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The Great War (1914-1918) Forum

Remembered Today:

Favourite Great War Paintings


Earl of Berkhamsted

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Hope I've got the right picture here. It's a not desperately good example of 'L'Enfer' but I think it gives the flavour

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Hello

I have been following this for a while i originally got in to the great war through the poetry ( i have changed tack some what since) i have a book which has a great deal of these pictures in called, some corner of a foreighn field poetry of the great war , isbn 0-316-88899-0 great poetry fantastic paintings.

love both Nashes and also britsh scouts, by Sydney W Carline along with the Poem An Irish airman Foresees his death , W.B Yeats , made for each other.

Rich M

Rich,

Thanks for posting this, I was just about to ask if there was a book anyone could recommend that might contain a lot of these WW1 paintings.

Can anyone recommend or suggest any other books?

all the best,

Ian. :poppy:

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Ian - check out the 'shop' on the IWM site...might be something of interest there.

LINK

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Cannot remember who the artist was. Searched for a long time to try and find a print of the picture without success.

I think that it is a great piece of art that allows you to feel that you are there with the men and feeling the cold.

The file says that it is the property of 'Archives New Zealand'

William Barnes Wollen (1857-1936) painting, Christmas 1916: an Australian Observation Post near Fleurbaix, on the Somme front

What a fantastic painting. I've come across other pieces of work by him, mainly napoleonic battle scene's but its the first time I've seen this .

Thanks Frajohn

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Ian - check out the 'shop' on the IWM site...might be something of interest there.

LINK

Wesley,

D'oh! :blush:

I don't know why I didn't think of that as my last visit to the IWM London was in late July and I spent a fair bit of time browsing in the shop and now remember seeing some of the art books! I'll be visiting the IWM again in the next couple of months so I'll hit the bank account (again!). :D

Many thanks,

Ian.

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on the IWM website shop ' Art from The First World War' £9.99, with 'Gassed' on the cover

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post-19984-1251462245.jpgpost-19984-1251462245.jpgSurely the salient (no pun intended) impact of the war on painting was an acceptance that the old institutionalised language of figurative art was inadequate to express the shattering realities of 20th warfare - something that has resonance in contemporary literature and to a lesser extent, architecture.

My own favourite would have to be 'in Arduis Fidelis' by Gilbert Rogers

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William Barnes Wollen (1857-1936) painting, Christmas 1916: an Australian Observation Post near Fleurbaix, on the Somme front

What a fantastic painting. I've come across other pieces of work by him, mainly napoleonic battle scene's but its the first time I've seen this .

Thanks Frajohn

Yes, stunning piece of work - makes me think of Joseph Farquharson's winter landscapes (although a very different subject matter!), particularly wrt the lighting.

cheers

Steve

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'Gassed' by John Singer Sargent

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There's something amazing about the light in this painting.

And the detail…the way the third man in line is overestimating the height of the step he has obviously been warned about, and the football match that is being played in the background.

This is also my favourite painting, one which I have waited to see again for a while.

I remember when visiting the IWM in the days before the fire, when the upper floor was mainly full of Great War items.

On the top of the stairs leading up to it was this painting.

On a recent visit to the IWM was pleased to see it again after going round the "In Memorian" exibition.

Peter

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Many thanks to Soren for introducing me to Cyrus Leroy Baldridge.

Great loose style with the brushwork leaving only suggestions for the veiwer to finalise.

Here's some of my favourite sketches of his:

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Some great stuff - I hadn't heard of some of the artists. Its great to see all the different styles and see new (to me) paintings.

I love Orpens paintings too. My favourite is his self portrait 'Ready to Start'

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Its almost like looking at yourself ready to go to war.

Nevinson is another favourite - 'French Troops resting' I beleive is his best - modern yet captures the exhaustion of the troops.

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Not sure if he counts as a war artist but I have to rank Joe Colquhoun amongst my favourites too - it was his superb comic strip 'Charleys War' that started my life long fascination in WW1.

http://charleyswar.tripod.com/

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Here's one of my favourites although I dont know much about the painting or the artist

regards Stuart.

The artist is Jean Droit, a Sous-Lieutenant in the 226e Regiment d'Infanterie.

The drawing is titled: Les boues de la Somme, relève au petit jour devant la Maisonnette novembre 1916.

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The artist is Jean Droit, a Sous-Lieutenant in the 226e Regiment d'Infanterie.

The drawing is titled: Les boues de la Somme, relève au petit jour devant la Maisonnette novembre 1916.

