 3641:, p. 271, at 3640: 3639: 3634: 3633: 3629: 3626:Stover, Eric 3623: 3616: 3610: 3604: 3600: 3599: 3594: 3593: 3587: 3580: 3577: 3575: 3567: 3560: 3554: 3548: 3547: 3541: 3535: 3531: 3527: 3521: 3515: 3509: 3503: 3499: 3498: 3491: 3485: 3481: 3480: 3473: 3466: 3462: 3456: 3450: 3448: 3441: 3435: 3432:, p. 134, at 3431: 3430: 3423: 3417: 3414:, p. 124, at 3413: 3412: 3405: 3397: 3391: 3387: 3380: 3373: 3370:, p. 157, at 3369: 3368: 3363: 3362: 3356: 3354: 3347: 3344:, p. 131, at 3343: 3342: 3335: 3329: 3325: 3324: 3319: 3318: 3312: 3306: 3302: 3299: 3295: 3290: 3288: 3281: 3277: 3276: 3271: 3270: 3266: 3262: 3261: 3256: 3255: 3249: 3242: 3238: 3233: 3226: 3222: 3219: 3218:"Marine Art," 3215: 3212:Kino, Carol. 3209: 3200: 3191: 3182: 3173: 3164: 3155: 3149: 3146: 3142: 3136: 3127: 3118: 3109: 3102: 3101:Toronto Star. 3099: 3095: 3092: 3086: 3079: 3073: 3067: 3063: 3058: 3049: 3040: 3038: 3031: 3027: 3026: 3019: 3013: 3009: 3008: 3001: 2995:7 April 1842. 2994: 2991: 2987: 2981: 2974: 2971: 2965: 2959: 2955: 2951: 2947: 2943: 2942: 2935: 2928: 2924: 2920: 2916: 2912: 2908: 2904: 2903: 2898: 2897: 2891: 2885: 2882:, p. 212, at 2881: 2880: 2873: 2867: 2864:, p. 211, at 2863: 2862: 2855: 2849: 2846:, p. 120, at 2845: 2844: 2837: 2831: 2828:, p. 120, at 2827: 2826: 2819: 2813: 2809: 2808: 2801: 2795: 2791: 2790: 2783: 2776: 2772: 2768: 2764: 2760: 2754: 2748: 2745:, p. 159, at 2744: 2743: 2736: 2730: 2726: 2725: 2718: 2712: 2709:, p. 145, at 2708: 2707: 2700: 2691: 2682: 2673: 2667:Pepper, 3 (i) 2664: 2658: 2654: 2653: 2646: 2637: 2631: 2628:, p. 100, at 2627: 2626: 2621: 2620: 2614: 2605: 2599: 2594: 2588:Pepper, 2 (i) 2585: 2576: 2569: 2565: 2559: 2550: 2541: 2532: 2523: 2516: 2512: 2508: 2504: 2501: 2496: 2494: 2487:Schapiro, 153 2484: 2478:Pepper, 1 (i) 2475: 2473: 2465: 2461: 2456: 2454: 2452: 2442: 2433: 2424: 2415: 2408: 2404: 2400: 2396: 2391: 2387: 2376: 2373: 2371: 2368: 2366: 2363: 2361: 2358: 2356: 2353: 2349: 2346: 2344: 2341: 2339: 2336: 2334: 2331: 2329: 2326: 2324: 2321: 2319: 2316: 2315: 2314: 2311: 2310: 2296: 2291: 2287: 2281: 2276: 2272: 2266: 2261: 2257: 2253: 2252:Trumpet calls 2247: 2242: 2241: 2231: 2224: 2219: 2215: 2214:Horace Vernet 2211: 2208:crossing the 2207: 2201: 2196: 2192: 2188: 2184: 2183: 2176: 2171: 2170: 2157: 2152: 2148: 2144: 2138: 2133: 2132: 2122: 2118: 2114: 2110: 2104: 2099: 2095: 2091: 2087: 2080: 2075: 2071: 2067: 2063: 2059: 2058:Vuelvan Caras 2053: 2048: 2044: 2040: 2036: 2032: 2031: 2024: 2019: 2015: 2011: 2004: 1999: 1995: 1991: 1984: 1979: 1972: 1967: 1963: 1959: 1953: 1948: 1947: 1939:, circa 1950s 1938: 1934: 1930: 1927: 1923: 1918: 1911: 1907: 1903: 1895: 1886: 1882: 1878: 1874: 1870: 1869:Ely S. Parker 1866: 1862: 1858: 1854: 1850: 1846: 1845:Robert E. Lee 1842: 1838: 1834: 1830: 1826: 1822: 1818: 1809: 1805: 1799: 1795: 1791: 1787: 1778: 1776: 1772: 1768: 1764: 1754: 1750: 1748: 1744: 1739: 1732: 1727: 1718: 1714: 1712: 1708: 1703: 1701: 