Art and the Greatwar

PRE FACE

HE purpose of this book has been to chronicle the part played in the

Great War b a nt rs llustrators etch rs l tho ra hers and scul r y p i e , i , e , i g p p

The r serv s w r o r at valu nd cer tors act n in th se ca ac t s . c a f , i g e p i ie i i e e e f g e e

h s h r , tainly deserved to be recorded . Speaking of t e ervice rendered by t e a t ists the Honorabl Cart r Glass S cr tar o the Tr asur has sa d : , e e , e e y f e y, i

r w s h n s t h rt sts Futur The whole civiliz ed wo ld o e t a k o t e a i of America . e history would be incomplete without adequate recognition of the mighty concrete values which the artists of the war wrung from thefabrics of their dreams and devoted to the rescue of humanity from further bloodshed and sacriﬁce.

I hav ndeavor d to show what the art sts o the Un t d Stat s Gr at e e e i f i e e , e

Br ta n anada and Franc hav don both in de ct n sc nes at the i i , C e e e, pi i g e actual ront and beh nd the l n s in r cord n the wor o the nav s and f i i e , e i g k f ie the av at on cor s as well as de ct n scen s in the sh ards mun t on i i p , pi i g e ipy , i i

t r s n u tr l l nts an w r n n I hav too tr d to ac o d s a a d o o the la d . f ie , i i p k e, , ie show the m ortant s rv ce rendered b the ost r art st the cartoon st i p e i y p e i , i

n th r a d e camoufleu .

W th r ard to the llustrat ons a ar n in th s boo it has b en m i eg i i ppe i g i k, e y

nd avor to ma them record as man has s as oss bl o the Great War e e ke y p e p i e f , and to s l t nl h s e ec o y t o e possessed of artistic interest . Already a considerable literature has come into existence concerning the part artists played in the Great War; in my bibliography I have re, corded such tems s hav m n n hes ms I h i a e co e to my otice. Ma y of t e ite ave consulted in the re ar t on o the ll n p p a i f fo owi g pages . My best thanks are due to the British Bureau of Information for their court s in su l n me w th h t r h n e y pp yi g i p o og ap s of ma y of the Britishpictures .

I w h ls h s a o to t an Mr. Er c Brown D r ctor o the at onal Galler i k i , i e f N i y o Canada or his ndness in s nd n me des red n ormat on conc rnin f , f ki e i g i i f i e g

T r . ls . l G K n d the Canad an War M mor a o M . au o o who brou ht i e i P y , g th s exh b t on to ew Yor I am ndebted or v n me sev ral hot f i i i i N k, i f gi i g e p o

M h n ra hs o the Canad an a nt n s . t a s are also due to Mr g p f i p i i g y k . Duncan Phillips for his courtesy in placing several negatives belonging

H . . S to him at m d s osal and to Mr. W a e or erm tt n me to re y i p , g f p i i g

Max eld rr sh roduc the a nt n s b Mr. a o wh ch he i s the owne p e p i i g y ﬁ P i , f i r.

E. . A . GALLATIN

Bar Harbor Ma ne Au ust 1 1 , i , g , 9 9 Introduction — — Art and th e Great War Former War Pictures British and Canadian — ’ — Reco rds America s Failure t o Mak e Adequate Pictorial Rec o rds — Art Museums and th e War Americ an Federation o f Arts—National

’ A ee—Mr Gallatin s L t r t th e Pr s dent t o . rts Co mmitt . e e e i

CHAPTER ONE : The United States of America — — — A Divisi o n of Picto rial Publicity Po sters Oflicial Artists Oth er rtf — — ists in Brande Records Made in America War Pictures Painted in America Carto ons Designatio n Targets Sculpture Military — — Camo uflage Marine Camouflage New Yo rk Co mmittee o n Arts and — —— Decoratio n Art Co mmittee of New York Liberty Lo an Committee Allie War Salo n—Victor Arch New Yo rk Victo r Wa in New d y , ; y y k Yor .

ILLUSTRATIONS : The United States of America 5 7 1 27

CHAP TER Tw o : Great Britain and Canada I 3 1 1 1 43 — Th e Excellent Records Po ssessed by Great Britain and Canada Ofﬁcial — ’ British Artists Lith o graph s Depicting Great Brit ain s Eff orts and — S nc Pr and o th er Artists—Canadian War Ideals Wo rk of G. pe er y se

Memorials; Oﬂicial Australian Artist s .

ILLUSTRATIONS : Great Britai n and Canada 1 45 1 2 ”

CHAPTER THREE : France — Work Of Steinlen and Fo rainu Lucian Jonas and Henri Barre Oth er — War Pictures Po sters .

ILLU STRATIONS : France

ILLU STRATIONS : The Netherlands

BIBLIOGRAPHY

LIST OF ILLUSTRATIONS

THE UNITED STATES OF AMERICA

i Oil . Re e i h B e e i s a e e. i GEORGE LUKS T e lu D v l M rching Down F fth Av nu produc d n color. Front spiece “ Y Oi GEORGE LUKS Peace Celebration in New ork. l h il T e Ta e . O SPENCER B. NICHOLS nk r Oi l F a . EDWIN H . BLASH IELD C rry On Ai S a i F i s d at Sei e e . SAMUEL J . WOOL F r t t t on ch pr y Oil h h A E T e a o t e Watonwan. Oi l JOHN C . JOH NS N L unch f l HENRY REUTERDAHL The Destroyer Patrol . Oi DAH The e o the i ee a i HENRY REUTER L R turn f V ctory Fl t . Dr w ng M 1 C ASSA Ea M e e Ma 1 . HILDE H rly orning on Fifth Av nu , y, 9 7 Oil i a GEORGE BELLOWS Murder of Edith Cavell . L thogr ph t a GEORGE BELLOWS Massacre a Din nt. Oil

MAXFIELD PARRISH Design for the Red Cross . Oil

MAXFIELD PARRISH Design for the Red Cross : Detail . Oil i l MAXFIELD PARRISH Design for the Red Cross : Detail . O

W A W e Ta . a HARRY E. TO NSEND ound d nk Dr wing An Ameri can/ French e e e in a W e e a Chateau'Thier GEORGE HARDING Conf r nc in C ll r; ry . Drawing i D i s i On. a WALTER J . UNCAN Cold Nght Com ng Dr w ng E T PEIXOTTO T s ea Es es Se e e 2 1 1 8 RNES roop L ving n , pt mb r 3 , 9 — a i HARVEY DUNN Kamarad The S ipe . g — n r Dr w n MI On H 20 S es o Chateau/Thi r A E H e r . aw J . NDR S T ill 4 outhw t f y Dr ing ' — W T s Wai a e at Hattoa hcitel e s . A e s . e Dr e . i WILLIAM J YL ARD roop ting to Adv nc , M u Mihi l iv Draw ng a i WALLACE MORGAN Americans Mapping Up in Cierges . Dr w ng i e s e WALLACE MORGAN Feed a F ght r. Po t r i JOSEPH PENNELL Ready to Start. L thograph i JOSEPH PENNELL Mak ng Armor Plate "England) . Lithograph i e S a e is the Ea s e JOSEPH PENNELL That L b rty h ll Not P r h from rth . Po t r a i BOARDMAN ROBINSON The Serb . Dr w ng h Su e dre n hts ew Y nd VERN ON HOWE BAILEY T e p r ad oug N ork a Ariz ona . Lithograph TH MAS AS I GS Vi ew Yor O H T N ctory Arch, N k ’ PAUL MANSHIP Jeanne d Arc Medal “ ' u l B z e MAHONRI YOUNG One of the B ﬂa oes . ron

B s a e . s e B . ALLS W C. F ook nt d Po t r “ i s e ADOLPH TREIDLER Farmto W n Over There. Po t r

Fo e n . s e T. D r a a d ee W . BEN A Moth rl nd Fr dom Po t r HENRY RALEIGH Halt the Hun " Poster s GEORGE I IAN Keep it mi g . e LL Co n —Po t r GEORGE WRIGHT Another Ship Another Victory

i . l Re WILLIAM ORPEN A Grenad er Guardsman Oi . produced in color O H ses ea a WILLIAM RPEN or N r Aubigny . Dr wing D a i WILLIAM ORPEN Bringing in a Wounded Tommy . r w ng a i WILLIAM ORPEN The Gas Mask. Dr w ng

O The Bi a e No. 2 . WILLIAM RPEN g Cr t r, Oil H se a i WILLIAM ORPEN South Irish or . Dr w ng i MUIRHEAD BONE A British Tank. Draw ng i is e a i MUIRHEAD BONE The Bridge of a Br t h M rchant Ship at Sea . Dr w ng

i i i e e "ee e. a i . S . a MUIRHEAD BONE H. M V nd ct v ft r brugg Dr w ng i a MUIRHEAD BONE A Shipyard Scene. L thogr ph r Se a MUIRHEAD BONE Ready fo a . Lithogr ph

JAMES MC BEY Entry of the Allies into Jerusalem . Drawing a i JAMES MC BEY Water Transport . Dr w ng

JAMES MC BEY Detraining a Howitz er by Moonlight. Drawing l T a C s W . Oi R. . EVI S e C . W N N ON h t ur d ood i A e . a R . W. EVI S a s C . N N ON ft r Pu h L thogr ph

The R a as Ba a e . i . W. EVI S C . R N N ON o d from Arr to p um L thograph

S a Ta e. i a R . W. NEVI S C . N ON wooping on ub L thogr ph i l JOHN LAVERY A Coast Defense. O : e e a i PAUL NASH Sunrise Inv rn ss Copse. Dr w ng E K N T A e is G e o a Y s i e Re i e a i RIC EN ING ON L w unn r f ork h r g m nt. Dr w ng i ai i i a CHARLES PEARS Ma nt n ng Oversea Forces . L thogr ph

E UN DU a a a i . i a DM D LAC Pol nd, N t on L thogr ph “ i ANN The Reb i o the s . a CHARLES H. SH ON rth f Art L thogr ph a FRANK BRANGWYN The Lookout . Lithogr ph RA K RANGWYN S e he i a s e F N B Put tr ngth in t F n l Blow . Po t r The a o Os e . a G. SPENCER PRYSE F ll f t nd Lithogr ph The W si e ruci x —Bel G. a C i ium 1 1 . i a SPENCER PRYSE y d f g , 9 4 L thogr ph Th R a or an E is G. e O a SPENCER PRYSE nly o d f ngl hm n . Poster The e ea o the Se e i i G. SPENCER PRYSE R tr t f v nth D v sion and Third Cavalry Be i 1 1 G. SPENCER PRYSE lg um, 9 4

JACOB EPSTEIN The Ti n Hat . Bronz e

’ ” NORMAN WILKINSON Canada s Answer

. I GS ses Wa e i ea a A. J MUNN N Hor t r ng N r Dom rt E e e D . Y. CAM RON Fland rs from K mmel LEONARD RICHMOND Canadian Railway Construction in France WY D A P. N H M LEWIS Canadian Gunpi t FRANCE

A . L. R I The is e i a . a e J FO N Pr on r. Lthogr ph "From post r)

L. RA J . FO IN Forward " Lithograph A ? L. R I W J. FO N hat Not Even a Child " Lithograph A — L. R J . FO IN It is a Neutral Ah " I B ea r the. Lithograph ’ L sne TH . EN i a A é s ée. s e A. S EINL Re e T D v t Po t r. produc d in color

