This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 edition. Excerpt: ...called on the artist to decorate them. Every belligerent in turn has experienced the necessity of illuminating the naked word, and relied on its designers of advertisements to illustrate a text exhorting us to lend our savings or change our diet. But the mere fact that the artist may also help to win the war in unexpected fashion does not satisfy us. We demand a prof ounder interpretation of war than he can give by advertising it piecemeal to the man in the street. We crave any purgation he can find for our pity and terror before the amazing proportions of modern carnage. We appeal to him to resume his historic role as the interpreter of human events in recording the permanent significance of our memories, in dignifying our common experience. Our impatience expresses itself in an insatiable appetite for pictures. We want pictures, pictures of every ruined church, every trench in the mud of winter, in the mud of spring; bombardments, aeroplanes; Hill 203, Hill 304; field hospitals, base hospitals, ships at sea, and every process of building them. The innumerable photographs in newspapers and magazines do not satiate us. We need the artist to dramatize the significance of every moment typical of the career of a soldier, a ship, or a cannon. Nothing must escape us, and the necessity of satisfying this craving has in turn become part of the conduct of war. Each French army has its official painter, and there are others incessantly touring every front. American painters have been attached to our expeditionary forces. The British government commissions a series of thirty-six lithographs. This is perhaps the first war in which the artist is a necessary adjunct to the general staff and has a combatant's standing. Possibly because we believe in the...
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