1695: 1684: 1680: 1676: 1672: 1663: 1661: 1657: 1649: 1644: 1630: 1628: 1627:the Holocaust 1624: 1620: 1616: 1615: 1610: 1606: 1601: 1599: 1595: 1591: 1587: 1583: 1579: 1575: 1571: 1567: 1563: 1559: 1555: 1551: 1550:54th Regiment 1548: 1544: 1540: 1535: 1533: 1529: 1524: 1520: 1516: 1512: 1504: 1499: 1493: 1489: 1484: 1475: 1473: 1472: 1467: 1462: 1458: 1457: 1452: 1448: 1443: 1441: 1437: 1436:tomb effigies 1433: 1425: 1421: 1420: 1415: 1401: 1399: 1395: 1391: 1387: 1383: 1379: 1378: 1373: 1369: 1365: 1361: 1357: 1356: 1351: 1347: 1342: 1340: 1336: 1332: 1328: 1324: 1323: 1318: 1314: 1310: 1309: 1304: 1300: 1298: 1297:stained-glass 1294: 1293:war memorials 1290: 1286: 1282: 1281: 1276: 1272: 1268: 1267: 1262: 1258: 1254: 1245: 1241: 1237: 1235: 1234:Stormtroopers 1230: 1221: 1219: 1218:Royal Academy 1215: 1211: 1207: 1203: 1199: 1198: 1193: 1189: 1184: 1180: 1175: 1168: 1167: 1162: 1158: 1153: 1149: 1147: 1146: 1141: 1137: 1129: 1125: 1121: 1116: 1115: 1111: 1105: 1103: 1102:Royal Academy 1099: 1094: 1092: 1088: 1084: 1080: 1079: 1074: 1070: 1066: 1062: 1058: 1054: 1050: 1047: 1043: 1039: 1038:Albrecht Adam 1035: 1027: 1023: 1022: 1017: 1013: 1011: 1010:Royal Academy 1007: 1003: 999: 995: 990: 988: 984: 983: 978: 974: 970: 966: 962: 958: 957: 952: 945: 941: 936: 927: 925: 924: 919: 915: 912:, the future 911: 907: 906:George Stubbs 903: 898: 896: 890: 886: 885:set of prints 882: 878: 875:(1797–98) by 874: 865: 861: 857: 855: 851: 850: 845: 841: 840: 835: 834: 829: 825: 821: 817: 813: 809: 808: 803: 799: 798: 793: 792: 787: 783: 782: 777: 773: 769: 761: 757: 756: 751: 747: 745: 741: 740: 735: 734: 729: 725: 724: 719: 718:Benjamin West 715: 714: 709: 705: 700: 698: 694: 690: 686: 679: 675: 674: 669: 665: 663: 659: 658: 653: 649: 648:Salvator Rosa 645: 641: 637: 633: 629: 625: 621: 620: 615: 610: 608: 604: 600: 596: 592: 588: 587: 582: 578: 574: 569: 566: 561: 557: 553: 546: 542: 538: 534: 531: 528:(1528–29) by 527: 526: 521: 517: 516:Raphael Rooms 513: 512:Giulio Romano 509: 508: 503: 499: 498: 493: 492:Julius Caesar 489: 485: 484: 479: 474: 472: 468: 464: 460: 456: 452: 451: 446: 445: 440: 439:Paolo Uccello 437:(c. 1445) by 436: 435: 430: 426: 419: 416:, drawing by 415: 410: 401: 399: 395: 391: 387: 383: 379: 375: 371: 367: 363: 362: 357: 352: 350: 349:Old Testament 346: 342: 338: 334: 333: 328: 324: 320: 319:iconographies 316: 312: 303: 299: 294: 288: 276: 274: 270: 266: 262: 258: 254: 250: 246: 242: 238: 234: 230: 226: 222: 217: 215: 211: 207: 203: 199: 195: 191: 187: 183: 178: 176: 172: 168: 164: 160: 156: 152: 148: 144: 140: 136: 128: 124: 120: 116: 111: 105:Ancient world 97: 94: 90: 86: 82: 77: 75: 70: 66: 59: 58: 53: 48: 41: 37: 36: 31: 25: 21: 16: 4938:Military art 4911: 4865: 4850: 4825: 4818: 4795: 4777: 4759: 4734: 4729:OCLC 5081170 4719: 4700: 4682: 4664: 4659:OCLC 9888782 4646: 4628: 4601: 4591: 4585:South Africa 4565: 4547: 4544:Donald Keene 4521: 4496: 4491:OCLC 5727293 4478: 4460: 