H . STE NLEN Aid the T A. I a to Wounded . Lithogr ph

H A. S EINLEN e the T . i a T Und r Boot. L thogr ph

TH . STEINLEN e t a e . s e A. Conc r en Gr ng Po t r

TH . STEINLEN La T ie e. s A. r nnal Po ter Aa STEINLEN ea i the Ge a ai . i a TH . L v ng rm n J l L thogr ph i a LUCIEN JONAS A Volunteer . L thogr ph s o e e a e s i a i s LUCIEN JONAS Portrait f G n r l P r h ng. Dr w ng i His S n e P G S E a o o W in the War. ra i IERRE AU U T RENOIR Portr t f , ound d D w ng i a HERMANN PAUL The American Hymn . L thogr ph a BENITO For the Beautiful Land of France. Lithogr ph a BENITO The Conquerors of the Marne. Lithogr ph i a BENITO The Heart of Ameri ca. L thogr ph

HENRI FAR RE Bombing Nancy . Oil a e e de la a e es ANTONIN MERCIE Pl qu tt Fr t rnité d Artistes . Gi lded bronze " ’ SEM Pour le Dernier Quart d Heure. Poster ’ e S s ez al E r SEM Pour le Triomph ou criv mp unt National . Poster GEORGES SCOTT Pour le Drapeau " Pour la Victoire " Pos ter ABEL FAIVRE On les Aura " Poster ’ C a s e ABEL FAIVRE L or omb t Pour La Victoire. Po t r ILLE E nées i e ADOLPHE W TT Jour Gi rond n s. Poster FRANCISQUE POULBOT pas de souscrire pour la Victoire " et le retour" Poster

THE NETHERLANDS

I MAEKERS ea si the Te e LOU S RAE Cl n ng mpl . Lithograp—h IS RAEMAEKERS The e i a in France The Re ie e i nd a er LOU Am r c n Army l f . P nc l a w t color

ART AND THE GREATWAR

INTRODUCTION

N the prosecution of the Great War, and bringing about ’t ultimate vic ory, the artists Of the United States and the o hi allied c untries played a very important part . T s was the r fi st war artists, as such, were used by their governments, and art became a powerful weapon . TO the artists was intrusted the extremely important task Of organ, Of izing the camouflage corps the armies, and on their Shoulders also fell Of Of thework developing the art marine camouflage, bothOfwhichtasks ru Of they did with marked success . In the rec iting troops and in the Of raising government loans, as well as for many other purposes, inf r cluding relief, the artists through thei posters rendered a very notable d service . The cartoonist was a powerful moul er of public opinion and RAEMAEKERS it has been truthfully said of M . LOUIS , the great Dutch art artist and cartoonist, that no oration, no literature, no , has brought ” Of O the real meaning the war home S convincingly as his cartoons . As o ut will be brought in the following pages, the artist also contributed in many otherways towardsbringingthe warto a successful conclusion .

Somewhere I have come across the statement that James Gillray, h e li Louth erbo ur t English caricaturist, and Phi ppe Jacques de g were sent to Flanders in 1 793 to commemorate the military exploits of the f Duke O York . The latter artist was at one time court painter in France ft t R and a erwards, going to England, was elec ed a member of the oyal hi Academy . Garrick employed m to design scenery and he also painted severalworks dealingwith military and naval episodes . Aside fromthis, f d as far as is known, the Great War was the ﬁrst to be O ﬁcially recor ed i hi ll by art sts . T s innovation is one that the historian and posterity wi {2 1 } a nl icftures cert i y welcome, for p , far more adequately than the written

word, were capable Of recording the great conﬂict . War The G—reat was waged to a large extentwith explosives and ma chinery v ery different from the individual combat which the soldier

of ancient Greece engaged in when he went into battle . It is a far cry

from the athletic ﬁgures of Greek warriors o n the frieze Of the Parther “ to ’ VINSON S hi r no n . . R .W NE Mr C . paintingw ch shows th ee men work in i g a mitrailleuse down in a trench, barbed wire silhouetted aga nst the f i hr o . sky . These t eemen are a part their mach ne The hideousness and horror Of modern trench warfare is also far re —moved from the pageantry and splendor o f warfare in the Middle Ages it is vastly different also from the comparatively picturesque and

War Of to f l open warfare Ofthe Napoleonic epoch . pictures day have al most no roots in the past; the pictorial recorder Of modern warfare has

n / him Fo ro ne thin - f or r , had o Sign posts to guide . g the ﬁ st time land scape formed an important feature Of the war picture . Leonardo da Vinci made many designs fo r fortiﬁcations and vary ’ ous implements Of warfare ; those familiar w ith Rav aisso nf MOlli en S ’ folio volumes o f facsimiles Of Leonardo s manuscripts wil l remember r o ur ow n thathe even made a design fo an aeroplane . Whatever opinion

e o s mainf may be in the matter, we must rem mber that Leonard alway tained that he had attained greater excellence as an engineer than as a o r painter a sculptor, and it is in this character, rather than as an artist, a f that hi s services were Of v lue to his country . The Same is true o

IVIic elan elO w as mi . h g , who possessed Of si lar accomplishments The battle pictures o f these tw o artists have perished . One recalls the decorative and gorgeous battle pictures Of Paolo ’ Uccell o and Raphael s Battle of Constantine . Such gay panoramas as these are very different from the trench warfare Of the Great War. Diirer was also interested in depicting military matters ; a work by him printed in Nuremberg in 1 5 27contains many engravings Of fortiﬁcaf t ns mi s hi o n io , cannon and various litary Object , w ch he drew the wood. {22} ’ Velasquez s Surrender Of Breda is the greatest military picture painted . The horrors ofwarwere truthfully and graphicallyset down by Calf Of lotand by Goyain their powerful etchings . The great Russian painter Verestch a in Of warfare, g , also completely stripped war its glamor The paintingsof Gérard and Gros are simply glo riﬁ catio ns of Na poleo n ; as transcripts Of adtual warfare they are almost valueless . The ff f lithographs of Charlet and Ra et are full of authority. A terwards

e th e Franco /Prussian in Franc came paintings of the — War by Detaille, Neuv ille mere d . who is always rather cold, and by de anec otes Of

studio / ainted a l miniature /lik e Of the p , and as reg rds detai , paintings, i ? Me ssonier, one agrees with Courbet "or was it Degas ) who said that everything is of steel excepting the cuirasses . It is most curious that such a military people as the French should have failed to get this en, h si m t u as for things military into their art . The greatest possible credit is due the British and Canadian Govern, to m Of d ments, as well as the Com onwealth Australia, for the splendi manner in which they went about Obtaining picftorial records Of the T r i war. hey sent thei best art sts to the front and these artists covered Of all phases the war ina most thoroughgoing and masterly fashion . France also had her ofﬁcial artists and like Great Britain and Canada is e Of to hav a permanent war museum Of pictures . That the government the United States did not realize the greatimportance Of thisworkis cerf tainly most regrettable and a serious reﬂection upon the vision and inf telli ence Of o ur i g of those responsible . A few llustrators, it is true, were despatched to France to make a pictorial record of our military activ ir

for . ties, but their drawings, the most part, are rather commonplace

and . Alongside of the paintings drawings by Sir WILLIAM ORPEN, Mr Me r B E ss s . OHN the . ON NEVINSON, J and PAUL NASH, drawings byMessrs MCBEY O N LAVE Y and , the paintings by Sir J H R and all the rest of the able works executed for the British and Canadian Governments, they f l Wh . appearvery eeb e, indeed . y were notsuchofour painters asMessrs {2 3} C T GEO E GEO E W DE G . HIL HASSAM, SAR EN , RG LUKS, RG BELLO S , WILLIAM J

E G FFO D BEAL GLACK NS, I R and Rockwell Kent in France recording the h o nﬂidt? t e c . O N life Of o ur men and their part in great And Mr J H C . JOHANSEN to paint the great docks and railway systems built by the Engineer Co rps? It was the purpose Of the War Department not to send

w h o im res z painters, but illustrators had the capacity for recording p fo r t Sions and whose work was suitable reproduc ion in the press . This fo r h e th was a mistake . Even as drawings suitable publication in t press e

no t a ‘ success o ut o ne pictures were , as is shown by the fact that Of hundred and ninety /Six drawings Offered to the magazines only ﬁfty /o ne

were accepted fo r publication . Why was not Lieutenant/Co mmander HENRY REUTERDAHL with D our ? . OU E Y overseas ﬂeet And Mr PAUL GH RT , the famous marine o f painter, both whom undoubtedly would have painted some stirring pictures o f the dangers and tragedies and heroism attending those w h o fought the cowardly monsters which infested the deep ? America has no pictorial record Of the wonderful achievements Of

f f her navy duringthe Great War . It was the same in the Spanish Amer ’ not Of ican War, Of which there is a Single record the navy s many

hi f o f u . coun ac evements, some them Ofa spectacular nat re Every foreign try knew the value Ofpropaganda and made particular efforts to tell their

people what their working forces were doing . Our Navy Department

has recorded nothing at all . It looks very much as if the authorities to r o f o wished keep the wo k the navy an nymous . Admiral Sims and the chairman o f the Committee o n Public Inforr mation both made strong recommendations to the Navy Department that Lieute nant/Commander REUTERDAHL be sent abroad to depict the

our for hi activities Of ﬂeet. As a matter Of fact, he entered the navy t s

o f Lieutenant/Co mmander REU ' express purpose . Admiral Sims knew ’ TERDAHL S long association with the navy and Of his ability to portray

her achievements . He also , doubtless, realized what an inspiration to the youth Ofthe land a series Ofpaintings by this artist would be if hung [24] f , d . O in the Naval Aca emy at Annapolis The Secretary the Navy, how to n hi ever, apparently thought otherwise . It makes one sad co sider t s amazing situation . hi Why, too, has our government no plans for a museum in w ch to house pictorial records Of the war Even Australia h as done this . The hi Of National Museum at Was ngton has made a collection posters, but f that is all . Possibly the drawings made by our O ﬁcial artists may also d d be deposited there, but even this is undeci e . Credit is due to the Library Of Congress for their foresight in assem' bling a large and representative collection o f posters and cartoons on

I d Gov ernr the war . In this collection are posters ssue bythe American Of the t ment for recruiting, relief and for the special purposes Depar ments Of Agriculture, Commerce, Labor, State, Navy, Treasury and

