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The Art of War, Betty Churcher Brings Her Unique Perspective to a Series on Australian Art Inspired Or Provoked by Our Involvement in Conflicts Over the Past Century

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The Art of War, Betty Churcher Brings Her Unique Perspective to a Series on Australian Art Inspired Or Provoked by Our Involvement in Conflicts Over the Past Century T H E A R T O F War A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au http://www.theeducationshop.com.au T H E A R T O F Introduction In The Art of War, Betty Churcher brings her unique perspective to a series on Australian art inspired or provoked by our involvement in conflicts over the past century. From the First World War to the ‘war on terror’, it reveals how dramatically attitudes to war have changed, and how radically the • Australian History and Glossary of key terms trauma of war has changed War Society; ANZAC – Australian and art itself. • Cultural Studies; New Zealand Army Corps The Art of War is a personal • Studio Arts; exploration of art rather than a • Art; Gouache – Painting medium made comprehensive history. With images • English; by mixing opaque colours ground from official war artists, soldiers • Media Studies; in water and thickened with gum. on the frontline or in POW camps, • Visual Arts. Cold War – Period following civilians in concentration camps The themes and activities World War Two where tensions and those on the homefront, it is developed in this study guide and an uneasy peace existed a story of unknown artists and will have interest and relevance for between Western powers and famous names such as George students from the middle to senior the Soviet Bloc. A conflict of Lambert, Nora Heysen, Wendy years of secondary school and ideologies between capitalism Sharpe and Sidney Nolan. relate to the following and communism. The range and diversity of the learning outcomes: Conflagration – a great and works is remarkable, from dramatic • Critically compare destructive fire, great outbreak battlefield panoramas to pencil- representations of people, of war. on-paper sketches of individuals. events and issues. Abstract expressionism – non- Some were created to encourage • Analyse the core values representational art. Compositions patriotic sentiment; others protest of groups and societies. using colour, line, forms and a senseless loss of life. Almost all • Consider the context patterns to express inner feelings capture something of the Australian in which the works were and emotions. identity – our humour, courage and created and explain how endurance. this is reflected in the Frontline – the place where The series is made up of four works. fighting is taking place. programs, each focusing on a particular period in Australian History. Episode 1: Birth of a Legend Episode 2: The Human Tragedy Episode 3: Far From the Frontline Episode 4: Cold War and Conflagration Using The Art of War in the classroom This documentary is of specific interest and relevance to teachers and students of: • Studies of Society and Environment (SOSE/ HSIE); W SCREEN EDUCATION 2 T H E A R T O F Before watching Read the following questions and record your responses. • Why do you think any artist would be interested in visually recording war? • Where do most of our images of war come from today? • What do you know about Australian involvWarement in inspiration behind the Australian the Australian War wars (and peacekeeping War Memorial and Australia’s Memorial? forces) since 1900 official war artist scheme. In • Name any paintings or particular, it explores the work drawings of war themes 1. World War One – 1914-18 of two government-appointed you have seen or know 2. World War Two – 1939-45 war artists: George Lambert, who of (not necessarily 3. Korean War – 1950-53 depicted the heroics of great Australian). 4. Vietnam War – 1962-72 battles won and lost; and Will • What advantages might (USA involvement until Dyson, who focused on the horror paintings or drawings of 1975) of trench warfare. war scenes have over film 5. First Gulf War – 1991 6. INTERFET peacekeeping To my mind this little watercolour tells and photography? another story. It may not shout art • What might be the force in East Timor – 1999 7. War in Iraq – 2003- but it does shout humanity because difference between an it’s been drawn, not just with the hand ‘official war artist’ and Episode 1: and the eye but also with the heart. other artists who record scenes from wars? Birth of a Legend – Betty Churcher talking about • Should war artists record Although there were no ‘official’ Captain George Hore’s sketches history or interpret it for war artists to record that most of Turkish dead lying in No Man’s posterity? significant moment in our nation’s Land at the Nek You will be looking again at these history – the landing at Gallipoli In each of these four programs, same questions after you have in 1915 – there was ample artistic Betty Churcher makes a watched the programs, so keep talent