Many thanks Landsturm

Stuart

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This is my favorite Great War painting, because it is the only one in my collection. Title (if any) and artist unknown. I was told by the gentleman i bought it from, who had several others by the same man, that the artist was a WWI veteran but he had no other information on him. The painting is done in India ink and water colors.

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Here's another Orpen self portrait for Tim.

Regards,

EoB.

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He certainly was a master of portraiture. Here's Orpen's Haig (love or hate him)

Regards,

EoB.

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Orpen, as you say, a great portrait artist.

Apparently, he got on very well with Haig while doing this portrait.

Haig told him to go and paint the men as "they are the ones who are fighting and dieing".

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I was just about to ask if there was a book anyone could recommend that might contain a lot of these WW1 paintings.

Can anyone recommend or suggest any other books?

"A Bitter Truth: Avant-Garde Art and the Great War", by Richard Cork, is my absolute favourite. It has an eclectic mixture of pieces and an intelligent, insightful commentary. I bought it when it first came out, but unfortunately second-hand copies can be expensive. On AbeBooks the prices range from £55 to $200 but it really is a fabulous book. It was written to accompany a major exhibition of war art.

Published by Yale, 1994, ISBN-10: 0300057040, ISBN-13: 978-0300057041

"Modern Art, Britain and the Great War" by Sue Malvern is also very good. The IWMN was selling this at the time of their WW1 art exhibition, Witness.

Gwyn

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"A Bitter Truth: Avant-Garde Art and the Great War", by Richard Cork, is my absolute favourite. It has an eclectic mixture of pieces and an intelligent, insightful commentary. I bought it when it first came out, but unfortunately second-hand copies can be expensive. On AbeBooks the prices range from £55 to $200 but it really is a fabulous book. It was written to accompany a major exhibition of war art.

Published by Yale, 1994, ISBN-10: 0300057040, ISBN-13: 978-0300057041

"Modern Art, Britain and the Great War" by Sue Malvern is also very good. The IWMN was selling this at the time of their WW1 art exhibition, Witness.

Gwyn

Gwyn,

Many thanks, another couple of books added to the wish list!

All the best,

Ian.

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  • 3 years later...

Although various artists painted or drew numerous portraits of Field Marshal Sir Douglas Haig as C-in-C during the war, I particularly like this one of him in 1919 when, victory achieved, he had just stepped down from that position. This painting depicts Haig at work in his office at Horse Guards in 1919 when he was commander of Home Forces. It was painter by the Danish-American artist John Christian Johnansen (1876-1964). Johansen had been commissioned by the US government in 1919 to paint what would become his famous "Signing of the Treaty of Versailles." It was during this period that he painted this portrait of Haig in London. What I like about it is that it shows us the man with the tremendous burden of planning and ordering operations which, whatever their outcome in the fortunes of war, would inevitably result in loss of life amongst his men, finally lifted from his shoulders. Yet still he adheres to a lesser duty in his new role, working at his desk in relative obscurity from a cavernous office in Whitehall. It was during this period, too, that Haig was refusing to accept any personal honour from Lloyd George’s administration until he received assurances that the men and officers of his former command were being properly and adequately treated by government. The portrait is today in the Smithsonian American Art Museum, Smithsonian Institute, Washington, DC.

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The slightly smaller copy (below) of the original work was painted by the artist specifically to present to Haig. This version features small differences in both the perspective and the pose of Haig. In the lower left corner, Johnansen has written:

"To Sir Douglas Haig, FM, GHQ Horse Guards London, from John C. Johansen, 1919."

This photograph of Haig’s copy of the painting was taken at its present location in the Haig Gallery of the Museum of Edinburgh.

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In this 1948 photo (below) of Haig's study in the top of Bemersyde's keep, the painting which Johansen presented to him, and which today can be seen in the Museum of Edinburgh, hangs on the wall beside the late Field Marshal's desk, above the two rifles. Many of the souvenirs from the Sudan campaign which can also be seen today in Edinburgh can be glimpsed in this photo.

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Good Morning Gentlemen and Ladies......

I have always loved the work of Harry Payne...... His Pre-WW1 and WW1 works....... I have owned a number of his original pieces and the very best one that I still have is the Charge of the 12th Lancers in full dress from 1881..... Would post a picture if I could figure out how.....

Mike

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  • 2 weeks later...

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It's been called 'Still Life w/Boots' but a favorite of mine because juxtaposed with:

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One Friday night on a fast run thru the Nat. Portrait Gallery this foyer display stopped the wife and me both in our tracks.

We marveled at seeing the people we'd been reading about. Wondered at K of K being in both.

Still use the experience today to try and explain how the study of this cataclysm leads us in deeper and harder to more and more ....

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