. b War, manyhundreds in number Included also are the posters issued y m ni the FoodAd i stration, the War Finance Committee and many other

s. organization Very comprehensive collections of broadsides, posters, cartoons and lithographs from Great Britain, Canada and France have also been made, as well as smaller ones from Italy, Germany, Poland and

a are . c Russia M ny special exhibitions have been shown, including the MAEK RAE ERS . toons Of M . , the lithographs Of M LUCIEN JONAS, the set ’ of de icftin ff lithographs p g Great Britain s e orts and ideals , and various a o f posters and medals . Mr . Ch rles Moore, chairman the National Ar t Of Commission of Fine ts, had much to do with the collec ing this IS a material . It also a ple sure to note that the New York Public Library s w ar has formed a splendid collection Of about two thou and posters, very comprehens ive in its scope. A word here regarding the inﬂuence of the war on the various art O th museums Of the country may not be out of place . N museum in e country rendered such a notable service to the community as the Art

o f i ' Institute Ch cago, where the attendance was much larger than dur

li th irt f tWO ing peace times ; one mil on, one hundred and y thousand

1 1 8 tw ent /S personsvisited their galleries during 9 . One hundred and y ix {2 5 } hi war meetings Ofvarious kinds were heldwit n the building, numerous exhibitions during the course Of the war helped to give an understand, n ing as to what was taking place in Europe, stude ts and instructors in to k Of the Art School gave much Of their time the ma ing posters, the IVIiddle West Department Of the Division Of Pictorial Publicity was ni orga zed at the Art Institute, whose steps were a scene Ofalmost daily meetings and where thousands Of people met in connection with v arif “ o f o us drives . A notable collection the best Of the war posters was made by the Institute ; it c o Operated with the government in every n to hi li possible way in helpi g win the war. T s al ance Of art with th e t state and the people, which ﬁnds its most perfec expression in France, for for should be continued, art is not exclusively the connoisseur . That the director o f the Metropolitan Museum Of Art took a ﬁrm stand against art connected with the war entering the portals o f thi s instituf t tion will always arouse curiosi y. The attendance at the Metropolitan Museum OfArt in 1 9—18 was only a little more than half that Of the Art Institute of Chicago and the population o f New York is about double

that Of Chicago .

hi s i n Obtainf Great credit is due Mr . John W . Beatty for enterprise ing many Ofthe chiefexhibits co ntained in the Allied War Salon which 1 1 8 for e t o f was held in New York in December, 9 , the Carn gie Ins itute f h h o f o e . Pittsburgh, w ich is the Director Fine Arts It is a pleasure also

to pay a tribute to the admirable work done by Mr . Duncan Phillips in agitating the value Of art to the government in the prosecutio n o f fo r k h to n for the war, his wor in elping get up the Allied War Salo and ' his co Operation with the American Federation o f Arts in arranging of hi hr numerous exhibitions war pictures, w ch were shown t oughout a a a x hi the country . In ddition to rr nging these ambulant e hibitions, w ch to a Am a did much stimulate p triotism throughout the country, the eric n

a s mmi o n w ar a Feder tion Of Art organized a strong co ttee memori ls,

o f a . a which the Honorable Willi m H Taft is honorary chairm n,

Vi e, a e a . . IS Mr . Ch rl s Moore is chairm n and Mr Robert W de Forest c {26 } . IVIiss hl Of d chairman Leila Mec in, the secretary the Fe eration, who

hi Of secre r was very active in arranging the ex bitions war pictures , is tar y of this committee . In the ﬁrst chapter of my book I have noted

E B . . the admirable work done by Mr . CHARL S DANA GI SON and Mr F

ni r Of . D. Casey in orga zing the poster a tists the country At about the time that this book is to go to press there comes the an, nouncement thatthe newly formedNationalArts Committeehas sent a number o f portrait painters to Paris to paint many o f the military and hi . r civil leaders of the Great War T s is indeed good news . The Ame m Of ican Peace Com issioners have endorsed the project , which Mr .

Henry White is acting as honorary chairman . Of and This group portraits, which is to be presented to the nation a i deposited in the newNation l Portrait Gallery inWashington, is be ng D B ' . O EP E . O N C. O painted by Messrs J S H CAMP, EDMUND C TAR ELL, J H J

G I V N . C A E . HANSEN, DOU LAS VOLK, R I G R WILES, H RL S S HOPKINSON, Miss

' CEC E UX E Mrs O N . . OS ILIA B A and J AN MCLANE [ J H C JOHANSEN} Mr . J EPH D E CAMP is painting the Peace Table .

Mr . Herbert L . Pratt is secretary and treasurer of the National Arts

i hi . . . Comm ttee, w ch includes in its membership Messrs J P Morgan,

l . Mrs . . . . Pa Henry C Frick, Robert W de Forest and E H Harriman . trio tic citizens invarious cities besidesNew Yorkhave also contributed towards the expenses o f this undertaking . A few days previousto the announcement Of theNationalArts Com" mittee 2 th 1 1 W [ 9 May, 9 9] the following letter was sent by the riter ni t to the President Of the U ted States, ac ing on behalf of a number of artists and persons interested in art: A group Of Americans who realized the importance Of art as a a a are r n tional sset, and who deeply sti red by the example of Great a n and r Britain, Fr nce, Ca ada, Italy Australia in sending thei best artists to the front to create permanent and national records Of the w ar a ff , its heroism, s crifice and su ering, have deputed me to send you this letter . We deplore the fact that thus far very little has been done to bring before present and future generations Of Americans the great o r a and inspiring part u country pl yed in the war . We urge that a number Of o ur leading artists be sent abroad immediately to paint t o ur o f our from ac ual Observation historic battlefields, portraits army and d Of lif o f o ur Occu af navy lea ers, our soldiers, the e Army Of p th e n of tion on the Rhine, the Scenes Of war, stupe dous results our ff i hi e orts in engineering, ra lway building, hospital equipment, s pping an Of o ur t d all other branches war ac ivity. We also regret deeply that we have missed the opportunity Of a ni v i o ur G T g i ng the ser ces Of greatest painter, SAR EN , who has just fo r a painted the British Government monumental war canvas . to ai It may be too late p nt incidents Of warfare, but modern war n f consists ot merely o fighting . There are still immense fields to be

t a . a to ou covered if immediate ac ion be t ken We appe l y , therefore, for r e r a approval Of such a p oj dt . The inspi ing Canadian ex mple proves that a national memorial Of this kind can be created Without the no t o f ﬁnancial, though without the moral and practical support the e a ct ' government . The succ ss Of such proje would mean the presenta tion to our government of the ﬁnest kind of a w ar memorial . m At my suggestion the National Arts Com ittee agreed, upon certain to conditions, broaden the scope Of its activities and to have at least a few pictures painted Of the description that I suggested in my letter to f n as a to a r w . the President . Un o tu ately, however, I un ble bring this bout

ART AND TH E GR EAT

CHAPTER ONE

TH E UNITED STATES O F AMERICA

ITH reference to the inspiring opport unity t and given to the pain ers, sculptors , illustrators c Of artoonists the country by the war, one critic has written : Never since the Middle n Ages, whe the church taught its lessons by means Of pictures to people who could not r d read the w itten word, has art been calle ” ra f upon to serve in SO many ways . It is g tify ing to knowthat the artists Of America came forward with an eagerness d to serve the country that was not excelle by any other group . More o f and hi than that, all the drawings posters w ch they made for the government were presented, as gifts . It is a pleasure to pay a tribute to the splendid spirit Of patriotism Shown by these men . The Division of Pidto rial Publicity of the Committee on Public Inf r formation, of which committee Mr . George Creel was chai man and

r Of Of Of the Secreta y State, the Secretary War and the Secretary the d ’ Navy were members, was establishe shortly after America s entrance into the GreatWar . Thiswas done atthe urgentrequest ofMr . CHARLES

B d . B DANA GI SON and a bo y of American illustrators Mr . GI SON was £3 3] chosen to be chairman Of the Division Of Pictorial Publicity; his 3 8 8 0’

a v ice /ch airman ciates were Mr . F. D . C sey, who was , and Messrs .

‘ REUTE D . R AHL F. G . COOPER, CHARLES B FALLS , LOUIS FANCHER, HENRY , B T WILDHACK W . . C . D . ILLIAMS and RO ER J The funcftio n OftheDivision Of PiCto rial Publicityconsisted insupply

d m n ov ernf ing the various epartments, bureaus and co missio s Of the g

of icftorial Memb rr ment with every form p publicity that they desired . e ship in it was unlimited ; any individual who expressed a desire to carry o ut such work as was required by the government automatically bee came a member . o f 200 The headquarters the Division were at Fifth Avenue, New t York, with sec ional branches in Chicago, Boston and San Francisco .

s The New York division met once a week, at which meetings request

f ' from the government or various designs were read . The drawings sub mitted were passed upon by the chairman and his associates and then the f n sent to Washington for final approval . That O ficials in Washi g o f seledtin i o f ton had the privilege g the designs, nstead the artists, was hi r o f course most unfortunate . T s most unfai . system accounte—d for the issuing o f several thoroughly inartistic Liberty Loan po sters th e f choice Of the Treasury O ficials . o n 1 1 1 1 th From its inception 7th April, 9 7, until the s Of November, 1 1 8 for 9 , the Division Of Pictorial Publicity made the government and

s ﬁft /ei h t In variou patriotic societies and committees, y g number, seven

tw o ei ht /sev en o ' hundred posters, hundred and g y cart ons and four hun

t /t Be r dred and hirty w o cards and designs for newspaper advertising . sides the various departments Of the government, these designs were s o u ed by such organizati ns as the Red Cross, the Shipping Board, the A t h . . L . h e . . . t e C . American LibraryAssociation, Y M , Y W C A and the

Salvation Army. Of s Of As a matter record, the name the associate chairmen executive committee are here appended:

Associate Chairmen c HERBERT ADAMS FRANCIS . J ONES A T T . B . W E . H LASHFIELD R HUR F MA HE S RALPH CLARKSON J OSEPH PENNELL B T E c T B CASS GIL ER DMUND . AR ELL VE G OLIVER D . GRO R DOU LAS VOLK

Executive Committee

W. A. G G. F . COOPER RO ERS POUSETTE'DART REUTERDAHL N . HENRY W I . DOSKO JACK SHERIDAN

H . SCOTT TH IN

B L H . . W C. . FA LS D ELSH

A E G T . T WI I G . . ALLA IN J HOMSON LL N

H . T B T RAY GREENLEAF . WE S ER MALVINA HOFFMAN WALTER WH ITEHEAD I I

O ff Of wing to the e orts the Division OfPictorial Publicity, the posters m issued by o ur govern ent in time became very creditable . In the be

- ginning of th e w ar o ur posterswere extremelycrude and inartisti c and consequently made but a small appeal . This was owing to the fact that

o s d Of li I HO' the vari u epartments the government, with an appal ng g Of hi m Of rance all t ngs artistic, merely gave orders to com ercial ﬁrms lithographers to turn out posters and other forms Of pictorial publicity; t r wi hout thought of the a tists at all . Innumerable posters were required by the government for Liberty “ ” Lo an War , Savings Stamp, Red Cross and other drives, for recruiting purposes, to urge the conservation of certain foods, as well as coal, to speed up shipbuilding and for dozens Of other purposes . An anonymous “ h as : To author written build morale, to spiritually awaken the nation, {3 5} ff to stimulate concentrated e ort, to quicken every war activity, the government employed art in the form Of pictorial publicity fo r the ﬁrst ‘ The time and o n a grand scale . This campaign may be described as ” Battle Of the Fences . ff The artists went to the government and o ered their services, and without recompense, and it was only after considerable opposition that their services were accepted .

’ r B The best men in the count y were mobilized by Mr . GI SON S and ’ a Mr . C sey s committee , and considering thatwehad butfew real poster

f n rr artists in this country, owing to the act that tech ical schools inAme

/ ica are almost non existent, the results Obtained by many of these men were excellent . Twenty years ago the artistic poster enjoyed a wide vogue in Great

' . e a Britain, in France and in this country Many labor te books were is o n sued the subject, magazines devoted to posters were published, large

" o f exhibitions were arranged, and hundreds collections were , formed . t Then the interest in posters died ou . But many Of these lithographs will always hold an honorable place in the portfolios Ofthe amateur and for the museum . In France the lithographs used advertising purposes

hi To ul ouse /Lautr Steinl n w ch were drawn by ec and M . e rank among e the most notable graphic work Of their time . Ch ret, Mucha and

Grasset also produced work which will live . In England notable work was done by Mr . William Nicholson, Mr . James Pryde and Aubrey

hi Amerr Beardsley, w le many extremely fine posters were executed in n nfi l Maxfield a Pe . . d e d ica, notably by Messrs Parrish Edward Then the Great War came along and with it the renaissance Of the poster .

r Once more, as in the Middle Ages, art became the property Of the peo

m / no t s . ple, as it should be, and ticketed speci ens in a tomb like mu eum ff and o ne The e ective poster is the Simple poster, that tells its story m to o a s in un istakable terms . It must, , have been drawn by a m ster craft

o ne Of man, with a knowledge design, a proper feeling for color and Of Of power conception . It is because possessed those qualities that {36 }

T T ED HOERTz B T R . . T AL ER S E NER, F WAL ER TAYLOR, FR J , WAL ER H : T BB TT G G . . LIE EVERE , GEOR E WRI H , HI ARD V B KLINE, JONAS , F. LUIS

W . . T R . TT MO A, HO ARD GILES , W D S EVENS, CHARLES SARKA, H DEVI

. . It WELSH and several other artists Mr WELSH, may be mentioned, was Art Director Of the Committee o n Public Information during the auf

mn 1 1 tu Of 9 7.

F r SHAEE r o . . . R exc l the Victory Liberty Loan, Mr L A designed an e

to lent poster, showing an American destroyer coming the rescue Of a

transport, about to be torpedoed . ow n The navy had its organization for pictorial publicity, conducted ru by the United States Navy Rec iting Bureau, in New York . During the entire war Lieutenant/Co mmander HENRY REUTERDAHL served as ’ artistic advisor . Many Of the navy s most strik ing and successful d fo r him ings and paintings used recruiting purposes were executed by . It is worth noting that the navy was the ﬁrst department Of the gov

Lieutenan / mmand REUTER AHL ernment to issue anyposters . t Co er D was

1 1 attached to the United States Navy Recruiting Bureau in March, 9 7,

co m' and at once set about getting good postersfor the navy. Acting as a mittee o f o ne o f o ur m i , he wrote to about ﬁfty pro inent artists ask ng for r poster designs, and a few days before this count y entered the war the

navy actually had some Of their ﬁrst posters o n the lithographic stone .

th e o f Lieutenant/Commander REUTERDAHL Thanks to foresight , the navy, as usual, was ready .

e ’ The marin corps also acted independently, but, like the navy, Ob

‘ tained their posters from the same artists w h o contributed to the Divir e is Sion o f Pictorial Publicity . A number Of excellent posters wer also sued by the Publications Section o f the United States Shipping Board

Emergency Fleet Corporation, for display in shipyards and industrial ff o f plants . These posters had the desired e ect making many thousands

' o f workmen feel the patriotic necessity Of close cooperation with the government and in speeding up their work . RAEMAEKERS BRANGWYN . Itis interesting to note thatMr . and M both [38 ] d made designs for use by the Unite States Navy. Excellent ones were

a M . B T T G G T lso drawn by essrs AL ER S ERNER, GEOR E WRI H and JAMES G T d B T R d DAU HER Y. For a hoar ing in Chicago , Mr . RO ER EID painte a

th irt / hr t picturemeasuring ﬁftyby one hundred and y t ee feet . Lieutenan Commander REUTERDAHL made three paintings Of large dimensions to advertise the Fourth Liberty Loan ; these were shown in Washington . T t . . . Incollabora ionwithMr N C WYE H, he painted a picture ninety feet

and tw ent /ﬁv e hi hi long y feet gh, for the Third Liberty Loan, w ch was

d Sub /Treasur d place on the y Buil ing in New York .

I I I 1 1 It was in May, 9 7, that plans were set on foot to send artists to Of a t Of r France to make a pictorial record the v rious activi ies our a mies . t m d Of Major Kendall Banning, who was at that i e irector the Division

Of Of and f / Pictures the Committee on Public Information, who a ter wards was attached to the War College Div ision Of the War Depart m d c ment, was responsible for this recom en ation. He at on e consulted with representatives o f Great Britain and France and learned what those countries had done in u sing their artists for portraying the hi s, Of tories their armies . Their advice was to commission capable artists hi m hi no t and to assign them to duty wit n ilitary zones, w ch would be open to civilians .

1 1 s In June, 9 7, Major Banning got in touch with many artist who

‘ seemed to him to be available for duty as Ofﬁ cial artists ; Major Banning B also conferred w ith Mr . CHARLES DANA GI SON . Major Banning then

d ' o f . Submitted his recommen ations to the Secretary War It was, how

r 1 1 8 r Of ever, not until late in Janua y , 9 , that the Secreta y War took any

t o fﬁ / action . Authority was hen Obtained to commission eight men as ’ cial E i su es r artists in the ngineer Reserve Corps . At Major Bann ng s gg m Of . B w as r tion, Mr CHARLES DANA GI SON chosen chai an a group of t E T w as ar ists to make recommendations . Mr . J . ANDR SMI H the ﬁrst Of the group to be commissioned a captain in the Engineer Reserve Corps [39] and . T PEIXOTTO sent overseas He was followed by Captains ERNES , M W W WILLIA . G G J AYL ARD , HARRY TO NSEND , WALLACEMOR AN, GEOR E N G T . . HARDIN , WAL ER J DUNCA and HARVEY DUNN

1 1 1 sev e nt /sev e n Up to January 4, 9 9, two hundred and y drawings

o ur o ne be had been received from overseas artists, hundred and ﬁve E T . . d d ing from Captain J ANDR SMI H At the Allie War Salon, hel in

1 1 8 s NewYork, in December, 9 , all Ofthe drawing received to date were

ne nin t /Six i o e . exh bited, hundred and y in number These drawings had

hi 1 1 been shown in Was ngton the month before and inJanuary , 9 9, they t r were exhibi ed in Pittsbu gh, afterwards being shown in other cities . Considering the facft that these artists were rather hampered in their

to d SO work, it is most creditable them that they pro uced many good drawings ; it should also be borne in mind that they were depicting very n unfamiliar subjects . The collection o the whole reﬂects the spirit Ofo ur men, their backgrounds and the incidents Of their lives in a reasonably

“ r satisfactory manner, although it leaves much to be desi ed . Certainly they are more valuable than any photographs . The subjects Of these drawings were thus described by the art critic Of the New YorkTimes : “ The Of subjects cover practically the whole ﬁeld war, dressing stations, ‘ ’ ” / fﬁ riso nr supply trains, bomb proof billets, chow, O cers mess, German p

to / ma ers, the hurry call ﬁght, and the roll call afterwards, artillery and

hi o ur c ne guns, drawings showing the kind Of ground over which men e fought, the type Of village in which th y were billeted, the cavalry

/ school at Saumur, machine gun battalions at drill, and a hundred other

S h cenes Ofactivity, all Ofw ich give a clear impression Ofthe great powers ” Of organization at work behind them .

e o n / The pencil sk tches tinted paper, touched with water color, by

f E T . rin Captain J . ANDR SMI H, are excellent drawings His subjects are p ci all ' p y landscapes and towns, and strictly speaking are not war draw

/ ings at all . Extremely well drawn are also his pastels and water colors . ’ Captain GEORGE HARDING S pastels o f marching soldiers and scenes T right at the front are also well drawn and very graphic . Captain ERNES [4 01 ’ PEIXOTTO S d sketches oflan scapes, men on the march, locomotive shops,

/ and other subjects, which are executed in charcoal and graywater color, are also Of interest . ’ Captain WALLACE MORGAN S excellent draughtsmanship was well d illustrate in his spirited drawings, which were among the best sent home by these artists . ’ Unfortunately Captain HARVEY DUNN S sketches did not arrive in .

A arf time to be shownwith the drawings of the other Ofﬁcial artists . pp d d ently he ma e very few rawings, but those he did make are excellent, . if o ne may judge from the photographs Of them which he has showed h me . Captain DUNN, with two or t ree Ofthe other artists, actually went k him over the top with the men . Rapid S etches made by on a specially d hi s and esigned box, with rollers to wind up sketches present a new surface of paper, possess a very real interest.

I V W did fﬁ Several artists ent to France who not hold O cial positions .

o f e . . One th se was Mr SAMUELJ WOOLF, who went ostensibly as a war

i , correspondent, but really with the idea of making draw ngs and paint h im ings . With he carried letters from the War Department and the Of Secretary the Navy ; accordingly, he not only Secured permission to

ni r visit the trai ng camps, but also the various sectors held by the Ame

. W ican troops He lived with our men, eating and sleeping ith them; at d o ne . t time he rove an ambulance, at another acted as cook Hewas sligh o f ly wounded and also gassed . All these experiences saturated him with hi s subject and enabled him to produce a series Of paintings and draw f ’

f d . Mr WO LE S ings O deci ed interest Several Of . O paintings and drawings w ere shown at the Allied War Salon in New York ; tw enty/one paint, “ings by him and about Sixty sketches and drawings formed a special

i 1 1 exh bition held in New York in February, 9 9.

T . B w as Mr . LES ER G HORN Y with the American troops during the 1 1 8 e t summer and autumn Of 9 and made a numb r Of slight, but interes {41 } . 1 1 ing, drawings Some Ofthese sketches were published in the spring, 9 9, ’ issues Of Harper s Magaz ine to accompany a series Of articles entitled Ho w Wo n Malleterre the War Was , written by General Ofthe French

B k t h / . s e c corr army Mr . HORN Y was given passes as a espo ndent by the o n French Committee Public Information .

. T o f Mr WILL FOS ER, who was in the army at the beginning the war, and later became a member Of the ambulance service, made a number

hi f ofadmirable drawings at the front . Several Of s drawings were reprO ’ duc e d 1 1 o f Scr bn r s Ma az n in the April, 9 9, issue i e g i e to accompany an

/ article written by the artist, entitled A Day with a Sketch block at the

Front .

. O h e Mr J DAVIDSON, the sculptor, went to France, where modeled o f m excellent busts many Of the great allied generals and states en ; Mr .

B T T ’ f . I . o O RO ER AI KEN also did some work this nature Mr. J SEPH CUM MINGS CHASEwent to France to paint the portraits Ofvarious American

l f z . or and al ied O ﬁcers, as well as privates who had been decorated His p traits are devoid Of merit. Three etchings Of Rheims Cathedral under f . ORR r a o a e . ﬁre were made by Mr LOUIS , th ee pl tes m rked excell nce

V a h o r ar Mr . JOSEPH PENNELL has made undred more lithographs Of w work in America, a continuation Of a series started in England . They o f o f d form a part his set lithographs dealing with the won er Of work .

Building the Battleship , Shell Factory, Shaping a Gun from an Ingot, and MakingWarLocomotives are titles Ofdraw ings which suggestthe range f is s b e ts o h gu j c . In his Food and Fuel series we ﬁnd such titles as Loading Ivl nin T i g own. These lithographs constitute ’ " excellent record - Of America s manifold preparations f n m One Wh o ul : for waging war . I k ow Of co d have done the work ’

Fo r . better . Mr PENNELL S album Of reproductions Of his war work in hi England, Mr . H . G . Wells wrote an introduction in w ch he stated “ t hr all one hat T ough these lithographs runs present motif, the motif {42} Of the supreme effort Of Western civilizationto save itselfand theworld from the dominance Of the reactionaryGerman Imperialism that has ” Of seized the weapons and resources modern science .

