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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 range of artists' portrayals of this so much devastating element of the human situation -- from the ""heroic"" work of Benjamin West and of John Singer Sargent to brutal and iconic works via artists from Goya to Picasso, and the both oppositional paintings of Leon Golub, Nancy Spero and others who reacted with fury to the Vietnam struggle. specific recognition is paid to paintings produced in keeping with the 1st and moment global Wars and to more moderen artwork and memorial paintings by way of artists as varied as Barbara Kruger, Alfredo Jarr and Maya Lin. The publication seems to be ultimately to the reactions of latest artists corresponding to Langlands and Bell to the USA invasion in 2001 of Afghanistan and the warfare in Iraq.

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Art, however, did not often record these battles at the time. The Renaissance The Renaissance in Italy, beginning in the fourteenth century, marks a turning point towards a more creative era. It saw a number of artistic innovations, both iconographic and technical, particularly in painting. In terms of iconography, we encounter military portraits, genre scenes, and battle paintings of a type not seen in any medium since classical times. The Renaissance also introduced a great age of religious painting and over time transformed the iconography of war art, particularly as it is employed in the twentieth century.

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.

He experienced the battlefield as an ambulance driver, and what he saw of the human dimension of war made it harder and harder for him to reduce it to purely mechanistic art. In Returning to the Trenches (1914), columns of blue- and red-garbed, rifle-toting soldiers march left across the picture plan, echoing Marcel Duchamp’s Nude Descending a Staircase No. 2 Such canvases obtained Nevinson work as a British war artist, but he did not produce what programme officials expected. 3 The style is distant from futurism and broadly traditional.

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