cover of book
 

Portraits of Remembrance: Painting, Memory, and the First World War
edited by Margaret Hutchison and Steven Trout
contributions by Mark Levitch, Caroline Lord, Andrew Nedd, Elizabeth Richards Rivenbark, Sandrine Smets, Gizem Tongo, Steven Trout, Martin Bayer, Philip D. Beidler, Laura Brandon, Heidi Cook, Peter Harrington, Marguerite Helmers and Margaret Hutchison
afterword by Jay M. Winter
University of Alabama Press, 2020
eISBN: 978-0-8173-9281-9 | Cloth: 978-0-8173-2050-8
Library of Congress Classification D639.A73P67 2020
Dewey Decimal Classification 758.99403

ABOUT THIS BOOK | AUTHOR BIOGRAPHY | TOC
ABOUT THIS BOOK
Interdisciplinary collection of essays on fine art painting as it relates to the First World War and commemoration of the conflict
 
Although photography and moving pictures achieved ubiquity during the First World War as technological means of recording history, the far more traditional medium of paint­ing played a vital role in the visual culture of combatant nations. The public’s appetite for the kind of up-close frontline action that snapshots and film footage could not yet pro­vide resulted in a robust market for drawn or painted battle scenes.
 
Painting also figured significantly in the formation of collective war memory after the armistice. Paintings became sites of memory in two ways: first, many governments and communities invested in freestanding pan­oramas or cycloramas that depicted the war or featured murals as components of even larger commemorative projects, and second, certain paintings, whether created by official artists or simply by those moved to do so, emerged over time as visual touchstones in the public’s understanding of the war.
 
Portraits of Remembrance: Painting, Memory, and the First World War examines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale, including modernist masterpieces and crowd-pleasing expressions of sentimentality or spiritualism. Contribu­tors raise a host of topics in connection with the volume’s overarching focus on memory, including national identity, constructions of gender, historical accuracy, issues of aesthetic taste, and connections between painting and literature, as well as other cultural forms.
 
Nearby on shelf for History (General) / Modern history, 1453- / 1789-: