Artist Soldiers: Artistic Expression in the First World War
by
Sasha
ARTIST SOLDIERS
The Artist Soldiers exhibit has been installed in the Smithsonian Air and Space museum as an ongoing remembrance of World War I and its atrocities during the centennial of America joining the war effort on April 6th, 1917 until the ending of the Great War on November 11th, 1918. On display in this exhibit are 54 artworks out of a collection of 500 owned by the Smithsonian National American History museum, created by eight artists drafted into the American Expeditionary Forces. The artists were given free range to paint and document what they saw and experienced during the nine months spent at war. (See Appendix B).[1] "I thought these collections would make a wonderful exhibition of largely never-before-seen material about World War I.”, says the chief curator of the exhibit, Peter Jakab in an e-mail interview.[2] The purpose of this exhibit is to show the portrayal of the war from an artist's point of view, not that of artists who painted a romanticized version of events, portraying heroic generals away from the battlefield long after the battle had happened, but that of artists, who had seen and experienced the war with their own eyes.
ARTWORK
The artworks in the exhibit are presented in five themes: The engineers go to war; the battlefield; technology of World War I; life at the front, and the human cost. These themes were part of a criteria used in the selection process for the artwork, so that the exhibit displayed versatile works of each artist. “The criteria was to show a good representation of all the topics the AEF artists covered in their work—battlefield, behind-the-lines, technology, casualties, POWs, etc.”[3] Stated the chief curator of the exhibit. Every artist had his own distinctive art style, giving an array of perspectives of World War I.
Engineers Go to War. The eight artists were officially drafted as part of the U.S Army Corps of Engineers, but soon it became simply a title, as they were able to participate in all aspects with the AEF. [4] The artists portrayed every aspect, as well as the influence and omnipresent presence of industrialization and enormity of the war effort which is presented in this subject matter. At the Camouflage Factory in Dijon by J. André Smith, completed in June 1918, is a particularly revealing piece, displaying a makeshift factory set up in a rural area. The scenes women working at their sewing stands, making camouflage underneath a primitive wooden structure draped with canvas billowing in the wind, its shelves densely packed with thick rolls of fabric. The structure and background are painted in neutral colors, the only hints of vibrance is coming from the bright clothes and headscarves of the employees, who were for the most part women. (see fig. 1)
[Image pending permission for use]
Fig 1: At the Camouflage Factory in Dijon by J. André Smith, Watercolor, charcoal, and pastel on paper, June 1918.
The Battlefield. Although lacking the sharpness that could be captured in a photograph, the artists were able to convey the urgency and tragedy of battles and combat as they had the opportunity to experience battle first hand.[5] The artwork ranges in topic, from scenes of battles, soldiers on post, and military technology in use, like the telephone or hand grenade. Perhaps the most distinctive piece on display is Machine Gun Emplacement, painted with oil on canvas by Harvey Thomas Dunn in 1918. The artwork has been painted in dark, earthy tones, with the short and rough brush strokes still visible. In this scene, your eyes are immediately drawn to the setting: white and ivory colored tombstones, cracked and strewn around the area of a former cemetery overgrown with weeds and bushes, surrounded by a disintegrating stone wall under low hanging purple gray sky. In the center-right, two soldiers crouch close to their strategically placed machine gun, overlooking a dreary, empty valley, hidden behind the ruins of a stone wall. (see fig. 2)
[Image pending permission for use]
Fig. 2: Machine Gun Emplacement by Harvey Thomas Dunn, Oil on canvas, 1918.
The Technology of World War I. As you continue to move through the exhibit, the next theme is technology. This subject matter presents a vital aspect of the war, military technology, which at the time was rapidly evolving with innovators and inventors contributing to the war effort. World War I was the first war that relied heavily on industrial and manufacturing power as much as it did on skilled and well trained soldiers. After America joined the war effort, the country lacked the technological advancement that other countries, who had been at war for the previous three years, had acquired by seeing and improving technology implemented by the other participants. Because of this, the Americans had to innovate quickly and introduce new technology, as well as to supply their troops quickly with equipment, a lot of it bought from or contributed by the European allies.[6] Over the course of the war numerous new technologies were implemented: Machine guns, chemical warfare, tanks, aircraft, telephones and telecommunication, some with such horrific after effects, they would never be used again on the battlefield. The 13 pieces of artwork in this theme vary in style, some artworks showing the technology in action, others showcasing the technology. A conspicuous artwork presented is Gas Alert, completed in 1918 by Harry Everett Townsend. This piece was done with charcoal on paper, and depicts a rather hectic scene of one of the most destructive technologies of the war, chemical warfare. Soldiers, constricted to a crowded trench in poor conditions, hurriedly attempt to put on their gas masks, struggling for space as a gas alert is called. In the background, the complex structure of the trench is visible, as the eye moves upwards and away from the chaos of the trench, the scene fades away in a thin fog, covering the intricate barbed wire surrounding the trench. (see fig. 3)
[Image pending permission for use]
Fig. 3: Gas Alert by Harry Everett Townsend, charcoal on paper, 1918.
Life at the Front. Although, the artists captured moments in battle and the depressing aspects of the war, the artists were drafted to document every part of the war, including the life of soldiers and volunteers away from the battlefield. This helped convey the realistic representation of the war, as opposed to romanticized battles and heroic figures. The artwork presented in this theme shows the pastimes and daily life of soldiers and the civilians that surrounded them, as well as the infrastructure that housed the soldiers, volunteers and civilians.[7] An example of such artwork, is Band Concert at Neufchateau, painted by J. André Smith in 1918, using charcoal and watercolor. (see fig. 4)
[Image pending permission for use]
Fig 4: Band Concert at Neufchateau by J. André Smith, Watercolor and charcoal on paper, 1918.
This particular artwork has been painted in mellow, muted tones with a tremendous attention to the detail of the setting of the scene. The painting shows small town square in Neufchateau, a commune to the northeast of France. In the center of the square, rests a statue on top of the cobblestone ground, surrounded by a crowd of people enjoying a band concert, most of whom are soldiers in their green-brown attire, among them are civilians. Surrounding the square are quaint townhouses of cream colored material, tinted slightly yellow from the reflection of the sun, their new orange-pink roof panels patched over older white panels, pale smoke gently drifting from the chimneys into the serene blue sky.
The Human Cost. The final theme of the exhibit presents one of the most tragic repercussions of the war, the impact of the strenuous conditions and the trauma of the soldiers and the impact on the civilians caught in the middle of the conflict. As the soldiers move positions and relocate they cut through towns, destroying homes and displacing the inhabitants who were forced seek refuge in other parts of their country, leaving their home towns and villages. The artists captured the suffering of wounded men, camaraderie of allies, towns that had been destroyed beyond recognition, refugees fleeing their former residences with as many valuables they could take with them.[8] William James Aylward sets a somber atmosphere in his drawing, His Bunkie, completed in 1918. Despite its simplicity and minimal aesthetic, the artwork conjures a deep feeling of sadness and sympathy towards the subject of the drawing. Besides the soldier and the gave at his feet, the rest of the artwork is bare, amplifying the emotional impact of the subject, as if portraying the grief of the soldier as he mourns the loss of his deceased bunker mate, shutting out the outside world. The soldier is in three-quarter view, wistfully overlooking a white wooden cross marking the grave of his former bunker mate, at the foot of the grave, buried slightly in the greenery and dirt lie miscellaneous objects, including a helmet. (see fig. 5)
[Image pending permission for use]
Fig 5: His Bunkie by William James Aylward, Charcoal, crayon, and gouache on card, 1918.
OVERALL IMPRESSIONSArtists Soldiers is a exhibit intended for an audience of people interested in art and history alike, as well as military technology, which is recurrent in the themes. The Artist Soldiers exhibit showcases artwork that have not been on display since the postwar decade, presenting the perspectives and experiences of each artist, who had been a part of the war. [9] The artists beautifully captured every aspect of the war in their paintings, drawings and sketches, each piece and theme exhibits a different atmosphere and outlook on the war, and emotions of its participants Although the artists could not cover all the realities and atrocity of the war, they did a phenomenal job showing the war from an artist’s and soldier’s perspective.