WE d draw f Mr . VERNON HO BAILEY has also ma e an excellent series of Of A i ings and lithographs war workin merica, remarkable forthe rsound

Sev ent /Six Of draughtsmanship and sense Of verity . y these have been

Of classiﬁcaf exhibited in many parts the country, under the following

: r n and tions Navy Ya ds, The Fleet, Gun Shops, Bethlehem, Aeropla es d Merchant Ships . Mr. BAILEY executed his rawings at the New York, hi Philadelp a, Washington and Norfolk Navy Yards, at the Bethlehem ' ’ Steel Company s Works, the Curtis Aeroplane Company s Works, at r ff hi d the Mineola Flying Field and at th ee di erent s pyar s . Aside from ’ o f r t e Mr . BAILEY S beauty drawing, his studies possess a ve y real his ori cal value .

' Mr OHN C . OHANSEN hi . J J went to the s pyards andpainted avery nota ble set Of thirty o r more pictures which will always be a valuable rec' d Of hi Of v ni o r t s most necessary allwar acti ities inthe U ted States . They

‘ r w ell hi d e are v e y painted . Some of these pictures show us s ps un er con hil ‘ hin f hi structio n w e Of launc s . O d , several are g A number s pyar pictures T were also painted by Mr . THORN ON OAKLEY, while several excellent B T ULLINGER lithographs were drawn by Mr . HER ER P and noteworthy

G f i r W . o Unfo r drawings ere made by Mr HU H FERRISS, Sim lar subjects . tunately but few records were made O f the camps in this country,but

G G T e the navy fared a little better . Mr . GEOR EWRI H sketched at the Pel ham Bay Training Station and the Brooklyn NavyYard and Lieutenf ant/Commander HENRY REUTERDAHL made many colorful paintings Of our destroyers and other naval craft in home waters .

VI “ Innumerable pictures have been turned out by thepainters of this

f fo r i . t atro c country to be used patr otic purposes These battle pic ures, ity pictures and pictures o f hospital ships being torpedoed by subma' {43} rines, all painted in America, were used in connection withthe Liberty “ ” Loan and Red Cross drives . The generous and patriotic spirit shown by these artists was admirable and their pictures served their purpose well by encouraging the public to buy bonds and in Obtaining c o ntrif “ o ne u Art butions . But, as writer has truthf lly said, cannot be hurried . Art should no t be hustled into serving an immediate and clamoring

. s cause Art is feeling, and feeling is born within the artist . A I have

S t r do cumen' said, these pictures erved heir pu pose, but they have no tary value and only a very few can possibly be considered works Of

no t to me art, and as possessing aesthetic qualities, and it does seem that t these pic ures Should be seriously considered in a book Of this nature . ’ hi do no t Mr GEBELLOWS S f In t s generalization I include . GEOR Murder O

m r ssiv e Ve i e . r Edith Cavell, which in composition and color is quite p y ’

. O G T t k well painted, also , is Mr PAUL D U HER Y S pic ure entitled Sun

Without a Trace .

to There are , however, a number Of exceptions the above assertion o r rather there are a number Ofpictures which were painted in thi s co unf h no t l o f try w ich do fa l into the above category . I refer to the pictures actual events in the United States and to pictures Of a symbolical o r t u allegorical na re .

O G D v f Mr . GE R E LUKS painted a picture Of the famous French Blue e ” ils hi o ne marching down Fifth Avenue, w ch is Of the best Of all the

u . American war pict res It is admirably painted, rich in color, and full Oflife and Vigor; the suggested motion Of the men as they Swing down the avenue is really quite masterly . Less interesting in every way, but

C ech o f a r . also a not ble pictu e, is another canvas by Mr LUKS entitled z as Slovaks in American Camp Celebrating Their Recognition a Nation, i in wh ch they are seen dancing around a huge bonﬁre, which shoots an enormous yellow ﬂame Skywards . Yet another painting by Mr . LUKS,

Of m the celebration held in New York upon the signing Of the ar istice, i s co nstrucfted a t really more Of an enormous, loosely sketch, but the same time it is full Of movement and ﬁre and is highly amusing . Well {44}

BELLOWS painted two excellent canvases symbolizing th e dawn Ofpeace for the Red Cross membership drive whi ch was held in New York in

1 1 8 . X . December, 9 , as did Mr MA FIELD PARRISH The other paintings, as well as numerous arches, made for this occasion were excruciatingly h lﬁ ak ed e a b . bad , being the work Of xtreme modernists m In America lithography, the ost autographic Of the reproductive ni to fr hi h arts, is just begin ng receive om collectors the attention w c it ’ Whi r merits . stler s lithographs are ve y rapidly taking their place with hi s etchings in popular estimation and numerous American artists have li o f l been attracted to the artistic p ossibi ties the ithographic stone .

Messrs . J . Alden Weir, John Sloan and Ernest Haskell have several

. o ne . stones to their credit, Mr William J . Glackens , Mr Albert Sterner quite a number, and Mr . Joseph Pennell hundreds . Lithographs have — h . Mr. Of also been drawn by Mr George Bellows and C ilde Hassam,

Of I w ish subjects connected with the war, and it is these that to say a few words .

G OW a ' Mr . GEOR E BELL S has drawn set Of twelve lithographs depict ing atrocities committed by the German armies in Belgium, based upon

L r 8 ord B yce Report. His Murder Of Edith Cavell, from which he sub

e m e th e llLh O’ sequently mad a painting, as he did fro s veral others Of

e e u . graphs , is b autif lly composed and beautifully drawn Although the a i atric l n o n . conception, it is the whole a splendid piece Of work The ’ BELLOWS S ni titles Of Mr . other lithographs are Bacchanal, S ped, Gott n n Strafe E gland, Belgium Farmyard , Massacre at Di ant, The Cigarette,

The Germans Arrive, Dressing Station , The Barricade, The Last Victim and Return Ofthe Useless . Some Ofthese drawings are marred byrather

hi , feeble and faulty draughtsmans p , others in their terrible frankness ex ceed : hi the bounds set by art and by taste, but these are only details t s set o f lithographs is o ne o f the most eloquent contributions made by an o n American artist . Although based fact, these lithographs are not a

o f Am e . record personal experience, having been drawn in rica They no t e e i m f should , how v r, for th s reason be lightly dis issed rom s {46 } ’ e t consideration, because if they wer , all of Rembrand s paintings and i d etch ngs with Biblical subjects woul have to go with them. C d d u Years agoMr. HILDEHASSAM ma e some elightf l drawings in black

i Of returnf and wh te street scenes in Paris, London and New York. In hi d ingto blackandw te I amgla thatMr. HASSAM has chosenlithography ’ s o f as his vehicle . Mr . HASSAM S six lithograph New York seen in war i Of Al li ﬂ t me are entitled Lafayette Street,TheAvenue the es, Camou age, ru The French C iser, North River and NewYork Bouquet . These rapid and l notations are all delightfully spontaneous bri liant in execution.

V I I If never before h ad the poster artist enjoyed such a golden Opport uf nit us e Of hi r H . e y to make his art, t s was equally true Of the ca toonist

i n r o f wielded a powerful weapon and his hand it could t uly be said, as the author, that the pen is mightier than the sword . The cartoonistproved to be one Of the most important Of all agencies

i . BS for moulding public opin on. In America Mr CHARLES DANA GI ON played no small part in putting the real i ssues Of the warbefore the pub

i n . . . . G RS lic, and a striking and telling manner Mr W A RO E was another

ni R . A B strong cartoo st, aswasMr . CESA E, Mr BOARDM N RO INSON, whose A techni que was borrowed from M. FOR IN and who technically is o ne d Of our ni of the most a roit cartoo sts, also did some remarkably clever ’ War W l and telling work for Colonel George Harvey s eek y, in which Of G S it appeared anonymously . Many the cartoons Of Messrs . RO ER , B o lle éted CESARE and RO INSON have been c in album form.

V I I I

o r Landscape, designation targets, have long been used by the armies f O Europe andinthe trai ni ng Of therecruit theyare Ofgreatvalue . These ” targets are largelandscapes depicting typical French rural sceneryand are used in our military schools to train the embryo artillery Ofﬁcer to

Th e s l , locate quickly a given point i n a landscape . most sati factory and s n scape targets are those painted in clear and bright colors . The i e qua non is correct perspective . The sizes vary from three by Six feet to ﬁve by twelve feet . These landscapes are used in classr o om instruction to

li hi are sk etch r visua z e the country in w ch the men to ﬁght, for panoramic

o ut ff r ing, for working problems Ofo ense and defense, for target designa

d / / tion accor ing to the clock face method in machine gun, artillery and

and fo r t . riﬂe prac ice , other purposes Many o f o ur landscape artists supplied the need for these targets in o ur artillery schools and thereby rendered a very useful service to the government . I X The manner inwhich the sculptor was able to apply hi s special talents

c o nne dte d th e to work with the war, and the way war reacted upon hi s o ur art, forms an interesting feature of study of the part art played in the Great War . Many sculptors entered the camouﬂage unit Of the army {4oth Bnf in r e e s . are g } , where they were able to render notable service Others no w having an opportunity to design monuments to our heroic dead . E T B and CaptainsJ . ANDR SMI H and AYMAR EM URY, , designed medals for T O R the government, they being modeled by Private GAE AN CECE E . Mr .

l s c o O erated PAUL MANSHIP , the most gifted Of iving American medalist , p with several noted artists on the new Congressional Medal Of Honor “ for the navy and o n the Distinguished Service Medal and Distinguished

r fo r . Se vice Cross the navy The latter two designs were accepted, but

as that for the Medal of Honor W rejected . The Secretary Of the Navy tu then Obtained designs from various manufacturing concerns, even ally accepting that submitted by a button maker . Comment is unnecessary. ’ a e anne d Arc Mr . MANSHIP also modeled J medal Of marked distinction , as well as three others whi ch were sold for w ar charities ; these were ’

f. entitled Kultur, French Hero s Fund and Art War Relie An excellent opportunity to study what effect the war had o n Amer ican sculpture was afforded at the Allied War Salon held in New York {48 } / 1 1 8 . r in December, 9 Forty th ee works were in the collection, the work

‘ h rt / hi hi Of t i y tw o sculptors . Not ng in t s group possessed more vitality ’ MAHONRI G and showed greater mastery Of modeling than Mr . YOUN S d Of ff i colored soldier on the march calle One the Bu aloes, whchwasthe Of u nickname given to one the colored regiments . Also f ll of lifewas his Mr s . . Artilleryman . CLIO BRACKEN [ H H BRACKEN] had an excellent a t Of Farré W Of c o n st tuet e Lieutenant Henri , and other orks note were B T G MA tributed by Mr . HER ER ADAMS, Mr . SOLON BOR LUM, Miss LVINA T A ' HOFFMAN, Mr. HERMON A. MACNEIL, Mr . ISIDORE KON I, NNA COLE

W . Mrs Ivﬁ ss . MAN LADD { MAYNARD LADD] , JESSIE M LA SON and Mr PICER' IMPSO THEODORE S S N. In England Captain DERWENT WOOD did some notable work in co n structin a g masks to cover facial injuries . Professor HENRY TONKS lso

d N , worke with the plastic surgeon . A Boston sculptress, AN A COLE ’ MAN LADD Mr f tainWOOD S S . o Ca [ MAYNARD LADD} , reading reports p studies, went to Paris, where she and her assistants rendered splendid servicein the French hospitals making newfaces for soldierswhose faces h ad n bee partially shot away .

r Of hi ' Under the di ection Major Evarts Tracy, an arc tect, a camou

ﬂa e o r d 1 u i u 1 . g unit for armywas organ ze in Aug st, 9 7 The men studied Am i ni hi at the er can U versity, Washington, D . C . T s unit formed a part Of E the Corps of ngineers Bo th} . It was a military organization com

Of tine posed artists, architects, carpenters, ornamental iron workers, i sm ths, plasterers, photographers, stage carpenters and property men . Lieutenant'Co lo nel ni mm ni Ben on co anded the camouﬂageu t in France . s The workin general dealtwiththe concealmentOfgunemplacement , trenches and Sheds of military value ; the screening Of roads and manuf facture ofmaterials for this purpose ; thepainting ofroofsand large areas ofcanvas for the covering o f ammunition storage and the like; the mak ing ofvarious devices and clothing for the concealment ofObservers and ni and s pers occasionally the painting of a scenic drop . {49} T in Captain HOMER SAIN GAUDENS, who was charge Of the work o f

e tw o the S cond Army, informs us that camouﬂage had functions, to

deceive the eye and to deceive the aeroplane cameras ; aeroplane Obserr

/ vation was largely photographic . Concealment from aeroplane Observa ffi tion he states was the more di cult, as the camera was more accurate th e T . r than eye Color, Captain SAIN GAUDENS fu ther informs us, proved

dull /co lored to be Ofrelatively small importance, but that strips Of cloth,

ﬁsh /nets e tied to gav the needed variation Of light and shade .

