Art in War

The Civil War happened in 1861 and lasted until 1865. During that time period, artists depicted the war itself, the Native Americans, the landscape of America, and the people of the nation. The artists sought to show that America was a great country, and that the people themselves were hardworking, committed, and determined.

War has always been an unfortunate part of our society and civilization. War will sadly and undoubtedly be with us as long as we exist. However, the portrayal of war for many centuries gave a sense of patriotism and romanticism. Then the invention of the camera changed how humanity perceived war in the late to mid 19th century. And all of a sudden, images of war became of shear violence and destruction. The violence in these images would play a significant part in the social and political standpoints of war in our nation.

Art in World War I was observed in many forms, from photography to art movements on the home fronts of many countries. What many people did not realize is that art was also used in the war for battle. Propaganda and camouflage were crucial to the success on the battlefield and they were used and produced in ways not normally seen in history before. Propaganda had existed before WWI but was used heavily in this war and was often negatively themed, to promote involvement in a war against the evil enemy. Complex camouflage of machinery, ships, and uniforms also arose during the Great War, and this

Frank Shepard Fairey, also known as Shepard Fairey, was born on February 15 1970 in Charleston South Carolina. Fairey is an American contemporary street artist, graphic designer, activist, illustrator and founder of the skateboarding company Obey. Fairey was first noticed for his art work of “Andre The Giant,” creating stencils that he would put on posters and stickers that he put up all over cities and hand them out to people. In 2008 his art took off with his “HOPE” poster for the Presidential Campaign which featured the face Barack Obama on it. After becoming successful was faced with negative criticism an accusation from Mannie Garcia that could cripple and artists integrity. Fairey created another piece, “Make Art Not War”, to show his views on the government and his idea of change. Fairey uses graphic styles of the 20th century, Mixing the boundaries between high and commercial art, and is shown through his type of art-work. Fairey Is passionate about his views about expressing his views the government, his influence from 1940’s war art, and combining cultures of graffiti, pop art, and the Marxist Theory.

World War I was a war that shocked the world and brought about new emotions that created a large wave of “-isms” as well as the “lost generation” of writers. Modern art was catalyzed by World War I and without a thorough study of the various forms of art that resulted from it, modern art and the tremendous effect that World War I had on the people of the world cannot be fully understood. This historical investigation will cover a few aspects of the art that resulted from World War I so that a general idea of the emotions shared by the people of the world can be known. A few paintings that represent specific movements will be studied to understand the artistic movement. A number of museum exhibitions will be studied along with government websites, databases, and museum websites, especially from the Museum of Modern Art.

Before World War II women were labeled as inferior and incapable compared to men in the Canadian workforce. The women’s traditional role as homemaker reflected the social norms, and values of the time. Change came during World War II when

War- a state of organized, armed, and often prolonged conflict, typified by extreme aggression, social disruption, and usually high mortality. War is inevitable; people thrive on the idea of war, engaging in bloody affairs, a chance to fight for their freedom and Americas freedom. The public reads of these bloody affairs, in the headlines splattered all over the television screen, imagining in their head the idea of war, the idea of blood, dead bodies, and weapons. Images of war would only put fear and anger into Americans, yet in times of war, the media has an obligation to provide the citizens of America, with these images of war, even if they are terrifying, violent, and bloody. If Americans do not

The renovated city became a popular subject for Impressionists such as Camille Pissarro and Gustave Caillebotte. During this period, factories for manufacturing consumer goods were increasing. Fashion was becoming more prevalent in society and industry was being revolutionized. Directly affecting impressionism were scientific advances such as better quality brushes and synthetic paint pigments that became available.

This essay analyses the aesthetic and ideological underpinnings of the Modernist artwork, Impression, Sunrise of Claude Monet. The artwork and Impressionism is considered to be a visual articulation of the avant-garde and the latter statement is explained. References to the writings of Charles Harrison, Clement Greenberg and Wilhelm Worringer is used to theorise the aesthetics of modernity.

Painters enormously manipulated the truth in their portraits they painted since they aimed to present a specific meaning or feeling to their observers. One of the results, paintings of America`s wars especially before the Civil War had a

The military leaders of different countries called on eight artists that dared to be on the front lines and capture the images of war. When they found the eight artists they would soon send them to France, they would soon learn what to capture and for whom. Williams James Aylward was born in Wisconsin in 1875, his artwork during the war is mostly known for “Warfare Transportation”.

Tremendous technological advance and tremendous slaughter leave an artistic waste land of atrocity, emasculation and pointing posters used to manipulate the public into recruiting men to join the military around the globe. Skilled illustrators in America, less inventive but artistic allegory’s in Canada and France and plain typography in Britain leave many artists busy with supporting the war effort. On the outskirts of war were a contingency of international peoples with little means and a negative view of European culture and war that chose to defect to Switzerland where they created the art movement known as Dada.

In his book The War of Art, Steven Pressfield talks about resistance. He defines resistance as self-sabotage of anything in the lines of creativity, art, music, spirituality, and more. Pressfield describes many characteristics of resistance in the first half of his book.

The Magnitude of the Falklands/Malvinas conflict in 1982 between Britain and Argentina dictated that both employ a handful of military operational arts particularly logistics, command and control. In the heart, of the 1982 conflict in the contentious issue of the Falklands/Malvinas islands ownership, Command and control, and logistical functions featured prominently among the operations and preparations of both warring parties. According to Hime (2010, 4), “Ownership of the Falklands/Malvinas Islands since their initial discovery has always been determined by force, with British control last established in 1833 following the expulsion of the Argentine gunboat Sarandi, and its contingent of soldiers, convicts from the penal

The “Art of War” and “De Re Militari” two military treatises were written one continent and around five centuries apart by authors that came from two vastly different backgrounds and cultures. Both authors penned treatises intended to inform and educate commanders about war yet the underlying theme is not victory but to ensure the survivability of their soldiers in battle. Sun Tzu and Vegetius differ on their ideas of this specifically on the relationship the military holds between the governing body as well as relations with the civilian population. However, what they do come together on ideas of efficient battle that minimizes Soldier loss as much as possible.