among the servicemen who personal link with her own family them in mind as you watch. fought in World War One. These experiences of war. soldier-artists left us eyewitness accounts, from Turkey and North • What is the connection Africa to Palestine and the Western she establishes in this Front. This episode looks at their program? legacy and that of CEW Bean, the While there were no official war W SCREEN EDUCATION 3 T H E A R T O F artists at Gallipoli, some soldiers, including Ellis Silas and Captain George Hore, came ashore with sketch pads in their packs. • What would be some of the difficulties these ‘soldier artists’ may have encountered as they made visual records of their experiences? • What is ‘The Legend’ he society and times they come from. • List some of the subjects War depicts with such passion? Their responses and their selection they sketched at the • How did the artist manage and style of images are influenced Gallipoli landing. to carry oil paintings by many factors, not just by their Charles Bean was at Gallipoli as a around on his travels as he own preferences. war correspondent for the Sydney recorded the sites of great • In what ways do you think Morning Herald. He decided to battles? both Dyson and Lambert, compile a book of soldiers’ stories The image on this page is one of as Australia’s first official and drawings. the most famous and loved images war artists, display both • What is this book called? of Australians at war. The portrait is individuality in their • Describe some of the titled A Sergeant of the Light Horse in pictures and limitations images from this book. Palestine, painted in 1920. as a result of their official • Do they seem particularly position? Churcher describes this figure as Australian? • How does their work ‘the archetype of the Aussie Digger: reflect the time in which The Great War claimed many lean, muscular, sinewy and resilient.’ they lived and worked? Australian lives, particularly at the • Describe the picture in • Is their attitude to war great battles on the Western Front your own words. apparent in their pictures in France and Belgium, but also on of war? other fronts. The battle at Lone All artists are formed by the Pine on the Gallipoli Peninsula in Turkey claimed 2,300 young Australian lives over four days. Charles Bean lobbied the Australian High Commission in London to extend the work of soldier artists through the establishment of an official war arts scheme to honour the soldiers and record their deeds. • Who was the first official Australian war artist appointed in May 1917? • What was he especially keen to show in his pictures? • Do his pictures ‘mythologize’ the lives of the soldiers? • Name and briefly describe two of his pictures. • Does he romanticize the heroics of war? • Name Australia’s most celebrated official war artist of World War One. • What is the subject matter of one of his largest, most dramatic pictures? George Lambert, A Sergeant of the Light Horse in Palestine, 1920 WSCREEN EDUCATION 4 T H E A R T O F Episode 2: The Human Tragedy Extraordinary changes took place in European art as a result of World War One, with the development of a visual language to express internal trauma and mental anguish. Australian artists such as Albert Tucker drew on this in their responses to the artists in Europe and innovations in European Second World War. One of those War Australia. art slow to reach who documented the 1939-1945 • Describe three of the Australia? conflict was official war artist pictures shown that depict • How did artists generally Ivor Hele. His epic pictures of the ‘the turmoil of the inner find out about art from Middle Eastern and North African psyche under stress’. other countries without campaigns and dark images of New travelling overseas? Guinea can be seen in this episode In Australia these European art alongside the work of Academy movements were beginning to Albert Tucker, an Australian artist Award winning cinematographer change the way Australian artists working at this time, shows the Damien Parer and drawings by perceived and depicted their influence of new European styles concentration camp survivor changing world. when depicting his sense of the horrors of war. Bernard Slawik. • Where was the artistic Nowhere are the problems facing the centre for the new art Tucker was drafted into the army cameraman and the war artists better movements in Australia? in 1942. He caught a brief glimpse illustrated than when Damien Parer • In the 1930s and 1940s, of a soldier being admitted to a and Ivor Hele recorded the same why was information psychiatric hospital and captured military burial in New Guinea. about radical his expression. – Betty Churcher In each of these four programs, Betty Churcher makes a personal link with her own family experiences of war. • What is the connection she establishes in this episode? By the time World War Two started in 1939, there had been enormous changes in the ways artists worked and depicted their worlds.
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