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The War Artists
Overzicht van het werk van beeldende kunstenaars tot en met de Falklandoorlog van 1982.
The War of Art
What keeps so many of us from doing what we long to do? Why is there a naysayer within? How can we avoid the roadblocks of any creative endeavor—be it starting up a dream business venture, writing a novel, or painting a masterpiece? The War of Art identifies the enemy that every one of us must face, outlines a battle plan to conquer this internal foe, then pinpoints just how to achieve the greatest success. The War of Art emphasizes the resolve needed to recognize and overcome the obstacles of ambition and then effectively shows how to reach the highest level of creative discipline. Think of it as tough love . . . for yourself.
Colours of War
Outstanding were the large-scale works dealing with aerial warfare of England by Paul Nash, a survivor of the Western Front. Three exceptionally talented war artists were killed; Eric Ravilious, whose subjects ranged from northern convoys and submarines to the Fleet Air Arm; Albert Richards, who painted paratroopers and tank-battles during the advance into Germany; and Thomas Hennell, who began work in trawlers off Iceland and was last seen in Java. The war in Europe, the Middle East and Burma was recorded variously by Edward Bawden, Anthony Gross, Edward Ardizzone and William Coldstream. Leonard Rosoman drew aircraft on the flight-decks of carriers in Japanese waters, Barnett Freedman produced studies of submarine and battleship crews. Some of the most dramatic paintings of the war were those made by Richard Eurich of preparations for D-Day. In almost every case active service had a crucial effect on the subsequent work of war artists.
Images of War in Contemporary Art
In Images of War in Contemporary Art, Uroš Cvoro and Kit Messham-Muir mount a challenge to the dominance of theoretical tropes of trauma, affect, and emotion that have determined how we think of images of war and terror for the last 20 years. Through analyses of visual culture from contemporary "war art" to the meme wars, they argue that the art that most effectively challenges the ethics and aesthetics of war and terror today is that which disrupts this flow-art that makes alternative perceptions of wartime both visible and possible. As a theoretical work, Images of War in Contemporary Art is richly supported by visual and textual evidence and firmly embedded in current artistic practice. Significantly, though, the book breaks with both traditional and current ways of thinking about war art-offering a radical rethinking of the politics and aesthetics of art today through analyses of a diverse scope of contemporary art that includes Ben Quilty, Abdul Abdullah (Australia), Mladen Miljanovic, Nebojša Šeric Šoba (Bosnia and Herzegovina), Hiwa K, Wafaa Bilal (Iraq), Teresa Margolles (Mexico), and Arthur Jafa (United States).
The Politics of Artists in War Zones
What exactly is contemporary war art in the West today? This book considers the place of contemporary war art in the 2020s, a whole generation after 9/11 and long past the 'War on Terror'. Exploring the role contemporary art plays within conversations around war and imperialism, the book brings together chapters from international contemporary artists, theorists and curators, alongside the voices of contemporary war artists through original edited interviews. It addresses newly emerged contexts in which war is found: not only sites of contemporary conflicts such as Ukraine, Yemen and Syria, but everywhere in western culture, from social media to 'culture' wars. With interviews from official ...
The Sketchbook War
During the Second World War, British artists produced over 6,000 works of war art, but this is not a book about art, rather the stories of nine courageous war artists who ventured closer to the front line than any others in their profession. Edward Ardizzone, Edward Bawden, Barnett Freedman, Anthony Gross, Thomas Hennell, Eric Ravilious, Albert Richards, Richard Seddon, and John Worsley all travelled abroad into the dangers of war to chronicle events by painting them. They formed a close bond, yet two were torpedoed, two were taken prisoner and three died, two in 1945 when the war was nearly over. Men who had previously made a comfortable living painting in studios were transformed by military uniforms and experiences that were to shape the rest of their lives, and their work significantly influenced the way in which we view war today. Portraying how war and art came together in a moving and dramatic way, and incorporating vivid examples of their paintings, this is the true story behind the war artists who fought, lived and died for their art on the front line of the Second World War.
War and Art
In times of crisis, we often turn to artists for truth-telling and memory-keeping. There is no greater crisis than war, and in this sumptuously illustrated volume, we find a comprehensive visual, cultural, and historical account of the ways in which armed conflict has been represented by artists. Covering the last two centuries, from the Crimean War to the present day, the book shows how the artistic portrayal of war has changed, from a celebration of heroic exploits to a more modern, troubled, and perhaps truthful depiction of warfare and its consequences. The book investigates broad patterns as well as specific genres and themes of war art, and features more than 400 color illustrations by...
War and Art
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Art and the Great War (Classic Reprint)
Excerpt from Art and the Great War Art and the Great War - Former War Pictures - British and Canadian Records - America's Failure to Make Adequate Pictorial Records - Art Museums and the War - American Federation of Arts - National Arts Committee - Mr. Gallatin's Letter to the President. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