Of Modern camouﬂage is based upon the studies Messrs . Abbott

tw o as o o f Ch a r Thayer and Louis Fuertes, painters, well as th se Dr . p Of a man the American Museum Of Natural History, who have m de a

o f study bird life and protective coloration . Some familiar examples Of ’ nature s camouﬂage are the frog spotted like a tree ; the polar bear with a hi coat Ofwhite furw ch blends with his surroundings Ofice and snow, as to f and the tiger, striped in such a way make him invisible in a bam o b o forest . An interesting collection Of sketches made by the overseas men Of the camouﬂage unit w as shown at the Arts Club o f Washington in

’ 1 1 . u xhi as April, 9 9 Portrait st dies were e bited, well as drawings Show i n r g fortiﬁcations and milita y works .

’ Owing to Germany s development Of the submarine and the large

hi to be e number Of them w ch she was able operate, marine camouﬂage came a most important science . W Was hi . In t s country Mr WILLIAM ANDRE MACKAY, an artist, the

m fl 1 1 2 1 1 pioneer marine ca o u eur . He began his studies in 9 and in 9 4 ni worked with the Navy Department . Some months before the U ted o f States entered the w ar Mr . MACKAY founded a school for the study marine camouflage and when we finally entered the co nflidt the group Of men under h im became the nucleus from which the great “body Of men in this servi ce grew . Marine camouflage was done under the direcftio n of the Nav y Def {so } artment ni d p , theworkbeing executed bytheU ted States Shipping Boar ’ is, Emergency Fleet Corporation s department Of camouflage . In each d

trict a t camoufleur a Of . was stationed distric , with corps trained men The first system of marine camouflage to be used w as intended to h R . a t e a as . . . m ke the vessel nearly invisible as possible Mr F Y tes, in

ur Of hi ' co se a most interesting paper on the subject, says that in t s sys “the tem colorsused are ofsuchcombinations and values that they caus e the vessel to melt away on the horizon . hi T s system, an attempt to make vessels invisible, was later largely ” “ f d w as in superseded by a system of ba ﬂe or azzle painting, which vented by Lieutenant/Co mmander NORMAN WILKINSON ofth e British

/ dIS ’ v ll . a na y , a we known marine painter His p inting was designed to tort the outlines Of the ship and mislead the submarine commanderas ’

t as . to the craft s size and charac er, well as to the course shewas making This system was most successful and undoubtedly prevented many ﬁne f ships from being sent to the bottom o the sea .

XI I

’ and c A committee onArts Decoration, a sub ommittee oftheMayor s m Of b Co mittee on National Defense for the City New York, was esta 8 t ni lish ed 1 1 . in May, 9 The direc or invited the present writer to orga ze this committee and to accept the chairmanship Of it . This committee was o rganized for the purpose of developing the field o f art in co nnec f t tion with the war, where the services of artists, architec s, sculptors and those practising the allied arts were employed . Of nf d A Bureau I ormation was established, in the Hall Of Recor s, to advise and direct those seeking to apply their talents to work connected with the war . Here could be Obtained accurate information concerning ni Of d the desig ng pictorial placar s for government purposes, cartoons, li and landscape targets , mi tary naval camouflage, decorations and other ni subjects . Aleaflet contai ng suggestions and information was prepared and distributed gratuitously. A Division Of Exhibitions was established to further the cause Of {5 1 } f f pictorial propaganda . Three times the O ficial British lithographs reflect ing Britain’ s efforts and ideals in the Great War were Shown under the

o f hi i o f f auspices t s comm ttee, and a collection one hundred and tw en

f mi RAEMAEKE ty ﬁv e colored facsi les Ofcartoons by M . RS was shown in nm the various canto ents throughout the country . It was the chairman

mm ’ Of hi o . a t s co ittee, co perating with Messrs Dunc n Phillips and AU G T T EX' US US VINCEN TACK, whom he appointed to form the Division Of hibitio ns n , who arra ged the Allied War Salon held in New York in

1 1 8 . December, 9 The Committee o n Arts and Decoration assisted in the artistic c enr

o f a i i n In soring the historic ﬂoats, banners and costumes appe r ng the

P n /P de a ea t ara 1 1 8 . dependence Day g heldin New Yorkin 9 This parade,

hi xt ff i a inw ch about si y di erent national tiestookpart, was e sily the most

s T - , intere ting parade ever held in New York . h e Adv isory Art Com mittee Ofthe Liberty Loan Committee asked for the closest cooperation m between the tw o co mittees . The chairman Ofthe Committee o n Arts and Decoration w as also invited to serve o n the Victory Arch Co mf a m mittee . These are but few exa ples Of the wide and useful scope Of this committee in co Ordinating art work in so far as it affected the ni commu ty . n hi mi Mr . Dunca Phillips, a member Of t s com ttee , drew up a set Of resolutions containing a suggestion whereby Germany and Austria might be compelled to make at least some reparation fo r their wanton hi t . destruc ion Ofworks Ofart in France, Belgium and Italy T s resolution

was sent to the President Of the United States . The last clause in it read “ ’ : R solved do o ur re rer as follows e , that we herewith petition people s p

sentativ es w h o , the President Of the United States, and others may be him to vested by with authority, to suggest the representatives of the alli ed nations when they assemble in council and consider upon what

eace th at Inter/Allie d Co me termsGermany and Austria may Obtain p , an mission OfArtists be empowered to select such works Of art as will be no t demanded from the German and Austrian Governments, in revenge, o ur ni but in justice, as part of war indem ty, and as partial reparation £5 2} stories Of competition decided by popular vote, Of the birds who were deceived and o f the popul ace who were deceived by the painted veil

O ll hi z p e es . In the later Italian days paintings were ex bited o n the Rial to , where the people became familiar with them, grew to know and i o f understand them . Someth ng this is possible here . Fifth Avenue is ” o ur Rialto . Another most interesting feature Ofthe work done by this committee

icture /frame o f was placing a p , measuring eight by Sixteen feet, in front

r hi o n / the New York Public Libra y, onw ch twenty two successive days o ne o f was painted a picture typifying the spirit Of the allied nations . Mr . i hi . m CHARLES B FALLS was the cha rman Of t s committee . A ong the

/ r w h o T' twenty two a tists painted these pictures were Mr . JAMES MON

G GG Lieutenant/Co mmande T ' OMERY FLA [Belgium] , r HENRY REU ER

. . u a . . DAHL [British Empire] , Mr CHARLES S CHAPMAN [ C b ], Mr F LUIS G T . O G . . MORA [France] , Mr GE R EWRI H [Greece] , Mr CHARLES B FALLS

LIE r . O . Pana [Japan], Mr AD LPH TREIDLER [Montenegro] , Mr JONAS [

. . a ma] , Mr W . T . BENDA [Poland] , Mr . WILLIAM J GLACKENS [Russi ] ,

B . and Mr . CHAR LES DANA GI SON [United States]

XI V

Al li o ne i ' An ed War Salon, Of the most sign ﬁcant and interesting ex hibitio ns Of pictures ever held in New York, was opened to the public

n h 1 8 o t 1 e . 9 December, 9 , remaining op n until Christmas This exh ibition was held under the joint auspices o f the Division Of ’ o n s Pictorial Publicity Ofthe Committee Public Information, the Mayor

m n s Co mittee o National Defense and the American Federation OfArt . r o f The Secreta y OfState, the Secretary War, the Secretary Ofthe Navy , the Acting British High Commissioner, the Ambassador Of Italy and the Acting French High Commissioner were patrons .

A Oﬂicial The llied War Salon, however, was not at all in character,

as that word is commonly interpreted . As a matter Of fact, there were mm no co ittees , other than honorary ones , and no j ury, but the entire

Phil f material, some eight hundred items, was gathered by Mr . Duncan [5 4] and Of hi , lips the writer t s book, ably assisted in collecting the paint G T T ings by American artists by Mr . AU US US VINCEN TACK . l d d d d f As a rea y note , nearly two hun re drawings by our O ﬁcial artists

Of Am f in France were shown inthis exhibition . A group ﬁfty or more eri

d h unf can posters, inclu ing many originals, was shown, as well as some d dred carefully selecte examples by French and British artists . t u s n Sixty orseventy pic res byAmerican artist , painted in this cou try, f G W T O . were the work Messrs GIFFORD BEAL, GEOR E BELLO S, ERNES C . W T M . BLU ENSCHEIN, HO ARD RUSSELL BU LER, CHARLES S CHAPMAN, PAUL WT RN B T T G T . DOU HER Y, CHARLESW HA HO E, AL ER HER ER, HAYLEY LEVER,

RITSCHEL ' LIE G . G JONAS , GEOR E B LUKS, GARI MELCHERS, WILLIAM , AU US

TUS T G . VINCEN TACK, DOU LAS VOLK, CHILDE HASSAM, J ALDEN WEIR and many other artists of reputation .