4435: 4417: 4407: 4395:OCLC 4035199 4382: 4349: 4344:OCLC 3509075 4339: 4325: 4307: 4293: 4288:OCLC 4412441 4275: 4265: 4250: 4237: 4230: 4212: 4194: 4180: 4170: 4151: 4136: 4110: 4096: 4082: 4078: 4050: 4040: 4035:OCLC 4035199 4022: 4004: 3990: 3962: 3936: 3914: 3896: 3882: 3860: 3853: 3828: 3814: 3793: 3775: 3761: 3740: 3722: 3706: 3687:Art and War. 3686: 3671: 3657: 3643:Google Books 3637: 3631: 3627: 3622: 3614: 3609: 3603:Google Books 3601:, p. 97, at 3598:, p. 97 n47. 3597: 3591: 3586: 3573: 3566: 3558: 3553: 3545: 3540: 3525: 3520: 3508: 3502:Google Books 3500:, p. 58, at 3495: 3490: 3484:Google Books 3477: 3472: 3464: 3460: 3455: 3446: 3440: 3434:Google Books 3427: 3422: 3416:Google Books 3409: 3404: 3385: 3379: 3372:Google Books 3366: 3360: 3346:Google Books 3339: 3334: 3328:Google Books 3322: 3321:Art and War, 3316: 3311: 3280:Google Books 3274: 3268: 3265:Google Books 3263:, p. 12, at 3260:, pp. 12–13. 3259: 3253: 3248: 3232: 3220: 3208: 3199: 3190: 3185:Mosse, 97–98 3181: 3172: 3163: 3154: 3140: 3135: 3126: 3117: 3108: 3100: 3085: 3077: 3072: 3057: 3048: 3030:Google Books 3023: 3022:Hichberger, 3018: 3012:Google Books 3010:, p. 71, at 3005: 3004:Hichberger, 3000: 2992: 2980: 2972: 2964: 2953: 2950:military art 2949: 2946:Google Books 2944:, p. 68, at 2939: 2938:Hichberger, 2934: 2923:military art 2922: 2918: 2907:Google Books 2905:, p. 85, at 2901: 2895: 2890: 2884:Google Books 2877: 2872: 2866:Google Books 2859: 2854: 2848:Google Books 2841: 2836: 2830:Google Books 2823: 2818: 2812:Google Books 2810:, p. 28, at 2805: 2800: 2794:Google Books 2792:, p. 58, at 2787: 2786:Hichberger, 2782: 2758: 2753: 2747:Google Books 2740: 2735: 2729:Google Books 2727:, p. 73, at 2722: 2717: 2711:Google Books 2704: 2699: 2690: 2681: 2672: 2663: 2657:Google Books 2655:, p. 99, at 2650: 2645: 2636: 2630:Google Books 2624: 2618: 2613: 2604: 2593: 2584: 2575: 2567: 2558: 2549: 2540: 2531: 2522: 2483: 2463: 2441: 2432: 2423: 2414: 2398: 2390: 2285: 2270: 2251: 2180: 2142: 2057: 2028: 1957: 1929:peace treaty 1905: 1865:George Meade 1816: 1807: 1789: 1760: 1751: 1746: 1740: 1736: 1715: 1710: 1704: 1696: 1692: 1674: 1653: 1612: 1602: 1545:and the all- 1536: 1519:war memorial 1507: 1469: 1454: 1444: 1429: 1417: 1375: 1354: 1343: 1320: 1306: 1301: 1278: 1264: 1257:George Grosz 1249: 1243: 1232: 1195: 1192:Melton Prior 1176: 1172: 1164: 1157:Melton Prior 1143: 1139: 1133: 1110:military art 1109: 1107: 1095: 1076: 1075:'s enormous 1031: 1019: 991: 980: 977:Prado Museum 972: 969:Tres de Mayo 968: 954: 949: 921: 901: 895:Grande Armée 892: 889:Carle Vernet 872: 869: 863: 847: 837: 836:) and West ( 831: 811: 805: 795: 789: 779: 765: 753: 737: 731: 721: 711: 701: 682: 671: 655: 626:produced by 617: 611: 584: 570: 549: 540: 523: 505: 495: 481: 475: 448: 442: 432: 428: 423: 386:Anglo-Saxons 370:courtly love 359: 353: 330: 311:Late Antique 308: 261:amazonomachy 218: 182:Assyrian art 179: 155:Mesopotamian 132: 78: 