Military art - Knowledge

1163: 2167: 1425: 548: 2186: 1240: 1913: 2090: 1737: 476:, 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 1682: 2148: 761: 2276: 2211: 946: 1982: 871: 2234: 2034: 2063: 1963: 1815: 1509: 1027: 420: 2114: 41: 2257: 1654: 298: 1994: 1494: 679: 1453:, 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. 2291: 2528:, 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" 2014: 2306: 1905: 1797: 1000:, 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. 1928: 58: 121: 1131: 4081: 612:, 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 1583:, 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 1266:, 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 1713:, 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. 1704:

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

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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

894:, 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 1485:(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. 1403:, 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 578:

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.

2185: 1280:(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 " 1571:. 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 1184:

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.

2166: 1162: 1352:. 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. 1692:, 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. – 297: 1429: 1748:

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.

2233: 1724:, 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. 1575:. 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 743: 1536:

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

1399:'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 1159:

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.

4893: 2525: 2521: 2113: 3000: 3555: 2192: 517: 1149:(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 627:, 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 2275: 1552:

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

675:(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. 1962: 4865: 1239: 487:

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

1993: 4628:Еволюція воєнного мистецтва: у 2 ч. / Д. В. Вєдєнєєв, О. А. Гавриленко, С. О. Кубіцький та ін.; за заг. ред. В. В. Остроухова. – К.: Вид-во НА СБУ, 2017. 1345: 1316:

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.

2256: 1736: 176:, who lived during the late Fifth Dynasty. The scene shows Egyptian soldiers scaling the walls of a near eastern fortress on ladders. Although the 703: 2420:, or other large art reference works. As formal "wars" have largely vanished, "combat artist" seems to be replacing "war artist" in official use. 4921: 4844: 4796: 4778: 4753: 4719: 4701: 4683: 4665: 4647: 4585: 4544: 4515: 4497: 4479: 4454: 4436: 4401: 4376: 4368: 4326: 4294: 4231: 4213: 4155: 4137: 4129: 4077: 4041: 4023: 4009: 3981: 3963: 3955: 3941: 3915: 3887: 3855: 3812: 3794: 3741: 3706: 3676: 1560: 4818: 1669:, the only remaining official American war artist in 2010, deployed with American forces in Haiti to provide humanitarian relief as part of 843: 1681: 1568: 849: 629: 304: 657:

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.

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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

975: 650: 583: 243: 212: 67: 1821:, 9 April 1865. This lithograph of the event shows the two men as they waited for the peace terms to be copied. 1449:

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

665:, often showed groups variously described as bandits or soldiers lurking in the countryside of Southern Italy. 4889: 4536: 4167: 1653: 1576: 1498: 1318: 1290: 1124: 1063: 601: 555: 444: 340:, conceived as a raid on Satan's stronghold, led by Christ, to the standard group of scenes for a cycle on the 3828:, 1st edn. 1982 & many later editions, Macmillan, London, page refs to 1984 Macmillan 1st edn. paperback. 3158: 928: 770: 561:

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

978:, who are shown in an entirely negative light. It had a more immediate impact on European art than Goya's 411:, and the high viewpoint they adopted made the scenes more easily comprehensible than many Western images. 102:

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

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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

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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

1894:. The man not identified in the picture's legend is thought to be General 1430:

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

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

4361:

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

4255: 4182:

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

2981:"Pictures of war can carry more moral meaning than thousands of words," 2405: 1360: 812: 698:

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

634: 275: 259: 208: 137: 857:

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

4911: 4694:

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

4559:

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

4148:

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

2004: 1772:

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

1461: 1313: 199:

showing detailed scenes of either military campaigns or hunting; the

196: 169: 94:; the development of other large types of military equipment such as 4832:

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

1123:, they have only hovered around the edges, touching and trimming. – 4789:

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

4746:

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

4658:

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

4615:

Pretoria : Military Art Advisory Board, Defence Headquarters.

4244:

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

3948:

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

1801:

Sanctuary — Edward IV and Lancastrian Fugitives at Tewkesbury Abbey

1288:

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

144:

Art depicting military themes has existed throughout history. The

4933: 4875: 4771:

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

3607:

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

2000: 1926: 1911: 1903: 1813: 1795: 1735: 1680: 1652: 1521: 1507: 1492: 1423: 1238: 1161: 1129: 1025: 944: 869: 759: 677: 546: 418: 376: 119: 56: 39: 4224:

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

3235: 1322:(not actually the slogan) was repeated in the United States with 744:

The Defeat of the Floating Batteries at Gibraltar, September 1782

180:

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

4613:

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

3592:(AAS), Annual Meeting (Boston, Massachusetts), 22–25 March 2007. 1780:, is a linear panoramic narrative of the events surrounding the 1285: 1097: 99: 4577:

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

4474:

Bennington, Vermont: International Graphics Corporation, 1982.

3385:; excerpt, "records that were as much artistic as documentary." 2609:

1704 Battle of Blenheim depicted in tapestry at Blenheim Palace

970:

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

4917:

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

4429:

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

1932: 387:

is a linear panoramic narrative of the events surrounding the

369:, where most of the 112 miniatures show military scenes. The 87:

such works often concentrate on showing the variety of these.

3994:(restricted access, refs to sections), accessed 22 March 2011 3734:

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

3376:

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

2696:

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

1373:; a very different treatment of a similar subject is seen in 438:

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

964:, who also painted many smaller combat scenes, finished his 825:), emphasized the brutality of the French forces during the 270:

showed crowded scenes of combat, sometimes mythological (an

4424:

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

3787:

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

3775:, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams), 710:, after reworking the general's faces and other details. 4807:

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

4640:

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

4447:

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

3752:

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

3458:

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

3269:

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

1752:

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

1306:

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

3990:

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

3872:

The public and private in Dutch culture of the Golden Age

1607:

were other ways of avoiding controversy. Some, like the

4337:

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

4184:

Anchorage, Alaska: Anchorage Museum of History and Art.

3537:

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

3252:"Australia, Britain and Canada in the Second World War," 3974:

Nineteenth-Century Painters and Painting: a Dictionary.

3926:

Fallen Soldiers: Reshaping the Memory of the World Wars

2772:, Vol. 76–77, pp. 235–236; excerpt, "A collaborator of 2628:

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

1385:. Among official World War II war artists, Paul Nash's 1227:

were "specials" and also painters who exhibited at the

702:(1470s) were an early example. A set produced for the 582:

Naval painting became conventionalized in 17th century

219:

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

2634:

Nineteenth-century Painters and Painting: A Dictionary

2196:

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

1935:

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

4349:

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

4016:

Imagined Battles. Reflections of War in European Art.

1215:." Prior and other "special correspondents" such as 3840:

Picture this: World War I posters and visual culture

2911:

Imagined Battles. Reflections of War in European Art

4773:College Station: Texas A & M University Press. 2768:Sullivan, A.E. (1958). "Military Art and Artists", 1470:, which shows the emperor after his victory at the 1456:Full-length and equestrian portraits of rulers and 604:was the earliest real specialist, followed by the 525:brought a huge and "seminal" battle scene into the 4835:Harrington, Peter, and Frederic A. Sharf. (1988). 4791:. Normanm Oklahoma: University of Oklahoma Press. 4731:The war depicted by distinguished British artists. 4427:Oliver, Dean Frederick, and Laura Brandon (2000). 4206:A Bitter Truth: Avant-garde Art and the Great War. 3583:"Cultural Significance of an Invisible Emperor in 2466: 2464: 2462: 1377:'s drawings of sleeping civilians sheltering from 1100:forces joining together to smash the power of the 990:until some years later. In contrast, Delacroix's 4531:Nussbaum, Louis Frédéric and Käthe Roth. (2005). 2784:in 1859 with a scene showing a French battery at 2776:, and like him a specialist in military art, was 403:the battle scene, often from a fictional work of 203:are an example of the former. The ancient Greek 3050: 3048: 2416:); note that the term does not appear at all in 1119:British painters have never fully grappled with 2660:Norman, "Goya y Lucientes, Francisco José de", 1987:Bercheny's Hussars, French light cavalry, 1776. 1117: 915:(the "Prince of Wales Own") painted in 1793 by 569:, who is unusual in that he was a professional 367:Froissart of Louis of Gruuthuse (BnF Fr 2643-6) 4319:They Drew Fire: combat artists of World War II 4180:Binek, Lynn K. and Walter A Van Horn. (1989). 4120:Stover, Eric and Harvey M. Weinstein. (2004). 3156:https://doi.org/10.1007/978-3-030-02866-4_36-1 721:, covering maps and views of country houses. 594:of the United Kingdom rejected his version of 4885:1914–1918 war, Artists of the First World War 4866:United States Army Center of Military History 2485: 2483: 2140:Offering a drink of water to a fallen soldier 1622:, which recreates the iconic 1945 photograph 694:From at least the late 15th century, sets of 250:is a large and dramatic battle scene showing 223:shows a battle between cavalry forces in the 207:show lengthy parades of the city's volunteer 8: 4712:Art and Survival in First World War Britain. 4656:Harries, Meirion and Suzie Harries. (1983). 3300: 3298: 1807:, UK, 1867. This was an incident during the 1359:on a non-combatant populace was depicted in 1151:Calling the Roll After An Engagement, Crimea 633:("The Misfortunes of War"), a set of twelve 4150:. Atlanta: Society of Biblical Literature. 4090:The Religious Meaning of the Ruthwell Cross 4018:Chapel Hill: University of North Carolina. 2732:Norman, "Detaille, Jean Baptiste Edouard", 2044:, depicting the start of the charge by the 1015:established military genre painting in the 4748:Bootham: Council for British archaeology. 4561:Philadelphia: Philadelphia Museum of Art. 3976:Berkeley: University of California Press. 3366: 3364: 2869:Norman, "Vernet, Antoine Charles Horace", 2079:, 1890. This was a crucial battle in the 1686:Canadian Gunners in the Mud, Passchendaele 1346:World War II posters from the Soviet Union 262:, probably copying a lost painting. Many 4601:Carter, Albert Charles Robinson. (1900). 4580:Christchurch, New Zealand: Hazard Press. 3805:The Oxford Companion to Military History. 3789:Manchester: Manchester University Press. 2651:Pepper, 3 (ii); Honour & Fleming, 483 1917:Destroy this mad brute — Enlist U.S. Army 1673:after the disastrous earthquake in 2010. 1512:Sculpture made from Swiss assault rifles 708:Maximilian II Emanuel, Elector of Bavaria 311:. Individual images of each scene are at 4603:The Work of War Artists in South Africa. 4004:, 2007 (2nd edn), British Museum Press, 3868:'s Military Men; Masculinity Transformed 3077:"'The Art of War,' Learn About the Art." 2714:Norman, "Messonier, Jean Louis Ernest", 2506: 2504: 1740:Artist portraying a sergeant (1874), by 1381:bombing on the station platforms of the 274:is a term for a scene of battle between 164:, about 2,500 BC, is one of a number of 4124:Cambridge: Cambridge University Press. 3587:('War Campaign Documentary Painting')." 3238:, "It's All in the Wrist", 25 May 2010. 2930:Selected Writings on Art and Literature 2780:(1836–1885), who made his debut at the 2750:Norman, "Neuville, Alphonse Marie de", 2398: 2252: 2181: 2143: 1958: 1348:, which sometimes are similar to their 4449:Toronto: University of Toronto Press. 4396:South Melbourne, Victoria: Sun Books. 4353:. London: The Connoisseur Publishing. 4262:Artists and Warfare in the Renaissance 4222:Foot, Michael Richard Daniel. (1990). 4194:. Atglen, Pennsylvania: Schiffer Pub. 4002:The British Museum Book of Chinese Art 3896:. Underground Media Publishing, 2015. 3842:, 2010, University of Nebraska Press, 258:; it is a floor mosaic excavated from 29:For the term in military science, see 4492:Columbia, South Carolina: Cerberus. 4420:War Art in Canada: A Critical History 4096:, 1980, Chatto & Windus, London, 3399:. Underground Media. pp. 27–29. 3225:"With Sketchpads and Guns, Semper Fi" 2887:Norman, "Vernet, Emile Jean Horace", 1618:in depicting war is reflected in the 1567:in Boston, with a second cast in the 829:in Spain. British depictions of the 7: 4821:about experience and exhibit at the 4264:. New Haven: Yale University Press. 3928:. Oxford University Press US, 1991. 3557:Oxford Companion to Military History 2579:Oxford Companion to Military History 2475:Oxford Companion to Military History 2410:Oxford Companion to Military History 844:The Death of Nelson, 21 October 1805 358:illustrated the many battles in the 4879:, 1500 New Zealand art works online 4431:Vancouver: Douglas & McIntyre. 3950:Lanham, Maryland: Lexington Books. 2388:, a recent tradition of Afghanistan 1569:National Gallery of Art, Washington 913:Soldiers of the 10th Light Dragoons 4605:London: "The Art Journal" Office. 4307:. New York: Grosset & Dunlap. 4247:Gallatin, Albert Eugene. (1919). 4208:New Haven: Yale University Press. 3773:History of Italian Renaissance Art 3736:New Haven: Yale University Press. 2770:Army Quarterly and Defence Journal 2359:New Zealander official war artists 1437:, 232 × 547 cm (91.34 × 215.35 in) 1333:Beat the Whites with the Red Wedge 1115:exhibition of 1861 observed that 1111:of 1859. A British critic of the 480:", according to the art historian 399:used to decorate their homes. In 307:The entire 70-metre-long (230 ft) 25: 4744:Thorniley-Walker, Jane. (2006). 