' One Of the mostinteresting exhibitswas a group Of thiI tY'SIX paintings and drawings by the marine camo uﬂeurs Of the United States Shipping

Board, Second District . i Drawings, lithographs and etchings in the American sect ons were ‘ f G G T G G . . w rk o . the o Messrs EOR E WRI H , W A RO ERS, CHARLES DANA

RR G W ' B O . HAS GI SON, LOUIS , SAMUEL J WOOLF, GEOR E BELLO S, CHILDE B T PULLINGER n SAM G . , HU H FERRISS, and HER ER Two la dscape targets, one G T T T painted byMr . AU US US VINCEN TACK and one byMessrs . H . BOL ON

C . ONES . r JONES and FRANCIS J , attracted muchinterest SculpturebyAme ican artists , with war subjects , about forty examples, completed the

American exhibit . In the large gallery gi ven over to Great Britain w as the set Of litho' ’ ff graphs depicting Britain s e orts and ideals in the Great War, as well as a Of Of BRANG Y notable displ ys the lithographs Messrs . FRANK W N and

E. G . SPENCER PRYS One Of the most interesting galleries in the exhibition was that def Of IVIIVI STE INLEN . voted to the lithographs . LUCIEN JONAS, FORAIN and IVI M tu . GUY Other French pic res were by M RENOIR, HER ANN PAUL, AR O X T B as a N U , BENI O and A EL FAIVRE, as well m ny original drawings ’ r . RAEMAEK R byM LUCIEN JONAS . Eighteen O iginal cartoons byM . E S and {i s} VONDROU S e etchings by Messrs . J . C . and GIANNI CAPRONI complet n in ed the exhibition . Greati terestwas manifested the etchingsby Signor ’ d a CAPRONI, who besides being the worl s greatest designer Ofaeropl nes, is an etcher Of considerable ability and h as executed a number Of plates ' ' d depicfting the aerial side Ofmo ernwarfare .

a PA L . . U T TT With Mr Thom s Hastings as architect and Mr W. BAR LE w as t as the chief sculptor, a temporary arch erec ed at Madison Square ’ to and Fifth Avenue, New York, do honor to New York s returning o ne troops . This Victory Arch, about hundred and ﬁfty feet high, was

i . i i the largest arch ever built in Amer ca Surmounting th s arch, wh ch a was an excellent piece Ofwork, was a l rge equestrian group, the work

. T TT TT hi o f Messrs . PAUL W BAR LE and A ILIO PICCIRILLI . T s group showed a chariot, drawn by six horses and surmounted by a winged a ﬁgure . On the m in columns were panels by Messrs . DANIEL CHESTER

B T . I FRENCH and HER ER ADAMS The spandrils were by Messrs . IS DORE ’ T AN W NN bas f reliefs GERTRUDE V. KON I and DRE O CO OR, while were by T Mr MAH RI T Mrs . ON G WHI NEY [ HARRY PAYNE WHI NEY], YOUN , and fourteen other sculptors . The art committee Of the Liberty Loan Committee was responsible / t o n fo r , . a well designed Vic ory Way [ Park Avenue New York Rows m tw o f f o f Doric columns fo r ed the sides Of the scheme . A rieze o paint ’ to r T ings supplied abackground the speakers rost um. Mr . AR HUR CRISP f t a o . . W TT had painting Vic ory in the center, and Mr J MONROE HE LE " s paintings Of New ealand and Au tralia, while South America was

M ' a Mr. . p inted by CHARLES S CHAP AN and North America by Mr . FRED

G . . T ERICK J . WAU H . Mr . W T BENDA painted Europe and Mr . AR HUR o f e COVEY Africa . The color scheme was the same in all th se paintings,

f r Si li f as a hi o o . m c as well the sc le, and t s collaborationworked harm ny p ity w as the keyn ote Of this notable achievement . The same committee placed pictures Of scenes connected with the war in many Ofthe prom , inent windows o n Fifth Avenue . [56 1

ICH L SPENCER B . N O S The Ta nke r

S AMUEL J. WO OLF First Ai d Station a t Seicheprey

O H JO HN C . J ANSEN The La unch of the Watonwan

HENRY REUTERDAHL The Destroyer Pa trol

CHILD E HASSAM - Ea Morni n on F e e Ma 1 1 7 rly g ifth Av nu , y , 9

GEO RGE BELLOWS C e Murder of Edith av ll

GEO RGE BELLOWS Massa cre a t Dina nt

W. Sa e H . g MAXFIELD PARRISH Design for the Red Cross : Detail

W. Sa e H . g

MAXFIELD PARRISH Design for the Red Cross : Detail

TOW SE D HARRY E. N N A Wounded Tank

DU NC WALTER J. AN C O n Cold Nights oming

ERNEST PEIXO TTO T s Lea Es es Se e e 2 1 1 8 roop ving n , pt mb r 3 , 9

HARVE—Y DUNN Kamarad Th e Sniper

WILLI M . LW RD A J AY— A — Troo sWai ti n a e at Ha a e Meuse S M e Dr e p g to Adv nc tton ch t l, ihi l iv

WALLACE MORGAN Americans Mappi ng up in Ci érg es

WALLACE MORGAN Feed a Fighter

JO SEPH PENNELL Ma A a king rmor Pl te "Engla nd)

JO SEPH PENNELL T a L e S a No t P h t ib rty h ll eris h from the Earth

BO ARDMAN RO BINSON The Serb

VERNON HOWE BAILEY The Su erdrea no p d ug hts New York and Arizona

PAUL MANSHIP ’ Jeanne d Arc Meda l

. LL C B . FA S Wa e Books nt d

. E W T. B NDA F M e or oth rla nd and Freedom

GEORGE ILLIAN Keep It Coming

WILLIAM O RPEN ds a A Grenadier Gua r m n CHAFTER TWO

GREAT BRITAIN AND CANADA

HE greatest credit should be given to the British Govern ment for the foresight and judgment displayed in dispatch'

auth o rir ing artists ofreal ability to France . That the British ties did not select popular shams when they ﬁnally decided hi to permit artists to go to the front is as commendable as it is astonis ng. One would have imagined that the Ofﬁcial war artists would have been chosen from the conservative and uninspired painters Of typical Royal anecdo tes But h Of Academy not ing the sort was done; onthe contrary,

h as co nse ' England sent her most vigorous and original men. She , in

uence a o f q , a very adequ te pictorial record the Great War, a record hi w ch far outstrips that of any other country , Canada only excepted .

France was left farbehind and the United States is nowhere at all . Stress Should also be laid upon the fact that Great Britain gave her artists a freehand and imposed no restrictions o f anykind upon them : they were t r t at perfec libe ty to go where they chose and o do what they wanted . hi ’ T s accounts in large part for the excellence Of their work . The Oﬂi cial m o n d t nd A erican artists, the other han , lacked proper direc ion a li r u t were not given faci ties until quite late for carrying on thei f nc ions . Great Britain chose wisely in selecting such artists as Sir WILLIAM E N GT ORPEN, Messrs . C . R . W. NEVINSON and ERIC H . K N IN ON to depict t mi n MCBEY s a d . the ac ivities Of her ar e in France, Mr JAMES to record her campaigns in Palestine and Egypt, and no other living artist could [ 1 3 3] have recorded th e environment Of th e British army and Royal navy as

. to o o f well as Mr . MUIRHEAD BONE Excellent, , are the sea paintings Sir not l JOHN LAVERY. These artists, to mention but a few, on y produced i art a work qu te worthy Ofthem, but in many instances their was ctually

Mr r ar. G T broadened and developed by the w . JOHN S . SAR EN also paint t i n o ne of i s ed some pic ures France , them entitled Gassed, and shows a

o f as/blinded procession g soldiers groping their way across a battleﬁeld . a e ﬁne to to The m jority Of thes works, it is gratifying know, are be deposited in the Imperial War Museum in London m i n the Canadian s a a War Memorial in Ott w , where they will always be viewed with o f ins iratio n t o mi a ns interest and prove a source p co ng gener tio .

I I o f IVIini str of I Under the auspices the y nformation, a representative o f and a hi selection the paintings drawings , with few lithographs, w ch for th e I a War u hi were made mperi l M seum were sent to t s country . w as ﬁr r In hi n The exhibition st shown at the Corcoran Galle y Was ngto ,

1 1 ft s to in January, 9 9, a erward coming New York, and then shown

th e co O eratio n o f throughout the country, with p the Worcester Art

hi tw o fort /o ne Museum . This ex bition , which comprised hundred and y l o f hi numbers, gave an exce lent idea the pictorial records w ch Great o f Britain possesses her part in the Great War . One hundred and tw o o f the total number Of pictures included i n this n w h o exhibition were paintings and drawi gs by Sir WILLIAM ORPEN, o f was gazetted a major in the Army Service Corps . This group portraits , o f o f studies types , battleﬁelds and other subjects comprised, I believe, ’ / o o f him ORPEN S about one half f the total amount work done by . Major

o f o f ffi o ne o f series portraits British O cers and soldiers, as well as Marshal

o f . Foch, are most dextrous and brilliantly clever pieces painting Rapidly

executed, with the background often left unﬁnished, they possess the ’ o f all ORPEN S freshness sketches . I am sure that Of portraits are capital ’ lik enesses and also that he has got considerable o f the sitters personali' { 1 342}

Britain also included among her Offi cial artists converts to the teachings

o f Po st/Im ressio nists ni Futurr the p , the Cubists, the Expressio sts and the Mr ists . hi . . . . C ef among these artists was C R W NEVINSON, a Futurist,

who has done some extremely interesting work . Mr . NEVINSON has always been thoroughly alive and intensely interested in all the newer o f manifestations art . Impressionism at ﬁrst claimed his attention, then

Cubism and its geometric formula, Expressionism and Futurism . Out o f all these teachings and theories and inﬂuences he has evolved a style which might be described as a compromise between Futurism and illq r i n t at o . His art is always dynamic and concerned with synthesis and

. hi s abstraction Pattern and design are also vital matters in art . Mr . NEVINSON was a motor mechanic and ambulance driver in Flanders the ﬁrst year o f th e war ; afterwards he was with the French army as an

1 1 o ne o f f Brit r hospital orderly . In July, 9 7, he was appointed the O ﬁcial O ish artists . Mr . NEVINS N has thus seen the war from many and varied

ru : angles . It has always been his endeavor to get at the t th his pictures m / usic h all . are entirely free from all and journalistic heroics Soldiers, I o f believe, are unanimous in their praise these pictures , saying that they

o f e depict the very soul the war . The artist has done considerabl ﬂying

o ' and his paintings f aeroplanes are really remarkable . In such a litho ’ graph as the Swooping o n a Taube the speed o f the plane is rendered in a marvelous manner ; the rhythm and Swinging motion that he gets

- hi s into columns o f marching men is also very wonderful . From dazzling

O / o f paintings Mr . NEVINS N has executedlithographsand dry points great n distinction . Worki g in these mediums, he has also made many equally

engaging compositions o f subjects not connected with the war . He is a dry /po inter possessing considerable skill and a lithographer w h o gets a

' b eautiﬁi l lithographi c quality into his drawings . Mr . PAUL NASH has suc

/ ll rn . s c essfully painted the utter desolation o f the sh e to landscape Me srs . W OB T HN . WILLIAM P . R ER S , JO NASH and P WYNDHAM LE IS were among ni the other moder sts . Among other interesting works in the exhibition sent to America by { 1 36 2} tu the British Government was a large s dy, excellent in composition and

in hr o f u n AU ' color, of t ee soldiers standing before a mass r i s, by Major

G T his s US US JOHN . T painting, a ﬁni hed study for a large mural decoration

n its Sim, which the artist has pai ted for the Canadian Government, in licit all p y and strength, but above in its pale and reticent color, rather suggests the decorations o f Puv is de Chavannes This was one o f the

most notable pictures in the exhibition . Several canvases by Sir JOHN

Mr . G o f tu . LAVERY, a painting by GEOR E CLAUSEN, a piece sculp re by Mr

B T o ne . JACO EPS EIN, the only inthe collection, lithographs byMessrs ERIC GT B . G RAN WYN . H KENNIN ON, FRANK and G SPENCER PRYSE, with other A E TLEY O TT . . B HN . N works byMessrs W B ADENEY, LFRED ,J EVERE , COLIN M RN MENINSKY T T W. GILL, C . J . HOL ES, BE ARD , WILLIAM RO HENS EIN, B B A ERPILLEUX W . V HENRYRUSH URY, RANDOLPH SCH A E and E . were also

shown . I I I

s o f o f sixt /six lith o f Under the au pices the British Government, a set y ’ graphs depicting Great Britain s efforts and ideals in the w ar was dis , o o f played in many parts f the United States . A number sets were Sent x ' to this country to be e hibited and sold as propaganda . The idea origi h nating with the artists w o made these lithographs . uil n Artistically, the six prints by Mr . MUIRHEAD BONE, entitled B di g

Mr. s in . Ships are the most important, being most ma terly execution ’ ERIC KENNINGTON S set entitled Making Soldiers is also veryﬁne indeed . Mr lis r . Robert Nichols, an Eng h poet, who served th oughout the war, ’ hi KENNINGTON S a w on nk . quite rightly, I t , says that Mr — dr wings are derful of d as n portrayals the British sol ier he is a sober reﬂective bei g,

not music /h all i a for i as and a humor st with a p ssion being k lled, the m ic /h alls a him o t us would m ke u . to o Mr RA BRANGWYN Excellent, , are the sets by . F NK entitled Making

. G k n . . . Sailors, by Mr GEOR E CLAUSEN entitled Ma i g Guns, by Mr C R d Mr . S W. NEVINSON entitled Making Aircraft, by CHARLES PEAR entitle

. T T on Transport by Sea, by Mr WILLIAM RO HENS EIN entitled Work the i 1 37} O and . L Land by Mr C AUDE SHEPPERS N entitled Tending the Wounded . ’ ’ HARTRICK S e a n Mr . A . S . seri s be ri g the legend Women s Work w as

no t So well drawn as the others .