Appendix A
Artists Soldiers exhibit is located on the second floor of the Smithsonian National Air and Space Museum (600 Independence Ave SW, Washington, DC 20560). The National Air and Space museum is open from 10 am to 5:30 pm and has free admission. The exhibit will be at the museum until November 11, 2018, marking the end of the centennial of World War I.
Appendix B
Harvey Thomas Dunn (1884-1952). After studying in the Art Institute of Chicago, Harvey Thomas Dunn had a career doing magazine, book and advertisement illustration, as well as teaching. He left his successful career when drafted into the AEF. During the nine months spent in Europe, Dunn was noted for his focus on combat art focused on the action on the front. After the war, he opened an art school and studio in New Jersey in 1919, where he taught hundreds of students, as well as creating art with influences from his experiences of the war. Later in his life he was elected to the Society of Illustrators Hall of Fame and the National Academy of Design.[10]
J. André Smith (1880-1950). The only architect in the group of artists, Smith graduated from Cornell University. Besides being the only architect, he was also the only artist who had previously gotten proper officer’s training, as he had served in a camouflage unit before joining the other seven artists and becoming a war artist, becoming the commander of their group. J. André Smith also became the most successful artist, producing the most works out of the eight. After the war, he went on to publish a book in 1919 called In France with the American Expeditionary Forces, as well as opening his own art studio 20 years later in Maitland Florida, which still operates till this day under the name of Maitland Art Center. [11]Wallace Morgan (1873 - 1948). Wallace Morgan studied at the National Academy of Art in New York, supporting himself by sketching for the New York Sun, and later going on to sketch for more well known magazines like Cosmopolitan and the New Yorker. Morgan focused on the Marine Brigade during his time in France, even following them into battles. Just like fellow artist Harvey Thomas Dunn, he was elected to Society of Illustrators Hall of Fame and the National Academy of Design, considered on the best artists of the time who sketched and drew in black and white.[12]
Harry Everett Townsend (1879-1941). Townsend was an in demand illustrator from New York who had graduated from Chicago’s Art Institute, also studying in Europe. In 1912, he returned to Europe to work for a London magazine whilst living in France, but after the outbreak of the war he returned to New York to illustrate war poster, and then became a war artist. Townsend’s work focused on modern military technology of the time, like tanks and aircraft. After the war ended he stayed back to teach at the AEF Art training center, eventually returning to open his studio in Norwalk, Conn, where he continued to pursue his artist career till his death in 1941.[13]
Walter Jack Duncan. Duncan studied at the best art school in America of the time, Art Students League in New York City. After he graduated, he worked in book and magazine illustration. The artwork he produced while in the AEF focused mainly on the soldiers and men who worked as suppliers. After the war ended, he worked in a studio in France until returning to America in 1919, continuing to illustrate books and magazines, as well as teaching at the Art Students League.[14]
Ernest Clifford Peixotto (1869-1940). Peixotto studied at the Fine Arts at the Mark Hopkins Institute, located in San Francisco, moving to France in 1888 to continue his studies, residing and painting the French countryside and the inhabitants until returning to the United States in 1914. He was the first artist to be approached by the recruiter for the AEF artists, Charles Dana Gibson, after Peixotto was rejected due his age (being 49 at the time) from joining the camouflage unit in the Army Corps of Engineers. [15] His work as a war artist mainly depicted the French landscape devastated by war. After the war, Peixotto worked at the Art Training Center in Paris, returning to New York in 1923, as head of the mural department ofBeaux Arts Institute of Design in New York.[16]
George Mathews Harding. Harding graduated from the Pennsylvania Academy of Art. During his time spent in France as a war artist, he was fascinated by new technologies like tanks, aircraft, military vehicles, frequently depicting them in his artwork. After the war he published a portfolio of the artworks completed during the war in 1919, and took a career of teaching at Pennsylvania Academy of the Fine Arts. Harding took a break from his teaching career to become a war artist once again during the second World War, only returning in 1958.[17]
William James Aylward (1875-1956). Aylward studied art at the Art Institute of Chicago and Art Students League in New York. He continued to study privately and travel in France, as well as keeping a successful career as an illustrator of books and Magazines. His artwork during the war influenced by his upbringing near ships and docks, focusing heavily on logistics, especially ports. After the war Aylward resumed his career as an illustrator and taught at several schools of art. [18]
Sources
Footnotes
[1] “Art made on the front lines of the First World War,” The Washington Post, February 3, 2017, https://www.washingtonpost.com/entertainment/museums/art-made-on-the-front-lines-of-the-first-world-war/2017/02/03/220d0fbc-df4c-11e6-918c-99ede3c8cafa_story.html?utm_term=.ada8857b4f2b (accessed November 10, 2017)
[2] Jakab, P. (2017, November 8). Email Interview.
[3] Jakab, P. (2017, November 8). Email Interview.
[4] “Engineers Go to War,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/220-artist-soldiers-engineers-go-war (accessed November 10, 2017)
[5] “The Battlefield,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/250-artist-soldier-battlefield (accessed November 10, 2017)
[6] “The Technology of World War I,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/240-artist-soldiers-technology (accessed November 10, 2017)
[7] “Life at the Front,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/230-artist-soldiers-life-front (accessed November 10, 2017)
[8] “The Human Cost,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/260-artist-soldiers-human-cost (Accessed November 11, 2017)
[9]“ “Artist Soldiers” Exhibition Opens at National Air and Space Museum,” Newsdesk, newsroom of the Smithsonian, April 5, 2017, http://newsdesk.si.edu/releases/artist-soldiers-exhibition-opens-national-air-and-space-museum (accessed November 11, 2017)
[10] “Meet the AEF Artists,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/210-artist-soldier-meet-artists (accessed November 11, 2017)
[11] “Meet the AEF Artists,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/210-artist-soldier-meet-artists (accessed November 11, 2017)
[12] Ibid.
[13] Ibid
[14] “Meet the AEF Artists,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/210-artist-soldier-meet-artists (accessed November 11, 2017)
[15] “Art From the WWI Trenches”, Air and Space Smithsonian, August 16, 2017, https://www.airspacemag.com/history-of-flight/16_aug2017-in-the-museum-180963928/ (accessed November 11, 2017)
[16] Ibid.
[17] “Meet the AEF Artists,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/210-artist-soldier-meet-artists (accessed November 11, 2017)
[18] Ibid.
The Artist Soldiers exhibit has been installed in the Smithsonian Air and Space museum as an ongoing remembrance of World War I and its atrocities during the centennial of America joining the war effort on April 6th, 1917 until the ending of the Great War on November 11th, 1918. On display in this exhibit are 54 artworks out of a collection of 500 owned by the Smithsonian National American History museum, created by eight artists drafted into the American Expeditionary Forces. The artists were given free range to paint and document what they saw and experienced during the nine months spent at war. (See Appendix B).[1] "I thought these collections would make a wonderful exhibition of largely never-before-seen material about World War I.”, says the chief curator of the exhibit, Peter Jakab in an e-mail interview.[2] The purpose of this exhibit is to show the portrayal of the war from an artist's point of view, not that of artists who painted a romanticized version of events, portraying heroic generals away from the battlefield long after the battle had happened, but that of artists, who had seen and experienced the war with their own eyes.
ARTWORK
The artworks in the exhibit are presented in five themes: The engineers go to war; the battlefield; technology of World War I; life at the front, and the human cost. These themes were part of a criteria used in the selection process for the artwork, so that the exhibit displayed versatile works of each artist. “The criteria was to show a good representation of all the topics the AEF artists covered in their work—battlefield, behind-the-lines, technology, casualties, POWs, etc.”[3] Stated the chief curator of the exhibit. Every artist had his own distinctive art style, giving an array of perspectives of World War I.
Engineers Go to War. The eight artists were officially drafted as part of the U.S Army Corps of Engineers, but soon it became simply a title, as they were able to participate in all aspects with the AEF. [4] The artists portrayed every aspect, as well as the influence and omnipresent presence of industrialization and enormity of the war effort which is presented in this subject matter. At the Camouflage Factory in Dijon by J. André Smith, completed in June 1918, is a particularly revealing piece, displaying a makeshift factory set up in a rural area. The scenes women working at their sewing stands, making camouflage underneath a primitive wooden structure draped with canvas billowing in the wind, its shelves densely packed with thick rolls of fabric. The structure and background are painted in neutral colors, the only hints of vibrance is coming from the bright clothes and headscarves of the employees, who were for the most part women. (see fig. 1)
[Image pending permission for use]
Fig 1: At the Camouflage Factory in Dijon by J. André Smith, Watercolor, charcoal, and pastel on paper, June 1918.
The Battlefield. Although lacking the sharpness that could be captured in a photograph, the artists were able to convey the urgency and tragedy of battles and combat as they had the opportunity to experience battle first hand.[5] The artwork ranges in topic, from scenes of battles, soldiers on post, and military technology in use, like the telephone or hand grenade. Perhaps the most distinctive piece on display is Machine Gun Emplacement, painted with oil on canvas by Harvey Thomas Dunn in 1918. The artwork has been painted in dark, earthy tones, with the short and rough brush strokes still visible. In this scene, your eyes are immediately drawn to the setting: white and ivory colored tombstones, cracked and strewn around the area of a former cemetery overgrown with weeds and bushes, surrounded by a disintegrating stone wall under low hanging purple gray sky. In the center-right, two soldiers crouch close to their strategically placed machine gun, overlooking a dreary, empty valley, hidden behind the ruins of a stone wall. (see fig. 2)
[Image pending permission for use]
Fig. 2: Machine Gun Emplacement by Harvey Thomas Dunn, Oil on canvas, 1918.
The Technology of World War I. As you continue to move through the exhibit, the next theme is technology. This subject matter presents a vital aspect of the war, military technology, which at the time was rapidly evolving with innovators and inventors contributing to the war effort. World War I was the first war that relied heavily on industrial and manufacturing power as much as it did on skilled and well trained soldiers. After America joined the war effort, the country lacked the technological advancement that other countries, who had been at war for the previous three years, had acquired by seeing and improving technology implemented by the other participants. Because of this, the Americans had to innovate quickly and introduce new technology, as well as to supply their troops quickly with equipment, a lot of it bought from or contributed by the European allies.[6] Over the course of the war numerous new technologies were implemented: Machine guns, chemical warfare, tanks, aircraft, telephones and telecommunication, some with such horrific after effects, they would never be used again on the battlefield. The 13 pieces of artwork in this theme vary in style, some artworks showing the technology in action, others showcasing the technology. A conspicuous artwork presented is Gas Alert, completed in 1918 by Harry Everett Townsend. This piece was done with charcoal on paper, and depicts a rather hectic scene of one of the most destructive technologies of the war, chemical warfare. Soldiers, constricted to a crowded trench in poor conditions, hurriedly attempt to put on their gas masks, struggling for space as a gas alert is called. In the background, the complex structure of the trench is visible, as the eye moves upwards and away from the chaos of the trench, the scene fades away in a thin fog, covering the intricate barbed wire surrounding the trench. (see fig. 3)
[Image pending permission for use]
Fig. 3: Gas Alert by Harry Everett Townsend, charcoal on paper, 1918.
Life at the Front. Although, the artists captured moments in battle and the depressing aspects of the war, the artists were drafted to document every part of the war, including the life of soldiers and volunteers away from the battlefield. This helped convey the realistic representation of the war, as opposed to romanticized battles and heroic figures. The artwork presented in this theme shows the pastimes and daily life of soldiers and the civilians that surrounded them, as well as the infrastructure that housed the soldiers, volunteers and civilians.[7] An example of such artwork, is Band Concert at Neufchateau, painted by J. André Smith in 1918, using charcoal and watercolor. (see fig. 4)
[Image pending permission for use]
Fig 4: Band Concert at Neufchateau by J. André Smith, Watercolor and charcoal on paper, 1918.
This particular artwork has been painted in mellow, muted tones with a tremendous attention to the detail of the setting of the scene. The painting shows small town square in Neufchateau, a commune to the northeast of France. In the center of the square, rests a statue on top of the cobblestone ground, surrounded by a crowd of people enjoying a band concert, most of whom are soldiers in their green-brown attire, among them are civilians. Surrounding the square are quaint townhouses of cream colored material, tinted slightly yellow from the reflection of the sun, their new orange-pink roof panels patched over older white panels, pale smoke gently drifting from the chimneys into the serene blue sky.
The Human Cost. The final theme of the exhibit presents one of the most tragic repercussions of the war, the impact of the strenuous conditions and the trauma of the soldiers and the impact on the civilians caught in the middle of the conflict. As the soldiers move positions and relocate they cut through towns, destroying homes and displacing the inhabitants who were forced seek refuge in other parts of their country, leaving their home towns and villages. The artists captured the suffering of wounded men, camaraderie of allies, towns that had been destroyed beyond recognition, refugees fleeing their former residences with as many valuables they could take with them.[8] William James Aylward sets a somber atmosphere in his drawing, His Bunkie, completed in 1918. Despite its simplicity and minimal aesthetic, the artwork conjures a deep feeling of sadness and sympathy towards the subject of the drawing. Besides the soldier and the gave at his feet, the rest of the artwork is bare, amplifying the emotional impact of the subject, as if portraying the grief of the soldier as he mourns the loss of his deceased bunker mate, shutting out the outside world. The soldier is in three-quarter view, wistfully overlooking a white wooden cross marking the grave of his former bunker mate, at the foot of the grave, buried slightly in the greenery and dirt lie miscellaneous objects, including a helmet. (see fig. 5)
[Image pending permission for use]
Fig 5: His Bunkie by William James Aylward, Charcoal, crayon, and gouache on card, 1918.
OVERALL IMPRESSIONSArtists Soldiers is a exhibit intended for an audience of people interested in art and history alike, as well as military technology, which is recurrent in the themes. The Artist Soldiers exhibit showcases artwork that have not been on display since the postwar decade, presenting the perspectives and experiences of each artist, who had been a part of the war. [9] The artists beautifully captured every aspect of the war in their paintings, drawings and sketches, each piece and theme exhibits a different atmosphere and outlook on the war, and emotions of its participants Although the artists could not cover all the realities and atrocity of the war, they did a phenomenal job showing the war from an artist’s and soldier’s perspective.
Appendix A
Artists Soldiers exhibit is located on the second floor of the Smithsonian National Air and Space Museum (600 Independence Ave SW, Washington, DC 20560). The National Air and Space museum is open from 10 am to 5:30 pm and has free admission. The exhibit will be at the museum until November 11, 2018, marking the end of the centennial of World War I.
Appendix B
Harvey Thomas Dunn (1884-1952). After studying in the Art Institute of Chicago, Harvey Thomas Dunn had a career doing magazine, book and advertisement illustration, as well as teaching. He left his successful career when drafted into the AEF. During the nine months spent in Europe, Dunn was noted for his focus on combat art focused on the action on the front. After the war, he opened an art school and studio in New Jersey in 1919, where he taught hundreds of students, as well as creating art with influences from his experiences of the war. Later in his life he was elected to the Society of Illustrators Hall of Fame and the National Academy of Design.[10]
J. André Smith (1880-1950). The only architect in the group of artists, Smith graduated from Cornell University. Besides being the only architect, he was also the only artist who had previously gotten proper officer’s training, as he had served in a camouflage unit before joining the other seven artists and becoming a war artist, becoming the commander of their group. J. André Smith also became the most successful artist, producing the most works out of the eight. After the war, he went on to publish a book in 1919 called In France with the American Expeditionary Forces, as well as opening his own art studio 20 years later in Maitland Florida, which still operates till this day under the name of Maitland Art Center. [11]Wallace Morgan (1873 - 1948). Wallace Morgan studied at the National Academy of Art in New York, supporting himself by sketching for the New York Sun, and later going on to sketch for more well known magazines like Cosmopolitan and the New Yorker. Morgan focused on the Marine Brigade during his time in France, even following them into battles. Just like fellow artist Harvey Thomas Dunn, he was elected to Society of Illustrators Hall of Fame and the National Academy of Design, considered on the best artists of the time who sketched and drew in black and white.[12]