4363:Oxford: Oxford University Press. 4359:Prendergast, Christopher (1997). 4052:Colours of War: War Art, 1939–45. 3807:Oxford: Oxford University Press. 3681:DP Becker in KL Spangeberg (ed), 2979:Mcintyre, Ben. 10 September 2009 2590:Pepper, 2 (i); Kettering, 104–109 2297:Our boys need sox - knit your bit 1595:(widely imitated) and the German 1294:("The War"). The English artist 837:quickly producing large works by 513:Maximilian II, Holy Roman Emperor 4305:WW II: a Chronicle of Soldiering 2304: 2289: 2282:The Woman's Land Army of America 2274: 2255: 2232: 2209: 2193:Washington Crossing the Delaware 2184: 2165: 2146: 2112: 2088: 2073:Battle of Las Queseras del Medio 2061: 2032: 2012: 1992: 1980: 1961: 1524:of the brilliant French general 1467:Equestrian Portrait of Charles V 1145:In contrast, the British artist 1043:European artists in a generally 630:Les Grandes Misères de la guerre 536:The Battle of Alexander at Issus 518:The Battle of the Milvian Bridge 458:(1504–1506) by Michelangelo and 296: 136:; a floor mosaic excavated from 4894:MoD art collection, war artists 4696:London: Old Street Publishing. 3685:, Cincinnati Art Museum, 1993. 3001:"The Disasters in Afghanistan," 2546:Pepper, 1 (iii), Kettering, 104 2334:Australian official war artists 2311:Victory garden poster, US, 1945 1526:Gaston of Foix, Duke of Nemours 734:The Death of Captain James Cook 610:son team of Willem van de Velde 195:mainly consists of large stone 31:Military art (military science) 4926:, British World War II posters 4825:from 22 January – 9 April 2010 4611:Huntingford, N. P. C. (1986). 3683:Six Centuries of Master Prints 3063:Pepper, Introduction and 3, ii 2851:Norman, "Michalowski, Piotr", 2833:Norman, "Keyser, Nicaise de", 2081:Venezuelan War of Independence 1609:Canadian National War Memorial 1579:in London, the masterpiece of 884:The Loyal Volunteers of London 415:Renaissance to Napoleonic Wars 1: 4714:New York: St. Martins Press. 4692:Haycock, David Boyd. (2009). 4642:Bristol: Sansom and Company. 3906:McCloskey, Barbara. (2005). 3590:Association for Asian Studies 3568:McCloskey, Barbara. (2005). 3309:About the Imperial War Museum 3152:Handbook of Military Sciences 2354:Japanese official war artists 2344:Canadian official war artists 2329:American official war artists 1754:official Japanese war artists 1060:Antoine Charles Horace Vernet 616:which was destroyed when the 590:found when the "Sailor King" 332:. The violent tastes of the 326:Christ treading on the beasts 154:Protodynastic Period of Egypt 4146:Strudwick, Nigel C. (2005). 2986:(London). 10 September 2009. 2339:British official war artists 2241:Nikolai Dmitriev-Orenburgsky 2158:Jean-Louis-Ernest Meissonier 1625:Raising the Flag on Iwo Jima 902:of the splendid uniforms of 436:Italian Renaissance painting 407:, was a frequent subject in 188:opponents with his chariot. 65:in 1356, in a manuscript of 4830:War Art of the Third Reich. 4769:Cornebise, Alfred. (1991). 4674:Harrington, Peter. (1983). 4574:Haworth, Jennifer. (2007). 4472:War Art of the Third Reich. 4242:War Art of the Third Reich. 4064:, Osprey Publishing, 2001, 3972:Norman, Geraldine. (1977). 3910:Westport: Greenwood Press. 3785:Hichberger, J.W.M. (1991). 3263:Hichberger, J.W.M. (1991). 2705:Honour and Fleming, 487–488 2349:German official war artists 1969:Knight, Death and the Devil 1931:“Great achievements of the 1890:, Theodore Shelton Bowers, 1221:Richard Caton Woodville Jr. 1096:sentiment, showing various 565:by many artists, including 515:riding on a huge carriage. 372:Siege of the Castle of Love 215:show scenes of combat. In 4970: 4805:Foley, William A. (2003). 4787:Dempsey, L James. (2007). 4510:New York: Crescent Books. 4508:German War Art, 1939–1945. 4506:Yenne, William P. (1983). 4488:Weber, John Paul. (1979). 4062:Discovering Antique Prints 3863:Kettering, Alison McNeal. 3754:Bristol: Sansom & Co. 3472:Australian Artists at War, 3278:; Brandon, Laura. (2008). 2815:Norman, "Albrecht, Adam", 2007:Light Cavalry, circa 1845. 1671:Operation Unified Response 1620:National Iwo Jima Memorial 1497:One of the figures on the 1435:Bartholomeus van der Helst 1249:, etching and aquatint by 1219:were known as "specials". 993:Liberty Leading the People 823:Los Desastres de la Guerra 750:The Death of Major Pierson 724:The Death of General Wolfe 684:The Death of Major Peirson 511:shows both, leading up to 225:Campaign against Dong Zhuo 33:. For artists of war, see 28: 4908:Aviation and Military art 4823:Pritzker Military Library 4108:Dutch Painting, 1600–1800 3803:Holmes, Richard. (2003). 3102:The Lessons of Guernica," 1634:Vietnam Veterans Memorial 1338:Lazar Markovich Lissitzky 976:Greek War of Independence 651:Dutch Golden Age painting 584:Dutch Golden Age painting 336:elite managed to add the 4728:Holme, Charles. (1918). 4710:Sillars, Stuart (1987). 4660:London: Michael Joseph. 4537:Harvard University Press 4445:Tippett, Maria. (1984). 4168:University of Pittsburgh 4160:Tsuruya, Mayu. (2005). 3908:Artists of World War II. 3721:, Berghahn Books, 2006, 3695:Brandon, Laura. (2008). 3326:Brandon, Laura. (2008). 2516:17 February 2012 at the 2438:Strudwick (2005), p. 371 1828:Portraits, left to right 1577:Royal Artillery Memorial 1499:Royal Artillery Memorial 1319:Lord Kitchener Wants You 1125:William Michael Rossetti 1064:Emile Jean Horace Vernet 875:10th Regiment of Hussars 445:The Battle of San Romano 375:, often found on Gothic 315:. (Swipe left or right.) 184:show him scattering his 174:21st nome of Upper Egypt 4862:Army art of World War I 4490:The German War Artists. 4417:Brandon, Laura (2021). 4351:British Military Prints 4285:Johnson, Peter (1978). 4254:New York: E.P. Dutton. 3946:Nara, Hiroshi. (2007). 3701:New York: I.B. Tauris. 3667:Baker, Darrell (2008). 3601:Nara, Hiroshi. (2007). 3570:Artists of World War II 3395:Maenius, Chase (2015). 3314:5 December 2010 at the 3107:4 December 2010 at the 2936:in his articles on the 2154:Relief after the battle 1836:George Armstrong Custer 1630:National D-Day Memorial 1581:Charles Sargeant Jagger 1548:The huge losses of the 1503:Charles Sargeant Jagger 1443:Ancient Roman sculpture 1208:Illustrated London News 1177:Illustrated London News 1023:in the United Kingdom. 860:The Battle of Trafalgar 600:because of inaccuracy. 597:The Battle of Trafalgar 356:illuminated manuscripts 236:Roman triumphal columns 4899:National Archives (UK) 4392:Reid, John B. (1977). 4321:. New York: TV Books. 4190:Carman, W. Y. (2003). 4106:Slive, Seymour Slive. 4032:Reid, John B. (1977). 3826:A World History of Art 3671:Stacey International. 3647:My Neighbor, my Enemy, 3585:Sensô Sakusen Kirokuga 3470:Reid, John B. (1977). 3236:Sketchpad Warrior blog 3073:National Archives (UK) 2269:, Australia, 1914-1918 1999:Portrait of a mounted 1951: 1924: 1909: 1901: 1811: 1758:sensō sakusen kirokuga 1745: 1696: 1662: 1565:Augustus Saint-Gaudens 1516: 1505: 1438: 1258: 1181: 1142: 1128: 1040: 958: 878: 802:The Second of May 1808 774: 719:topographical painting 691: 668:The Surrender of Breda 558: 508:Triumphs of Maximilian 432: 313:Bayeux Tapestry tituli 141: 72: 68:Froissart's Chronicles 54: 46:The Surrender of Breda 4638:Gough, Paul. (2010). 4553:Okamoto, Shumpei and 4303:Jones, James (1975). 4277:The War Illustrators. 4275:Hodgson, Pat (1977). 4250:Art and the Great War 4204:Cork, Richard. 1994. 4014:Paret, Peter (1997). 3750:Gough, Paul. (2010). 3732:Foss, Brian. (2006). 3370:Foss, Brian. (2006). 2905:Paret, Peter (1997). 2522:Nomination Form, p. 4 2414:penultimate paragraph 1930: 1915: 1907: 1817: 1799: 1739: 1684: 1656: 1511: 1496: 1427: 1363:'s 1937 masterpiece, 1242: 1172:Battle of Majuba Hill 1165: 1133: 1029: 984:The Third of May 1808 967:The Massacre at Chios 948: 934:The Charging Chasseur 873: 808:The Third of May 1808 766:The Charging Chasseur 763: 755:John Singleton Copley 689:John Singleton Copley 681: 550: 422: 162:Stele of the Vultures 123: 60: 43: 4934:War Art digitization 4930:Archives New Zealand 4226:. London: Headline. 4166:Ph.D. dissertation, 4050:Ross, Alan. (1983). 3624:Ross, Alan. (1983). 3455:Gough, Paul. (2010) 2999:10 September 2009; 2778:Alphonse de Neuville 2520:, Bayeaux tapestry, 2429:Pepper, Introduction 2223:in 1796, painted by 1597:Laboe Naval Memorial 1013:Alphonse de Neuville 839:Arthur William Devis 818:The Disasters of War 620:burnt down in 1834. 618:Houses of Parliament 383:. The 11th century 256:Darius III of Persia 134:Darius III of Persia 4923:Weapons on the Wall 4890:Ministry of Defence 4839:London: Greenhill. 4678:London: Greenhill. 4533:Japan Encyclopedia. 4287:Front-Line Artists. 4260:Hale, John (1990). 3305:Imperial War Museum 3248:Canadian War Museum 3089:Weapons on the Wall 2447:Baker (2008), p. 84 2128:Battle of Friedland 2101:Battle of Friedland 1824:Officers shown here 1694:Canadian War Museum 1585:Tannenberg Memorial 1539:Wellington's Column 1451:Early Modern period 1371:bombing of Guernica 1369:, showing the 1937 1340:but soon turned to 1247:Advancing Under Gas 1225:Charles Edwin Fripp 1188:By the time of the 1156:Remnants of an Army 865:British Institution 850:The Death of Nelson 799:'s large paintings 704:Duke of Marlborough 700:Pastrana Tapestries 452:, and the abortive 425:Battle of Marignano 252:Alexander the Great 234:the most elaborate 146:Battlefield Palette 130:Alexander the Great 4883:Mémorial de Caen, 4313:Lanker, Brian and 3824:and John Fleming, 3154:. Springer, Cham. 2922:Charles Baudelaire 2575:"Military Artists" 2471:"Military Artists" 2217:Napoleon Bonaparte 2097:French 4th Hussars 2054:Elizabeth Thompson 2050:Battle of Waterloo 1952: 1925: 1910: 1902: 1896:Joshua Chamberlain 1868:John Aaron Rawlins 1844:Orville E. Babcock 1812: 1786:Battle of Hastings 1768:Classical examples 1746: 1697: 1667:Kristopher Battles 1663: 1659:Kristopher Battles 1593:Cenotaph in London 1550:American Civil War 1517: 1506: 1472:Battle of Mühlberg 1439: 1383:London Underground 1355:The impact of the 1259: 1190:American Civil War 1182: 1147:Elizabeth Thompson 1143: 1089:Battle of Grunwald 1068:Wilhelm Camphausen 1041: 1032:Battle of Grunwald 974:forces during the 959: 941:Nineteenth century 929:Théodore Géricault 879: 775: 771:Théodore Géricault 692: 559: 541:Albrecht Altdorfer 494:Triumphs of Caesar 461:Battle of Anghiari 433: 409:Persian miniatures 393:Battle of Hastings 142: 73: 63:Battle of Poitiers 55: 4845:978-1-85367-316-0 4809:. NY: Ballantine 4797:978-0-8061-3804-6 4779:978-0-89096-349-4 4754:978-1-902771-56-4 4720:978-0-312-00544-3 4702:978-1-905847-84-6 4684:978-1-85367-157-9 4666:978-0-7181-2314-7 4648:978-1-906593-00-1 4586:978-1-877393-24-2 4545:978-0-674-01753-5 4516:978-0-517-34846-8 4498:978-0-933590-00-7 4480:978-0-86556-018-5 4455:978-0-8020-2541-8 4437:978-1-55054-772-6 4402:978-0-7251-0254-8 4377:978-0-19-817422-6 4369:978-0-19-817402-8 4327:978-1-57500-085-5 4295:978-0-304-30011-2 4289:London: Cassell. 4232:978-0-7472-0286-8 4214:978-0-300-05704-1 4156:978-1-58983-680-8 4138:978-0-521-54264-7 4130:978-0-521-83495-7 4092:(orig. 1944), in 4078:978-0-7478-0499-4 4060:Russell, Ronald, 4054:London: J. Cape. 4042:978-0-7251-0254-8 4024:978-0-8078-2356-9 4010:978-0-7141-2446-9 3982:978-0-520-03328-3 3964:978-0-7391-1842-9 3956:978-0-7391-1841-2 3942:978-0-19-507139-9 3916:978-0-313-32153-5 3888:978-0-87413-640-1 3856:978-0-8032-2610-4 3813:978-0-19-860696-3 3795:978-0-7190-2675-1 3742:978-0-300-10890-3 3707:978-1-84511-237-0 3677:978-1-905299-37-9 3100:Walker, William. 3091:in external links 2687:Hichberger, 14–28 2619:Hichberger, 10–11 2573:Becker, 155–156; 2132:Ernest Meissonier 2046:Royal Scots Greys 2041:Scotland Forever! 2025:Anglo-Persian War 2021:Battle of Kooshab 1840:Cyrus B. Comstock 1776:in Greece or the 1742:Ernest Meissonier 1554:Robert Gould Shaw 1357:Spanish Civil War 1342:socialist realism 1235:Twentieth century 1217:Frederic Villiers 1057:Piotr Michałowski 1053:Nicaise de Keyser 1005:Ernest Meissonier 892:Rudolph Ackermann 888:Thomas Rowlandson 877:, by Carle Vernet 466:Leonardo da Vinci 455:Battle of Cascina 352:Archangel Michael 338:Harrowing of Hell 284:Late Roman Empire 232:Ancient Roman art 221:Wu family shrines 205:Parthenon Marbles 132:(left) defeating 85:military uniforms 18:Military painting 16:(Redirected from 4961: 4869: 4828:Gilkey, Gordon. 4819:Artist Interview 4470:Gilkey, Gordon. 4279:London: Osprey. 4240:Gilkey, Gordon. 4110:, Yale UP, 1995, 3992:Grove Art Online 3892:Maenius, Chase. 3866:Gerard ter Borch 3769:Hartt, Frederick 3715:Carrier, Peter. 