65:Military art 64: 63: 55: 33: 15: 4558:New Zealand 4524:Cambridge: 4245:OCLC 422817 3811:Hugh Honour 3482:, p. 6, at 3326:, p. 4, at 3278:, p. 4, at 3273:Art and War 3176:Carrier, 18 3112:Brandon, 66 3028:, p. 2, at 2986:"Pictures," 2948:; the term 2445:Rawson, 103 2313:War artists 2119:(1807), by 2109:Cuirassiers 2012:during the 1992:of the 6th 1821:John Gibbon 1721:War artists 1707:C.E.W. Bean 1605:photography 1471:Night Watch 1422:, 1648, by 1409:Portraiture 1398:Nancy Spero 1394:Vietnam War 1364:Henry Moore 1253:war artists 1202:comic strip 1183:Crimean War 1073:Jan Matejko 1069:Czech Lands 1065:nationalism 1061:Emil Hünten 1026:Jan Matejko 1006:Paris Salon 940:Tápióbicske 926:(c. 1812). 772:Romanticism 676:, 1784, by 630:during the 565:Landsknecht 543:, 1617, by 394:epic poetry 390:Islamic art 323:Anglo-Saxon 253:Hellenistic 206:Han dynasty 202:Greek vases 171:Ramesses II 93:war artists 4932:Categories 4725:The Studio 4546:. (1983). 4306:. (2000). 3891:1320309550 3651:References 3514:Caricature 3275:, pp. 4–9. 2993:The Times. 2984:McIntyre, 2941:pp. 68–69. 2917:of 1859", 2775:Sebastapol 2273:, US, 1918 2238:Propaganda 2191:Düsseldorf 1937:Korean War 1935:about the 1881:Edward Ord 1711:Anzac Book 1698:typically 1578:Neue Wache 1562:public art 1377:Totes Meer 1266:The Trench 1163:, for the 908:for their 810:(Spanish: 776:Baron Gros 758:, 1812 by 742:(1784) by 726:(1779) by 716:(1771) by 685:tapestries 652:landscapes 581:William IV 490:parade of 486:shows the 412:After the 317:and other 257:sarcophagi 255:and Roman 243:defeating 180:Surviving 129:, c. 100BC 113:The Roman 81:marine art 60:of c. 1410 24:War artist 4376:Australia 3494:Brandon, 3476:Brandon, 3121:Foss, 123 2973:The Times 2958:neologism 2909:, citing 2625:, p. 100. 2544:Paret, 13 2395:"War art" 2365:Militaria 2111:saluting 1777:in 1066. 1700:realistic 1638:Peacetime 1532:Liverpool 1478:Sculpture 1466:Rembrandt 1404:Art forms 1368:The Blitz 1317:Modernist 1313:Uncle Sam 1285:Paul Nash 1280:Der Krieg 1244:Der Krieg 914:George IV 662:Velázquez 467:Delacroix 157:"victory 141:from the 85:warplanes 4881:(MoD), 4723:London: 4328:. 2014. 3630:(2004). 3528:. 2014. 3301:Archived 3094:Archived 2902:, p. 85. 2763:Detaille 2503:Archived 2375:War rugs 2355:Heraldry 2306:See also 2193:in 1850. 2113:Napoleon 1773:and the 1447:generals 1355:Guernica 1261:Otto Dix 1240:Otto Dix 1181:and the 1083:Pan-Slav 944:Mór Than 802:etchings 624:etchings 556:Urs Graf 463:Florence 418:Urs Graf 380:and the 279:Medieval 117:showing 69:military 4943:War art 4866:War Art 4612:Ukraine 4454:Germany 4298:1617592 3913:Mosse, 3638:p. 271. 3617:p. 118. 3465:war art 3429:p. 134. 3411:p. 124. 3367:p. 157. 3341:p. 131. 3296:(IWM), 3239:(CWM), 3025:p. 2-3. 2879:p. 212. 2861:p. 211. 2843:p. 120. 2825:p. 120. 2789:pp. 58. 2742:p. 159. 2706:p. 145. 2566:in the 2462:in the 2397:in the 2123:, 1875. 2115:at the 2096:, 1891. 2088:at the 2060:at the 2045:, 1881. 