Harry Everett Townsend (1879-1941). Townsend was an in demand illustrator from New York who had graduated from Chicago’s Art Institute, also studying in Europe. In 1912, he returned to Europe to work for a London magazine whilst living in France, but after the outbreak of the war he returned to New York to illustrate war poster, and then became a war artist. Townsend’s work focused on modern military technology of the time, like tanks and aircraft. After the war ended he stayed back to teach at the AEF Art training center, eventually returning to open his studio in Norwalk, Conn, where he continued to pursue his artist career till his death in 1941.[13]
Walter Jack Duncan. Duncan studied at the best art school in America of the time, Art Students League in New York City. After he graduated, he worked in book and magazine illustration. The artwork he produced while in the AEF focused mainly on the soldiers and men who worked as suppliers. After the war ended, he worked in a studio in France until returning to America in 1919, continuing to illustrate books and magazines, as well as teaching at the Art Students League.[14]
Ernest Clifford Peixotto (1869-1940). Peixotto studied at the Fine Arts at the Mark Hopkins Institute, located in San Francisco, moving to France in 1888 to continue his studies, residing and painting the French countryside and the inhabitants until returning to the United States in 1914. He was the first artist to be approached by the recruiter for the AEF artists, Charles Dana Gibson, after Peixotto was rejected due his age (being 49 at the time) from joining the camouflage unit in the Army Corps of Engineers. [15] His work as a war artist mainly depicted the French landscape devastated by war. After the war, Peixotto worked at the Art Training Center in Paris, returning to New York in 1923, as head of the mural department ofBeaux Arts Institute of Design in New York.[16]
George Mathews Harding. Harding graduated from the Pennsylvania Academy of Art. During his time spent in France as a war artist, he was fascinated by new technologies like tanks, aircraft, military vehicles, frequently depicting them in his artwork. After the war he published a portfolio of the artworks completed during the war in 1919, and took a career of teaching at Pennsylvania Academy of the Fine Arts. Harding took a break from his teaching career to become a war artist once again during the second World War, only returning in 1958.[17]
William James Aylward (1875-1956). Aylward studied art at the Art Institute of Chicago and Art Students League in New York. He continued to study privately and travel in France, as well as keeping a successful career as an illustrator of books and Magazines. His artwork during the war influenced by his upbringing near ships and docks, focusing heavily on logistics, especially ports. After the war Aylward resumed his career as an illustrator and taught at several schools of art. [18]
Sources
- “Artist Soldier - The Battlefield.” National Air and Space Museum, National Air and Space Museum, 5 Apr. 2017. airandspace.si.edu/stories/editorial/250-artist-soldier-battlefield. (accessed November 10, 2017).
- “Artist Soldiers - Engineers Go to War.” National Air and Space Museum, National Air and Space Museum, 5 Apr. 2017. airandspace.si.edu/stories/editorial/220-artist-soldiers-engineers-go-war. (accessed November 10, 2017).
- “Artist Soldiers - Life at the Front.” National Air and Space Museum, National Air and Space Museum, 5 Apr. 2017. airandspace.si.edu/stories/editorial/230-artist-soldiers-life-front. (accessed November 10, 2017).
- “Artist Soldiers - Meet the Artists.” National Air and Space Museum, National Air and Space Museum, 14 Apr. 2017. airandspace.si.edu/stories/editorial/210-artist-soldier-meet-artists. (accessed November 10, 2017).
- “Artist Soldiers - Technology.” National Air and Space Museum, National Air and Space Museum, 5 Apr. 2017. airandspace.si.edu/stories/editorial/240-artist-soldiers-technology. (accessed November 10, 2017).
- “Artist Soldiers - The Human Cost.” National Air and Space Museum, National Air and Space Museum, 14 Apr. 2017. airandspace.si.edu/stories/editorial/260-artist-soldiers-human-cost. (accessed November 11, 2017).
- “Artist Soldiers.” National Air and Space Museum, National Air and Space Museum, 8 Nov. 2017. airandspace.si.edu/exhibitions/artist-soldiers. (accessed November 11, 2017)
- Aylward, William James. “His Bunkie.” His Bunkie, Smithsonian National Air and Space Museum, 1918, Smithsonian National Air and Space Museum, Washington D.C. airandspace.si.edu/multimedia-gallery/af25661-alywardjpg. Medium: Charcoal, crayon, and gouache on card. (accessed November 11, 2017)
- Dunn, Harvey Thomas. “Machine Gun Emplacement.” Machine Gun Emplacement, Smithsonian National Air and Space Museum, 1918, Smithsonian National Air and Space Museum, Washington D.C. airandspace.si.edu/multimedia-gallery/af25709-dunn-wwi-art. Medium: Oil on canvas. (accessed November 10, 2017)
- Maksel, Rebecca. “Art From the WWI Trenches.” Air & Space Magazine, 16 Aug. 2017. www.airspacemag.com/history-of-flight/16_aug2017-in-the-museum-180963928/.