3656: 3635: 3629: 3622: 3616: 3599: 3593: 3579: 3573: 3566: 3560: 3553: 3547: 3533: 3527: 3521: 3515: 3503: 3497: 3485: 3479: 3468: 3462: 3453: 3447: 3435: 3429: 3417: 3411: 3410: 3392: 3386: 3368: 3359: 3347: 3341: 3324: 3318: 3302: 3293: 3261: 3255: 3245: 3239: 3221: 3215: 3212: 3206: 3203: 3197: 3194: 3188: 3185: 3179: 3176: 3170: 3167: 3161: 3148: 3142: 3139: 3133: 3130: 3124: 3121: 3115: 3114:9 February 2003. 3098: 3092: 3085: 3079: 3070: 3064: 3061: 3055: 3052: 3043: 3031: 3025: 3013: 3007: 2993: 2987: 2977: 2971: 2947: 2941: 2903: 2897: 2885: 2879: 2867: 2861: 2849: 2843: 2831: 2825: 2813: 2807: 2795: 2789: 2766: 2760: 2748: 2742: 2730: 2724: 2712: 2706: 2703: 2697: 2694: 2688: 2685: 2679: 2676: 2670: 2658: 2652: 2649: 2643: 2626: 2620: 2617: 2611: 2606: 2600: 2597: 2591: 2588: 2582: 2581:, on Answers.com 2571: 2565: 2562: 2556: 2553: 2547: 2544: 2538: 2535: 2529: 2508: 2499: 2496: 2490: 2487: 2478: 2477:, on Answers.com 2468: 2457: 2454: 2448: 2445: 2439: 2436: 2430: 2427: 2421: 2418:Grove Art Online 2403: 2371:The Horse in Art 2308: 2293: 2278: 2259: 2243:in Paris in 1883 2236: 2221:bridge of Arcole 2213: 2188: 2169: 2150: 2116: 2105:Edouard Detaille 2092: 2077:Arturo Michelena 2065: 2036: 2016: 1996: 1984: 1965: 1884:James W. Forsyth 1874:, unidentified, 1864:Ulysses S. Grant 1852:Walter H. Taylor 1848:Charles Marshall 1809:War of the Roses 1805:Richard Burchett 1774:Temple of Aphaia 1397:Edward Ardizzone 1350:Nazi equivalents 1344:, used for most 1330:posters such as 1166:Engraving after 1135:Battle of Chesma 1102:Teutonic Knights 1092:(1878) reflects 1009:Edouard Detaille 962:Eugène Delacroix 949:Battle scene at 921:Colonel in Chief 715:history painting 655:guardroom scenes 643:Thirty Years War 440:battle paintings 300: 248:Alexander Mosaic 211:force, and many 178:Battle of Kadesh 150:cosmetic palette 126:Alexander Mosaic 21: 4969: 4968: 4964: 4963: 4962: 4960: 4959: 4958: 4939: 4938: 4860: 4857: 4335:Chase Maenius. 4177: 4175:Further reading 4086:Schapiro, Meyer 3998:Rawson, Jessica 3894:13 Masterpieces 3729:, 9781845452957 3664: 3659: 3636: 3632: 3626:Colours of War, 3623: 3619: 3600: 3596: 3581:Tsuruya, Mayu. 3580: 3576: 3567: 3563: 3554: 3550: 3535:Chase Maenius. 3534: 3530: 3522: 3518: 3504: 3500: 3486: 3482: 3469: 3465: 3454: 3450: 3436: 3432: 3418: 3414: 3407: 3397:13 Masterpieces 3394: 3393: 3389: 3369: 3362: 3348: 3344: 3325: 3321: 3316:Wayback Machine 3303: 3296: 3262: 3258: 3246: 3242: 3232:New York Times. 3222: 3218: 3213: 3209: 3204: 3200: 3195: 3191: 3186: 3182: 3177: 3173: 3168: 3164: 3149: 3145: 3140: 3136: 3131: 3127: 3122: 3118: 3109:Wayback Machine 3099: 3095: 3086: 3082: 3071: 3067: 3062: 3058: 3054:Pepper, 3, (ii) 3053: 3046: 3032: 3028: 3014: 3010: 2994: 2990: 2978: 2974: 2948: 2944: 2924:. (1992). "The 2904: 2900: 2886: 2882: 2868: 2864: 2850: 2846: 2832: 2828: 2814: 2810: 2796: 2792: 2767: 2763: 2749: 2745: 2731: 2727: 2713: 2709: 2704: 2700: 2695: 2691: 2686: 2682: 2677: 2673: 2659: 2655: 2650: 2646: 2627: 2623: 2618: 2614: 2607: 2603: 2598: 2594: 2589: 2585: 2572: 2568: 2563: 2559: 2554: 2550: 2545: 2541: 2536: 2532: 2526:Nomination Form 2518:Wayback Machine 2509: 2502: 2497: 2493: 2488: 2481: 2469: 2460: 2455: 2451: 2446: 2442: 2437: 2433: 2428: 2424: 2404: 2400: 2396: 2391: 2381:War photography 2319: 2312: 2309: 2300: 2299:, US, 1917-1918 2294: 2285: 2279: 2270: 2260: 2251: 2244: 2237: 2228: 2214: 2205: 2189: 2180: 2178:River crossings 2173: 2170: 2161: 2151: 2142: 2135: 2117: 2108: 2093: 2084: 2066: 2057: 2037: 2028: 2019:Cavalry at the 2017: 2008: 1997: 1988: 1985: 1976: 1975:, 16th century. 1966: 1957: 1900: 1899: 1872:Charles Griffin 1860:Philip Sheridan 1825: 1794: 1782:Norman Conquest 1778:Bayeux Tapestry 1770: 1734: 1702: 1679: 1651: 1646: 1601:Unknown Warrior 1599:; tombs of the 1534:Nelson's Column 1491: 1464:'s magisterial 1422: 1417: 1237: 1231:and elsewhere. 1199:War photography 1139:Ivan Aivazovsky 1074:. The rise of 998:July Revolution 943: 890:, published by 855:J. M. W. Turner 831:Napoleonic Wars 792:Battle of Eylau 781:, France added 653:specialized in 625:bird's eye view 588:J. M. W. Turner 571:Swiss mercenary 533:. The unusual 499:Roman triumphal 489:Andrea Mantegna 482:Frederick Hartt 470:Palazzo Vecchio 417: 389:Norman Conquest 385:Bayeux Tapestry 318: 317: 316: 309:Bayeux Tapestry 306: 301: 292: 244:Marcus Aurelius 201:Lachish reliefs 118: 113: 51:Diego Velázquez 38: 23: 22: 15: 12: 11: 5: 4967: 4965: 4957: 4956: 4951: 4941: 4940: 4937: 4936: 4927: 4919: 4914: 4905: 4903:The Art of War 4896: 4887: 4881: 4873: 4856: 4855:External links 4853: 4852: 4851: 4849:OCLC 260112479 4833: 4826: 4803: 4785: 4766: 4765: 4761: 4760: 4758:OCLC 238785409 4742: 4726: 4708: 4706:OCLC 318876179 4690: 4672: 4654: 4652:OCLC 559763485 4635: 4634: 4633:United Kingdom 4630: 4629: 4625: 4624: 4620: 4619: 4609: 4598: 4597: 4593: 4592: 4590:OCLC 174078159 4571: 4570: 4566: 4565: 4563:OCLC 179964815 4551: 4528: 4527: 4523: 4522: 4520:OCLC 611620194 4504: 4486: 4484:OCLC 223704492 4467: 4466: 4462: 4461: 4443: 4425: 4414: 4413: 4409: 4408: 4389: 4388: 4384: 4383: 4357: 4347: 4345:978-1320309554 4333: 4315:Nicole Newnham 4311: 4301: 4283: 4281:OCLC 462210052 4273: 4258: 4245: 4238: 4220: 4218:OCLC 185692286 4202: 4188: 4176: 4173: 4172: 4171: 4158: 4144: 4142:OCLC 183926798 4118: 4104: 4083: 4058: 4056:OCLC 122459647 4048: 4030: 4028:OCLC 260076007 4012: 3995: 3988: 3986:OCLC 300187133 3970: 3968:OCLC 238825589 3944: 3922: 3920:OCLC 475496457 3904: 3890: 3861: 3838:James, Pearl. 3836: 3819: 3817:OCLC 231975512 3801: 3799:OCLC 232947212 3783: 3766: 3764:OCLC 559763485 3748: 3746:OCLC 166478725 3730: 3713: 3711:OCLC 225345535 3693: 3679: 3663: 3660: 3658: 3657: 3630: 3617: 3594: 3574: 3572:, pp. 111–126. 3561: 3548: 3545:978-1320309554 3528: 3516: 3498: 3480: 3463: 3448: 3430: 3412: 3406:978-1320309554 3405: 3387: 3360: 3342: 3319: 3294: 3256: 3240: 3234:13 July 2010; 3216: 3207: 3198: 3189: 3180: 3178:Slive, 250–251 3171: 3169:Kettering, 100 3162: 3143: 3141:Brandon, 77–83 3134: 3125: 3116: 3093: 3080: 3065: 3056: 3044: 3026: 3008: 2988: 2972: 2942: 2898: 2880: 2862: 2844: 2826: 2808: 2790: 2761: 2743: 2725: 2707: 2698: 2689: 2680: 2671: 2653: 2644: 2621: 2612: 2601: 2592: 2583: 2566: 2557: 2548: 2539: 2530: 2500: 2491: 2479: 2458: 2449: 2440: 2431: 2422: 2397: 2395: 2392: 2390: 2389: 2383: 2378: 2373: 2368: 2363: 2362: 2361: 2356: 2351: 2346: 2341: 2336: 2331: 2320: 2318: 2315: 2314: 2313: 2310: 2303: 2301: 2295: 2288: 2286: 2280: 2273: 2271: 2267:Norman Lindsay 2261: 2254: 2250: 2247: 2246: 2245: 2238: 2231: 2229: 2215: 2208: 2206: 2198:Emanuel Leutze 2190: 2183: 2179: 2176: 2175: 2174: 2171: 2164: 2162: 2160:, 19th century 2152: 2145: 2141: 2138: 2137: 2136: 2118: 2111: 2109: 2094: 2087: 2085: 2067: 2060: 2058: 2038: 2031: 2029: 2027:, circa 1850s. 2018: 2011: 2009: 1998: 1991: 1989: 1986: 1979: 1977: 1973:Albrecht Dürer 1967: 1960: 1956: 1953: 1944:mainland China 1921:Harry R. Hopps 1888:Wesley Merritt 1826: 1823: 1822: 1793: 1790: 1769: 1766: 1733: 1730: 1701: 1698: 1690:Alfred Bastien 1688:by Lieutenant 1678: 1675: 1650: 1647: 1645: 1642: 1605:eternal flames 1501:in London, by 1490: 1487: 1421: 1418: 1416: 1413: 1401:Douglas Cooper 1393:Eric Ravilious 1300:Artists Rifles 1282:Degenerate art 1236: 1233: 1045:academic style 942: 939: 835:Horatio Nelson 827:Peninsular War 779:Napoleonic era 739:Johann Zoffany 661:, essentially 647:genre painting 639:Jacques Callot 614:Spanish Armada 602:Hendrick Vroom 556:Hendrick Vroom 531:Vatican Palace 416: 413: 348:Soldier saints 343:Life of Christ 303: 302: 295: 294: 293: 291: 288: 246:in Rome. The 158:Narmer Palette 117: 114: 112: 109: 78:is art with a 24: 14: 13: 10: 9: 6: 4: 3: 2: 4966: 4955: 4952: 4950: 4947: 4946: 4944: 4935: 4931: 4928: 4925: 4924: 4920: 4918: 4915: 4913: 4909: 4906: 4904: 4900: 4897: 4895: 4891: 4888: 4886: 4882: 4880: 4878: 4874: 4872: 4867: 4863: 4859: 4858: 4854: 4850: 4846: 4842: 4838: 4834: 4831: 4827: 4824: 4820: 4816: 4815:9780891418122 4812: 4808: 4804: 4802: 4801:OCLC 70839712 4798: 4794: 4790: 4786: 4784: 4783:OCLC 22892632 4780: 4776: 4772: 4768: 4767: 4764:United States 4763: 4762: 4759: 4755: 4751: 4747: 4743: 4741: 4737: 4733: 4732: 4727: 4725: 4724:OCLC 14932245 4721: 4717: 4713: 4709: 4707: 4703: 4699: 4695: 4691: 4689: 4688:OCLC 28708501 4685: 4681: 4677: 4673: 4671: 4667: 4663: 4659: 4655: 4653: 4649: 4645: 4641: 4637: 4636: 4632: 4631: 4627: 4626: 4622: 4621: 4618: 4617:OCLC 79317946 4614: 4610: 4608: 4607:OCLC 25938498 4604: 4600: 4599: 4595: 4594: 4591: 4587: 4583: 4579: 4578: 4573: 4572: 4568: 4567: 4564: 4560: 4556: 4552: 4550: 4549:OCLC 48943301 4546: 4542: 4538: 4534: 4530: 4529: 4525: 4524: 4521: 4517: 4513: 4509: 4505: 4503: 4499: 4495: 4491: 4487: 4485: 4481: 4477: 4473: 4469: 4468: 4464: 4463: 4460: 4459:OCLC 13858984 4456: 4452: 4448: 4444: 4442: 4441:OCLC 43283109 4438: 4434: 4430: 4426: 4423: 4421: 4416: 4415: 4411: 4410: 4407: 4403: 4399: 4395: 4391: 4390: 4386: 4385: 4382: 4381:OCLC 35777393 4378: 4374: 4370: 4366: 4362: 4358: 4356: 4352: 4348: 4346: 4342: 4338: 4334: 4332: 4331:OCLC 43245885 4328: 4324: 4320: 4316: 4312: 4310: 4306: 4302: 4300: 4296: 4292: 4288: 4284: 4282: 4278: 4274: 4271: 4270:0-300-04840-8 4267: 4263: 4259: 4257: 4253: 4251: 4246: 4243: 4239: 4237: 4236:OCLC 21407670 4233: 4229: 4225: 4221: 4219: 4215: 4211: 4207: 4203: 4201: 4200:0-7643-1671-0 4197: 4193: 4189: 4187: 4186:OCLC 20830388 4183: 4179: 4178: 4174: 4169: 4165: 4164: 4159: 4157: 4153: 4149: 4145: 4143: 4139: 4135: 4131: 4127: 4123: 4119: 4117: 4116:0-300-07451-4 4113: 4109: 4105: 4103: 4102:0-7011-2514-4 4099: 4095: 4091: 4087: 4084: 4082: 4079: 4075: 4071: 4070:0-7478-0499-0 4067: 4063: 4059: 4057: 4053: 4049: 4047: 4043: 4039: 4035: 4031: 4029: 4025: 4021: 4017: 4013: 4011: 4007: 4003: 3999: 3996: 3993: 3989: 3987: 3983: 3979: 3975: 3971: 3969: 3965: 3961: 3957: 3953: 3949: 3945: 3943: 3939: 3935: 3934:0-19-507139-5 3931: 3927: 3923: 3921: 3917: 3913: 3909: 3905: 3903: 3899: 3895: 3891: 3889: 3885: 3881: 3880:0-87413-640-7 3877: 3873: 3869: 3867: 3862: 3860: 3857: 3853: 3849: 3848:0-8032-2610-1 3845: 3841: 3837: 3835: 3834:0-333-37185-2 3831: 3827: 3823: 3820: 3818: 3814: 3810: 3806: 3802: 3800: 3796: 3792: 3788: 3784: 3782: 3781:0-500-23510-4 3778: 3774: 3770: 3767: 3765: 3761: 3760:9781906593001 3757: 3753: 3749: 3747: 3743: 3739: 3735: 3731: 3728: 3727:1-84545-295-X 3724: 3720: 3719: 3714: 3712: 3708: 3704: 3700: 3699: 3694: 3692: 3691:0-931537-15-0 3688: 3684: 3680: 3678: 3674: 3670: 3666: 3665: 3661: 3655: 3652:, p. 271, at 3651: 3650: 3645: 3644: 3640: 3637:Stover, Eric 3634: 3631: 3627: 3621: 3618: 3615: 3611: 3610: 3605: 3604: 3598: 3595: 3591: 3588: 3586: 3578: 3575: 3571: 3565: 3562: 3559: 3558: 3552: 3549: 3546: 3542: 3538: 3532: 3529: 3526: 3520: 3517: 3514: 3510: 3509: 3502: 3499: 3496: 3492: 3491: 3484: 3481: 3477: 3473: 3467: 3464: 3461: 3459: 3452: 3449: 3446: 3443:, p. 134, at 3442: 3441: 3434: 3431: 3428: 3425:, p. 124, at 3424: 3423: 3416: 3413: 3408: 3402: 3398: 3391: 3388: 3384: 3381:, p. 157, at 3380: 3379: 3374: 3373: 3367: 3365: 3361: 3358: 3355:, p. 131, at 3354: 3353: 3346: 3343: 3340: 3336: 3335: 3330: 3329: 3323: 3320: 3317: 3313: 3310: 3306: 3301: 3299: 3295: 3292: 3288: 3287: 3282: 3281: 3277: 3273: 3272: 3267: 3266: 3260: 3257: 3253: 3249: 3244: 3241: 3237: 3233: 3230: 3229:"Marine Art," 3226: 3223:Kino, Carol. 3220: 3217: 3211: 3208: 3202: 3199: 3193: 3190: 3184: 3181: 3175: 3172: 3166: 3163: 3160: 3157: 3153: 3147: 3144: 3138: 3135: 3129: 3126: 3120: 3117: 3113: 3112:Toronto Star. 3110: 3106: 3103: 3097: 3094: 3090: 3084: 3081: 3078: 3074: 3069: 3066: 3060: 3057: 3051: 3049: 3045: 3042: 3038: 3037: 3030: 3027: 3024: 3020: 3019: 3012: 3009: 3006:7 April 1842. 3005: 3002: 2998: 2992: 2989: 2985: 2982: 2976: 2973: 2970: 2966: 2962: 2958: 2954: 2953: 2946: 2943: 2939: 2935: 2931: 2927: 2923: 2919: 2915: 2914: 2909: 2908: 2902: 2899: 2896: 2893:, p. 212, at 2892: 2891: 2884: 2881: 2878: 2875:, p. 211, at 2874: 2873: 2866: 2863: 2860: 2857:, p. 120, at 2856: 2855: 2848: 2845: 2842: 2839:, p. 120, at 2838: 2837: 2830: 2827: 2824: 2820: 2819: 2812: 2809: 2806: 2802: 2801: 2794: 2791: 2787: 2783: 2779: 2775: 2771: 2765: 2762: 2759: 2756:, p. 159, at 2755: 2754: 2747: 2744: 2741: 2737: 2736: 2729: 2726: 2723: 2720:, p. 145, at 2719: 2718: 2711: 2708: 2702: 2699: 2693: 2690: 2684: 2681: 2678:Pepper, 3 (i) 2675: 2672: 2669: 2665: 2664: 2657: 2654: 2648: 2645: 2642: 2639:, p. 100, at 2638: 2637: 2632: 2631: 2625: 2622: 2616: 2613: 2610: 2605: 2602: 2599:Pepper, 2 (i) 2596: 2593: 2587: 2584: 2580: 2576: 2570: 2567: 2561: 2558: 2552: 2549: 2543: 2540: 2534: 2531: 2527: 2523: 2519: 2515: 2512: 2507: 2505: 2501: 2498:Schapiro, 153 2495: 2492: 2489:Pepper, 1 (i) 2486: 2484: 2480: 2476: 2472: 2467: 2465: 2463: 2459: 2453: 2450: 2444: 2441: 2435: 2432: 2426: 2423: 2419: 2415: 2411: 2407: 2402: 2399: 2393: 2387: 2384: 2382: 2379: 2377: 2374: 2372: 2369: 2367: 2364: 2360: 2357: 2355: 2352: 2350: 2347: 2345: 2342: 2340: 2337: 2335: 2332: 2330: 