2037:at the 1944:Cavalry 1912:; 1917) 1781:Gallery 1689:Purpose 1666:Wartime 1617:. The 1503:Stgw 57 1350:Picasso 1303:Posters 1273:", the 1159:of the 961:Ottoman 897:de 1812 852:. The 766:In the 518:in the 265:Amazons 249:Pompeii 198:cavalry 186:reliefs 175:Hittite 127:Pompeii 100:History 4901:Curlie 4832: 4802: 4784: 4766: 4741: 4707: 4689: 4671: 4653: 4635: 4573: 4532: 4503: 4485: 4467: 4442: 4424: 4401:Canada 4389: 4364: 4356: 4332: 4314: 4282: 4257: 4219: 4201: 4187: 4143: 4125: 4117: 4103: 4089: 4065: 4057: 4029: 4011: 3997: 3989:(ed). 3969: 3951: 3943: 3929: 3921: 3903: 3889: 3875: 3867: 3843: 3835: 3821: 3800: 3782: 3768: 3747: 3729: 3714: 3694: 3678: 3664: 3628:et al. 3532: 3512:ASKB, 3497:p. 58. 3426:Foss, 3408:Foss, 3392: 3338:Foss, 3007:p. 71. 2807:p. 28. 2724:p. 73. 2652:p. 99. 2500:UNESCO 2216:(1826) 1994:Madras 1650:, USMC 1451:Titian 1246:, 1924 1169:, 1881 1130:, 1848 1028:, 1878 1000:, and 946:, 1849 595:father 552:prints 420:, 1521 269:Greeks 229:Trajan 159:stelae 4806:plus 4515:Japan 3859:, in 3479:p. 6. 3449:p. 3. 3323:p. 4. 3243:2005. 2927:Salon 2915:Salon 2771:Salon 2383:Notes 2092:, by 2064:, by 2041:, by 1990:Sowar 1633:Scope 1547:black 1511:Milan 1242:from 1098:Salon 736:and 366:ivory 89:tanks 4830:ISBN 4800:ISBN 4782:ISBN 4764:ISBN 4739:ISBN 4705:ISBN 4687:ISBN 4669:ISBN 4651:ISBN 4633:ISBN 4571:ISBN 4530:ISBN 4501:ISBN 4483:ISBN 4465:ISBN 4440:ISBN 4422:ISBN 4387:ISBN 4362:ISBN 4354:ISBN 4330:ISBN 4312:ISBN 4280:ISBN 4255:ISBN 4217:ISBN 4199:ISBN 4185:ISBN 4141:ISBN 4123:ISBN 4115:ISBN 4101:ISBN 4087:ISBN 4063:ISBN 4055:ISBN 4027:ISBN 4009:ISBN 3995:ISBN 3967:ISBN 3949:ISBN 3941:ISBN 3927:ISBN 3919:ISBN 3901:ISBN 3887:ISBN 3873:ISBN 3865:ISBN 3841:ISBN 3833:ISBN 3819:ISBN 3798:ISBN 3780:ISBN 3766:ISBN 3745:ISBN 3727:ISBN 3712:ISBN 3692:ISBN 3676:ISBN 3662:ISBN 3530:ISBN 3390:ISBN 2084:The 1592:and 1275:Nazi 1259:and 1212:and 1087:Slav 1059:and 794:and 786:Goya 597:and 267:and 231:and 216:. 137:, a 87:and 50:The 4899:at 2954:not 2952:is 2254:by 2189:in 2145:by 1960:by 1922:PRC 1792:by 1709:'s 1552:by 1530:in 1468:'s 1325:by 1126:by 1024:by 942:by 920:'s 893:La 887:by 871:of 842:). 660:by 638:in 510:by 480:'s 461:in 453:by 219:In 38:by 4934:: 4921:, 4890:, 4853:. 4836:; 4788:; 4770:; 4745:; 4727:. 4711:; 4693:; 4675:; 4657:; 4639:; 4577:; 4536:; 4528:. 4507:; 4489:; 4471:; 4446:; 4428:; 4393:; 4368:; 4360:; 4318:; 4286:; 4223:; 4205:; 4129:; 4121:; 4077:, 4069:, 4061:, 4033:; 4015:; 3973:; 3955:; 3947:; 3925:, 3907:; 3871:, 3847:, 3839:, 3804:; 3786:; 3760:, 3751:; 3733:; 3698:; 3352:^ 3286:^ 3216:; 3064:, 3036:^ 2956:a 2777:." 2492:^ 2471:^ 2450:^ 1926:P5 1875:, 1871:, 1867:, 1859:, 1855:, 1851:, 1847:, 1843:, 1839:, 1835:, 1831:, 1827:, 1823:, 1819:: 1629:. 1299:. 1093:. 1071:. 1055:, 1051:, 1044:, 1040:, 996:, 804:, 730:, 720:, 473:. 351:. 335:. 4411:. 4261:. 4241:. 4159:. 3398:. 2072:. 1908:( 1733:. 971:( 830:( 762:. 26:.

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Index