- McGlone, Peggy. “Art Made on the Front Lines of the First World War.” The Washington Post, WP Company, 3 Feb. 2017. www.washingtonpost.com/entertainment/museums/art-made-on-the-front-lines-of-the-first-world-war/2017/02/03/220d0fbc-df4c-11e6-918c-99ede3c8cafa_story.html?utm_term=.d1aa7dc9eeed. (accessed November 10, 2017).
- “News Releases.” "Artist Soldiers" Exhibition Opens at National Air and Space Museum | Newsdesk, 5 Apr. 2017. newsdesk.si.edu/releases/artist-soldiers-exhibition-opens-national-air-and-space-museum. (accessed November 11, 2017).
- Smith, J. André. “At the Camouflage Factory in Dijon.” At the Camouflage Factory in Dijon, Smithsonian National Air and Space Museum, 1918, Smithsonian National Air and Space Museum, Washington D.C. airandspace.si.edu/multimedia-gallery/af25912-smith-wwi-art. Medium: Watercolor, charcoal, and pastel on paper. (accessed November 10, 2017).
- Smith, J. André. “Band Concert at Neufchateau.” Band Concert at Neufchateau, Smithsonian National Air and Space Museum, 1918, Smithsonian National Air and Space Museum, Washington D.C. airandspace.si.edu/multimedia-gallery/af25956-smith-wwi-art. Medium: Watercolor and charcoal on paper. (accessed November 10, 2017).
- Townsend , Harry Everett. “Gas.” Gas Alert, Smithsonian National Air and Space Museum, 1918, Smithsonian National Air and Space Museum, Washington D.C. airandspace.si.edu/multimedia-gallery/af26115-townsend-wwi-art. Medium: Charcoal on paper. (accessed November 10, 2017).
Footnotes
[1] “Art made on the front lines of the First World War,” The Washington Post, February 3, 2017, https://www.washingtonpost.com/entertainment/museums/art-made-on-the-front-lines-of-the-first-world-war/2017/02/03/220d0fbc-df4c-11e6-918c-99ede3c8cafa_story.html?utm_term=.ada8857b4f2b (accessed November 10, 2017)
[2] Jakab, P. (2017, November 8). Email Interview.
[3] Jakab, P. (2017, November 8). Email Interview.
[4] “Engineers Go to War,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/220-artist-soldiers-engineers-go-war (accessed November 10, 2017)
[5] “The Battlefield,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/250-artist-soldier-battlefield (accessed November 10, 2017)
[6] “The Technology of World War I,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/240-artist-soldiers-technology (accessed November 10, 2017)
[7] “Life at the Front,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/230-artist-soldiers-life-front (accessed November 10, 2017)
[8] “The Human Cost,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/260-artist-soldiers-human-cost (Accessed November 11, 2017)
[9]“ “Artist Soldiers” Exhibition Opens at National Air and Space Museum,” Newsdesk, newsroom of the Smithsonian, April 5, 2017, http://newsdesk.si.edu/releases/artist-soldiers-exhibition-opens-national-air-and-space-museum (accessed November 11, 2017)
[10] “Meet the AEF Artists,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/210-artist-soldier-meet-artists (accessed November 11, 2017)
[11] “Meet the AEF Artists,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/210-artist-soldier-meet-artists (accessed November 11, 2017)
[12] Ibid.
[13] Ibid
[14] “Meet the AEF Artists,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/210-artist-soldier-meet-artists (accessed November 11, 2017)
[15] “Art From the WWI Trenches”, Air and Space Smithsonian, August 16, 2017, https://www.airspacemag.com/history-of-flight/16_aug2017-in-the-museum-180963928/ (accessed November 11, 2017)
[16] Ibid.
[17] “Meet the AEF Artists,” Smithsonian National Air and Space Museum, April 6, 2017, https://airandspace.si.edu/stories/editorial/210-artist-soldier-meet-artists (accessed November 11, 2017)
[18] Ibid.