2327: 2326: 2325: 2322: 2321: 2316: 2307: 2302: 2298: 2292: 2287: 2283: 2277: 2272: 2268: 2264: 2263:Trumpet calls 2258: 2253: 2248: 2242: 2235: 2230: 2226: 2225:Horace Vernet 2222: 2219:crossing the 2218: 2212: 2207: 2203: 2199: 2195: 2194: 2187: 2182: 2177: 2168: 2163: 2159: 2155: 2149: 2144: 2139: 2133: 2129: 2125: 2121: 2115: 2110: 2106: 2102: 2098: 2091: 2086: 2082: 2078: 2074: 2070: 2069:Vuelvan Caras 2064: 2059: 2055: 2051: 2047: 2043: 2042: 2035: 2030: 2026: 2022: 2015: 2010: 2006: 2002: 1995: 1990: 1983: 1978: 1974: 1970: 1964: 1959: 1954: 1950:, circa 1950s 1949: 1945: 1941: 1938: 1934: 1929: 1922: 1918: 1914: 1906: 1897: 1893: 1889: 1885: 1881: 1880:Ely S. Parker 1877: 1873: 1869: 1865: 1861: 1857: 1856:Robert E. Lee 1853: 1849: 1845: 1841: 1837: 1833: 1829: 1820: 1816: 1810: 1806: 1802: 1798: 1791: 1789: 1787: 1783: 1779: 1775: 1767: 1765: 1761: 1759: 1755: 1750: 1743: 1738: 1731: 1729: 1725: 1723: 1719: 1714: 1712: 1706: 1699: 1695: 1691: 1687: 1683: 1676: 1674: 1672: 1668: 1660: 1655: 1648: 1643: 1641: 1639: 1638:the Holocaust 1635: 1631: 1627: 1626: 1621: 1617: 1612: 1610: 1606: 1602: 1598: 1594: 1590: 1586: 1582: 1578: 1574: 1570: 1566: 1562: 1561:54th Regiment 1559: 1555: 1551: 1546: 1544: 1540: 1535: 1531: 1527: 1523: 1515: 1510: 1504: 1500: 1495: 1488: 1486: 1484: 1483: 1478: 1473: 1469: 1468: 1463: 1459: 1454: 1452: 1448: 1447:tomb effigies 1444: 1436: 1432: 1431: 1426: 1419: 1414: 1412: 1410: 1406: 1402: 1398: 1394: 1390: 1389: 1384: 1380: 1376: 1372: 1368: 1367: 1362: 1358: 1353: 1351: 1347: 1343: 1339: 1335: 1334: 1329: 1325: 1321: 1320: 1315: 1311: 1309: 1308:stained-glass 1305: 1304:war memorials 1301: 1297: 1293: 1292: 1287: 1283: 1279: 1278: 1273: 1269: 1265: 1256: 1252: 1248: 1246: 1245:Stormtroopers 1241: 1234: 1232: 1230: 1229:Royal Academy 1226: 1222: 1218: 1214: 1210: 1209: 1204: 1200: 1195: 1191: 1186: 1179: 1178: 1173: 1169: 1164: 1160: 1158: 1157: 1152: 1148: 1140: 1136: 1132: 1127: 1126: 1122: 1116: 1114: 1113:Royal Academy 1110: 1105: 1103: 1099: 1095: 1091: 1090: 1085: 1081: 1077: 1073: 1069: 1065: 1061: 1058: 1054: 1050: 1049:Albrecht Adam 1046: 1038: 1034: 1033: 1028: 1024: 1022: 1021:Royal Academy 1018: 1014: 1010: 1006: 1001: 999: 995: 994: 989: 985: 981: 977: 973: 969: 968: 963: 956: 952: 947: 940: 938: 936: 935: 930: 926: 923:, the future 922: 918: 917:George Stubbs 914: 909: 907: 901: 897: 896:set of prints 893: 889: 886:(1797–98) by 885: 876: 872: 868: 866: 862: 861: 856: 852: 851: 846: 845: 840: 836: 832: 828: 824: 820: 819: 814: 810: 809: 804: 803: 798: 794: 793: 788: 784: 780: 772: 768: 767: 762: 758: 756: 752: 751: 746: 745: 740: 736: 735: 730: 729:Benjamin West 726: 725: 720: 716: 711: 709: 705: 701: 697: 690: 686: 685: 680: 676: 674: 670: 669: 664: 660: 659:Salvator Rosa 656: 652: 648: 644: 640: 636: 632: 631: 626: 621: 619: 615: 611: 607: 603: 599: 598: 593: 589: 585: 580: 577: 572: 568: 564: 557: 553: 549: 545: 542: 539:(1528–29) by 538: 537: 532: 528: 527:Raphael Rooms 524: 523:Giulio Romano 520: 519: 514: 510: 509: 504: 503:Julius Caesar 500: 496: 495: 490: 485: 483: 479: 475: 471: 467: 463: 462: 457: 456: 451: 450:Paolo Uccello 448:(c. 1445) by 447: 446: 441: 437: 430: 427:, drawing by 426: 421: 414: 412: 410: 406: 402: 398: 394: 390: 386: 382: 378: 374: 373: 368: 363: 361: 360:Old Testament 357: 353: 349: 345: 344: 339: 335: 331: 330:iconographies 327: 323: 314: 310: 305: 299: 289: 287: 285: 281: 277: 273: 269: 265: 261: 257: 253: 249: 245: 241: 237: 233: 228: 226: 222: 218: 214: 210: 206: 202: 198: 194: 189: 187: 183: 179: 175: 171: 167: 163: 159: 155: 151: 147: 139: 135: 131: 127: 122: 116:Ancient world 115: 110: 108: 105: 101: 97: 93: 88: 86: 81: 77: 70: 69: 64: 59: 52: 48: 47: 42: 36: 32: 27: 19: 4949:Military art 4922: 4876: 4861: 4836: 4829: 4806: 4788: 4770: 4745: 4740:OCLC 5081170 4730: 4711: 4693: 4675: 4670:OCLC 9888782 4657: 4639: 4612: 4602: 4596:South Africa 4576: 4558: 4555:Donald Keene 4532: 4507: 4502:OCLC 5727293 4489: 4471: 4446: 4428: 4418: 4406:OCLC 4035199 4393: 4360: 4355:OCLC 3509075 4350: 4336: 4318: 4304: 4299:OCLC 4412441 4286: 4276: 4261: 4248: 4241: 4223: 4205: 4191: 4181: 4162: 4147: 4121: 4107: 4093: 4089: 4061: 4051: 4046:OCLC 4035199 4033: 4015: 4001: 3973: 3947: 3925: 3907: 3893: 3871: 3864: 3839: 3825: 3804: 3786: 3772: 3751: 3733: 3717: 3698:Art and War. 3697: 3682: 3668: 3654:Google Books 3648: 3642: 3638: 3633: 3625: 3620: 3614:Google Books 3612:, p. 97, at 3609:, p. 97 n47. 3608: 3602: 3597: 3584: 3577: 3569: 3564: 3556: 3551: 3536: 3531: 3519: 3513:Google Books 3511:, p. 58, at 3506: 3501: 3495:Google Books 3488: 3483: 3475: 3471: 3466: 3457: 3451: 3445:Google Books 3438: 3433: 3427:Google Books 3420: 3415: 3396: 3390: 3383:Google Books 3377: 3371: 3357:Google Books 3350: 3345: 3339:Google Books 3333: 3332:Art and War, 3327: 3322: 3291:Google Books 3285: 3279: 3276:Google Books 3274:, p. 12, at 3271:, pp. 12–13. 3270: 3264: 3259: 3243: 3231: 3219: 3210: 3201: 3196:Mosse, 97–98 3192: 3183: 3174: 3165: 3151: 3146: 3137: 3128: 3119: 3111: 3096: 3088: 3083: 3068: 3059: 3041:Google Books 3034: 3033:Hichberger, 3029: 3023:Google Books 3021:, p. 71, at 3016: 3015:Hichberger, 3011: 3003: 2991: 2983: 2975: 2964: 2961:military art 2960: 2957:Google Books 2955:, p. 68, at 2950: 2949:Hichberger, 2945: 2934:military art 2933: 2929: 2918:Google Books 2916:, p. 85, at 2912: 2906: 2901: 2895:Google Books 2888: 2883: 2877:Google Books 2870: 2865: 2859:Google Books 2852: 2847: 2841:Google Books 2834: 2829: 2823:Google Books 2821:, p. 28, at 2816: 2811: 2805:Google Books 2803:, p. 58, at 2798: 2797:Hichberger, 2793: 2769: 2764: 2758:Google Books 2751: 2746: 2740:Google Books 2738:, p. 73, at 2733: 2728: 2722:Google Books 2715: 2710: 2701: 2692: 2683: 2674: 2668:Google Books 2666:, p. 99, at 2661: 2656: 2647: 2641:Google Books 2635: 2629: 2624: 2615: 2604: 2595: 2586: 2578: 2569: 2560: 2551: 2542: 2533: 2494: 2474: 2452: 2443: 2434: 2425: 2409: 2401: 2296: 2281: 2262: 2191: 2153: 2068: 2039: 1968: 1940:peace treaty 1916: 1876:George Meade 1827: 1818: 1800: 1771: 1762: 1757: 1751: 1747: 1726: 1721: 1715: 1707: 1703: 1685: 1664: 1623: 1613: 1556:and the all- 1547: 1530:war memorial 1518: 1480: 1465: 1455: 1440: 1428: 1386: 1365: 1354: 1331: 1317: 1312: 1289: 1275: 1268:George Grosz 1260: 1254: 1243: 1206: 1203:Melton Prior 1187: 1183: 1175: 1168:Melton Prior 1154: 1150: 1144: 1121:military art 1120: 1118: 1106: 1087: 1086:'s enormous 1042: 1030: 1002: 991: 988:Prado Museum 983: 980:Tres de Mayo 979: 965: 960: 932: 912: 906:Grande Armée 903: 900:Carle Vernet 883: 880: 874: 858: 848: 847:) and West ( 842: 822: 816: 806: 800: 790: 776: 764: 748: 742: 732: 722: 712: 693: 682: 666: 637:produced by 628: 622: 595: 581: 560: 551: 534: 516: 506: 492: 486: 459: 453: 443: 439: 434: 397:Anglo-Saxons 381:courtly love 370: 364: 341: 322:Late Antique 319: 272:amazonomachy 229: 193:Assyrian art 190: 166:Mesopotamian 143: 89: 76:Military art 75: 74: 66: 44: 26: 4569:New Zealand 4535:Cambridge: 4256:OCLC 422817 3822:Hugh Honour 3493:, p. 6, at 3337:, p. 4, at 3289:, p. 4, at 3284:Art and War 3187:Carrier, 18 3123:Brandon, 66 3039:, p. 2, at 2997:"Pictures," 2959:; the term 2456:Rawson, 103 2324:War artists 2130:(1807), by 2120:Cuirassiers 2023:during the 2003:of the 6th 1832:John Gibbon 1732:War artists 1718:C.E.W. Bean 1616:photography 1482:Night Watch 1433:, 1648, by 1420:Portraiture 1409:Nancy Spero 1405:Vietnam War 1375:Henry Moore 1264:war artists 1213:comic strip 1194:Crimean War 1084:Jan Matejko 1080:Czech Lands 1076:nationalism 1072:Emil Hünten 1037:Jan Matejko 1017:Paris Salon 951:Tápióbicske 937:(c. 1812). 783:Romanticism 687:, 1784, by 641:during the 576:Landsknecht 554:, 1617, by 405:epic poetry 401:Islamic art 334:Anglo-Saxon 264:Hellenistic 217:Han dynasty 213:Greek vases 182:Ramesses II 104:war artists 4943:Categories 4736:The Studio 4557:. (1983). 4317:. (2000). 3902:1320309550 3662:References 3525:Caricature 3286:, pp. 4–9. 3004:The Times. 2995:McIntyre, 2952:pp. 68–69. 2928:of 1859", 2786:Sebastapol 2284:, US, 1918 2249:Propaganda 2202:Düsseldorf 1948:Korean War 1946:about the 1892:Edward Ord 1722:Anzac Book 1709:typically 1589:Neue Wache 1573:public art 1388:Totes Meer 1277:The Trench 1174:, for the 919:for their 821:(Spanish: 787:Baron Gros 769:, 1812 by 753:(1784) by 737:(1779) by 727:(1771) by 696:tapestries 663:landscapes 592:William IV 501:parade of 497:shows the 423:After the 328:and other 268:sarcophagi 266:and Roman 254:defeating 191:Surviving 140:, c. 100BC 124:The Roman 92:marine art 71:of c. 1410 35:War artist 4387:Australia 3505:Brandon, 3487:Brandon, 3132:Foss, 123 2984:The Times 2969:neologism 2920:, citing 2636:, p. 100. 2555:Paret, 13 2406:"War art" 2376:Militaria 2122:saluting 1788:in 1066. 1711:realistic 1649:Peacetime 1543:Liverpool 1489:Sculpture 1477:Rembrandt 1415:Art forms 1379:The Blitz 1328:Modernist 1324:Uncle Sam 1296:Paul Nash 1291:Der Krieg 1255:Der Krieg 925:George IV 673:Velázquez 478:Delacroix 168:"victory 152:from the 96:warplanes 4892:(MoD), 4734:London: 4339:. 2014. 3641:(2004). 3539:. 2014. 3312:Archived 3105:Archived 2913:, p. 85. 2774:Detaille 2514:Archived 2386:War rugs 2366:Heraldry 2317:See also 2204:in 1850. 2124:Napoleon 1784:and the 1458:generals 1366:Guernica 1272:Otto Dix 1251:Otto Dix 1192:and the 1094:Pan-Slav 955:Mór Than 813:etchings 635:etchings 567:Urs Graf 474:Florence 429:Urs Graf 391:and the 290:Medieval 128:showing 80:military 4954:War art 4877:War Art 4623:Ukraine 4465:Germany 4309:1617592 3924:Mosse, 3649:p. 271. 3628:p. 118. 3476:war art 3440:p. 134. 3422:p. 124. 3378:p. 157. 3352:p. 131. 3307:(IWM), 3250:(CWM), 3036:p. 2-3. 2890:p. 212. 2872:p. 211. 2854:p. 120. 2836:p. 120. 2800:pp. 58. 2753:p. 159. 2717:p. 145. 2577:in the 2473:in the 2408:in the 2134:, 1875. 2126:at the 2107:, 1891. 2099:at the 2071:at the 2056:, 1881. 2048:at the 1955:Cavalry 1923:; 1917) 1792:Gallery 1700:Purpose 1677:Wartime 1628:. The 1514:Stgw 57 1361:Picasso 1314:Posters 1284:", the 1170:of the 972:Ottoman 908:de 1812 863:. The 777:In the 529:in the 276:Amazons 260:Pompeii 209:cavalry 197:reliefs 186:Hittite 138:Pompeii 111:History 4912:Curlie 4843: 4813: 4795: 4777: 4752: 4718: 4700: 4682: 4664: 4646: 4584: 4543: 4514: 4496: 4478: 4453: 4435: 4412:Canada 4400: 4375: 4367: 4343: 4325: 4293: 4268: 4230: 4212: 4198: 4154: 4136: 4128: 4114: 4100: 4076: 4068: 4040: 4022: 4008: 4000:(ed). 3980: 3962: 3954: 3940: 3932: 3914: 3900: 3886: 3878: 3854: 3846: 3832: 3811: 3793: 3779: 3758: 3740: 3725: 3705: 3689: 3675: 3639:et al. 3543: 3523:ASKB, 3508:p. 58. 3437:Foss, 3419:Foss, 3403: 3349:Foss, 3018:p. 71. 2818:p. 28. 2735:p. 73. 2663:p. 99. 2511:UNESCO 2227:(1826) 2005:Madras 1661:, USMC 1462:Titian 1257:, 1924 1180:, 1881 1141:, 1848 1039:, 1878 1011:, and 957:, 1849 606:father 563:prints 431:, 1521 280:Greeks 240:Trajan 170:stelae 4817:plus 4526:Japan 3870:, in 3490:p. 6. 3460:p. 3. 3334:p. 4. 3254:2005. 2938:Salon 2926:Salon 2782:Salon 2394:Notes 2103:, by 2075:, by 2052:, by 2001:Sowar 1644:Scope 1558:black 1522:Milan 1253:from 1109:Salon 747:and 377:ivory 100:tanks 4841:ISBN 4811:ISBN 4793:ISBN 4775:ISBN 4750:ISBN 4716:ISBN 4698:ISBN 4680:ISBN 4662:ISBN 4644:ISBN 4582:ISBN 4541:ISBN 4512:ISBN 4494:ISBN 4476:ISBN 4451:ISBN 4433:ISBN 4398:ISBN 4373:ISBN 4365:ISBN 4341:ISBN 4323:ISBN 4291:ISBN 4266:ISBN 4228:ISBN 4210:ISBN 4196:ISBN 4152:ISBN 4134:ISBN 4126:ISBN 4112:ISBN 4098:ISBN 4074:ISBN 4066:ISBN 4038:ISBN 4020:ISBN 4006:ISBN 3978:ISBN 3960:ISBN 3952:ISBN 3938:ISBN 3930:ISBN 3912:ISBN 3898:ISBN 3884:ISBN 3876:ISBN 3852:ISBN 3844:ISBN 3830:ISBN 3809:ISBN 3791:ISBN 3777:ISBN 3756:ISBN 3738:ISBN 3723:ISBN 3703:ISBN 3687:ISBN 3673:ISBN 3541:ISBN 3401:ISBN 2095:The 1603:and 1286:Nazi 1270:and 1223:and 1098:Slav 1070:and 805:and 797:Goya 608:and 278:and 242:and 227:. 148:, a 98:and 61:The 4910:at 2965:not 2963:is 2265:by 2200:in 2156:by 1971:by 1933:PRC 1803:by 1720:'s 1563:by 1541:in 1479:'s 1336:by 1137:by 1035:by 953:by 931:'s 904:La 898:by 882:of 853:). 671:by 649:in 521:by 491:'s 472:in 464:by 230:In 49:by 4945:: 4932:, 4901:, 4864:. 4847:; 4799:; 4781:; 4756:; 4738:. 4722:; 4704:; 4686:; 4668:; 4650:; 4588:; 4547:; 4539:. 4518:; 4500:; 4482:; 4457:; 4439:; 4404:; 4379:; 4371:; 4329:; 4297:; 4234:; 4216:; 4140:; 4132:; 4088:, 4080:, 4072:, 4044:; 4026:; 3984:; 3966:; 3958:; 3936:, 3918:; 3882:, 3858:, 3850:, 3815:; 3797:; 3771:, 3762:; 3744:; 3709:; 3363:^ 3297:^ 3227:; 3075:, 3047:^ 2967:a 2788:." 2503:^ 2482:^ 2461:^ 1937:P5 1886:, 1882:, 1878:, 1870:, 1866:, 1862:, 1858:, 1854:, 1850:, 1846:, 1842:, 1838:, 1834:, 1830:: 1640:. 1310:. 1104:. 1082:. 1066:, 1062:, 1055:, 1051:, 1007:, 815:, 741:, 731:, 484:. 362:. 346:. 4422:. 4272:. 4252:. 4170:. 3409:. 2083:. 1919:( 1744:. 982:( 841:( 773:. 37:. 20:)

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Index