’ The above lithographs are intended to illus trate Great Britain s eff forts in the war : the second part o f the exh ibition sets forth some o f fo r w as n the ideals which she ﬁghti g . These were all in color, with the ’ o f G T O a exception Major AU US US J HN S lithograph entitled The D wn . ’

f Set . Perhaps the most beauti ul in the is Mr CHARLES H . SHANNON S The

b o f hi n i n to Re irth the Arts, in w ch Art, unscathed, is see r si g her feet

of a . u in e amidst a scene desol tion Extremely beautif l also , both d sign ’ f . a ith . l o and color, is Mr EDMUND DULAC S Poland, a N tion The other ’ hi are R T f graphs in t s set Mr . E NES JACKSON S Defens e Against Aggres ’ io n—En land a —1 s 1 . R TT g and Fr nce 9 4, Mr CHA LES RICKE S Italia Ref B ’ . R RANGWYN S o f t e . denta, Mr F ANK The Freedom h Seas, Mr WILLIAM ’ ’

ROTHENSTEIN S m o f . O O The Triu ph Democracy, Mr WILLIAM NICH LS N S ’ F HAGEN S e o o f . GREIF EN f The End War, Mr MAURICE The R storation ’ / ine o G ru Alsac e Lorra t . O France, Mr GE R E CLAUSEN S The Reconst ction ’ f M I A STh e s o a . o f Mr. . O R Belgium , G Re toration Serbi and Mr EDMUND ’ f I o s . J . SULL VAN S The Reign Ju tice

I V During the ﬁrst tw o years o f the war it w as almost impossible fo r

Ie . either an artist o r a photographer to get to the front . FREDERIC RS o ne o f m o f li s a VILLIE , the ost famous ving war artist , h ving covered

w ar Franco /Prussian War w as us r practically every since the , ref ed per

i to a mie e r m ssion work with the British r s, but succe ded in getting per

to . a mission sketchwith the French His very accurate dr wings, as a rule

tu l o n m s /l ub ac a ly made the spot, many ti e in a front ine trench, were p o f lish ed in The Illustrated London News . Mr . VILLIERS told the writer this book that they are the onl y drawings in exis tence depicting the ﬁrst

tw o o f ﬂi hi ea as o a years the con ct, w ch gives them a very r l value hist ric l

as e o . records, id fr m their excellent draughtsmanship £ 1 38 ]

V The CanadianWar Memorials Fund was founded in order that every ’ ni phase OfCanada s Operations , both in Canadian trai ng camps and o n s o f the battleﬁeld France, might be properly recorded .

The idea for this form o f memorial originated with Lord Ro th erf

Ai r Mi ni Of mere, former British ster and Lord Beaverbrook, head the

fﬁ IVIinister CanadianWar Records O ce and former ofInformation . Mr . Ko no d . hi Paul G y was appointed art director, w ch position he has held

o f o f 1 1 since the inception the Memorial, in the summer 9 7. n out In organizi g the scheme, as is pointed in the foreword to the catalogue o f that portion o f the pictures which was shown in London and in New York committee throughout endeavored to do s ms o f i o f equal ju tice to the clai h story and art . Historical accuracy has

m o o i been secured by the ti ely dispatch f a band f. dist nguished artists To to the ﬁghting front . ensure artistic success the committee worked o ut a schedule o f subjects embracing every sphere o f Canadian war

o ne preparation and war activity exempliﬁed by typical scenes, each being entrusted to the artistw h ose past achievements pointed most clearf l to his to do s e y ability full justice to hi task . Thes artists were selected

to r . in the most catholic spirit, represent eve y school and group This series o f decorative panels was thought o ut in connection with an are chitectural scheme which is to form a suitable and imposing framework for r W t i i the pictu es, so that they ill presen themselves as an mpress ve in Ar i o f ensemble orderly sequence . ound th s nucleus vast decorative o f panels has been built up a comprehensive collection minor paintings, o f o f ' drawings and engravings war subjects, portraits generals, states ’ O s o f u men and Canadian V. . , works sculpt re, and a historical section o f early English paintings and engravings, directly connected with ” r Canadian histo y . ’ to o re Among the latter paintings, it is interesting note, are Romney s p “ ” o f o f trait Joseph Brant, the celebrated sachem the Mohawk Indians, ’ ’ Re nolds s ff o f y portrait of Sir Je rey Amherst, Lawrence s portrait Sir ’ Alexander Mackenzie and West s painting entitled The Death of

Wolfe .

G T . Majors AU US US JOHN, D Y. CAMERON, RICHARD JACK and J . KERR

" LAWSON were the ﬁrst artists to be sent to the front by the Canadian ’ hi mi ma War Memorials . Major JOHN S painting, w ch will do nate the g niﬁcent building which is to be erected in Ottawa to house this co l l lection, is a large decorative canvas measuring forty by ten feet . Mr . “ ’ Kono dy describes it in the following words : JOHN S art is always syne

in i f is . c den thetic . He not an illustrator He goes forthe typical, not the r o f tal . His subject is not any particular episode, but a summa y all he

his durf has seen, of all that has stirred imagination and his sympathy t u ing his ﬁve months at the front . His pic re may be described as an ” a o f epitome ofmodernwar . M jor CAMERON painted an impression the featureless plains ofFlanders and MajorJACK pictures ofthe secondbate

o res o f o n o n o f tle p and the attack made Vimy Ridge the 9th April , 1 W in u 19 7. Major LA SON showed his paintings the r ins of Ypres and

Arras .

R . W. s o f Mr . C. NEVINSON painted one ofthe exploit Major Bishop , ’ d o f u Cana a s greatest airman, and a series fo r panels entitledTheRoads o f ll o f France, i ustrating the progress the ﬁghting force from the base to

f . . . G ain the front line Mr A . J MUNNIN S painted a series of ﬁfty small p t t o f ings ofCanadian cavalry and lumbermen, pic ures marked excellence i tu o f and mostsp rited . Other importantpic res events connectedwiththe

G ' war were painted by Lieutenants A . Y. JACKSON and AL ERNON TAL G N B T MA E, GUN ERW. RO ER S, Lieutenant PAUL NASH, and Mr . LEONARD

o f cnr RICHMOND, to mention but a few the ﬁfty or more other artists

t f gaged in thiswork . Portraits o f military and civil personages of dis inc

Mr B M ' . . C tion were painted by CHARLES H SHANNON, Major AM ROSE G T EVOY, Mr . HAROLD KNI H , SirWILLIAM ORPEN, and numerous other portrait painters of great reputation . dd u n n In a ition to the pict res pai ted in the ﬁghti g zone, Canada also possesses a valuable series o f paintings and drawings showing the making £ 1 4 1 } of the soldier in Canada and all the other activities at home . Mr . ARTHUR LISMER has painted records o f things going o n at Halifax : IVIine l I . i ss B MAY sweeping, convoying, patrol ing and harbor defense MA EL to n Mo ntreal w h ere went the mu itionworks in , women and girls labored ’ O unceasingly . Mr . MANLY MACD NALD chose woman s work on the

A , . O TO land as his subject Mr . FR NCIS H . J HNS N went to the Toronto Fly G ing Schools and Mr . R . F . GA EN painted a shipbuilding picture in Lieu enant/ o er Toronto Bay . t C mmand NORMAN WILKINSON painted a spirited canvas showing the great ﬂeet which carried the First Canadian to o f Division across England at the o utbreak the war . I have merely chosen a few examples to illustrate the interesting and comprehensive i o f manner in which th s side the work was accomplished . t W T Sculp ure, it should be noted, was executed by Captain F. DER EN MESTROVIC WOOD and M . I . .

o n th e o n The following comments Canadian War Memorials, and ' ub war memorials in general, are taken from an anonymous article p ’ so lis h ed in Canada in Khaki . I am in accord with the writer s views o n this subject that I have ventured to quote him at some length : “The idea o f an artistic war memorial is generally connected with

laurel /c ro w ned e a winged and confection in marbl and bronze, erected o n for ediﬁcation o r Some prominent site the derision, as the case may i rial o f u . s a cto be, f ture generations Or, if it take p form, it is apt to be e o f s o r u a seri s unconvincing, melodramatic illu trations, more less fancif l , o f e or o f i are o f famous episod s individual acts hero sm, that little artistic n r Wh o and absolutely o documenta y o r historical value . can pass through the endles s galleries o f battle pictures at Versail les without experiencing a sense o f invincible boredom? A war memorial o f this i to o f a if to u to k nd, if it is be l sting value, it is teach f ture generations,

r m n o to n us thrill r stir thei i agi ati n, stimulate their patriotic feeli g, m tbe a

o f o n . ing record facts , based personal experience If a pictorial record o f this greatest o f all wars is to be o f permaf

s a s ns nent value, it mu t be created from actu l impre sio whilst they are { 1 42}

WILLIAM O RPEN Horses Nea r Aubigny

WILLIAM O RPEN The Gas Ma s k

WILLIAM O RPEN South Iris h Horse

MU IRHEAD BONE H M S Vindicti ve after " ee brugge

MU IRHEAD BO NE Rea dy for Sea

JAMES MC BEY Wa ter Transport

C . R. W. NEVINSO N That Curséd Wood

EVI SO . W. N N N C . R Th e Roa d from Arra s to Ba pa ume

JO HN LAVERY

A C as De e e o t f ns

ERIC KENNINGTON A Lewis Gunner of a Yorkshire Regiment

EDMUND DULAC

P a d A Natxon ol n ,

FRANK BRANGWYN The Lookout

E CER R SE G . SP N P Y The Fa ll of Os te nd

S E CER RYSE G . P N P lz hman The Only Road for an Eng s

ER R SE G . SPENC P Y e i 1 1 B lg um, 9 4

NO RMAN WILKINSON ’ Ca na da s Ans wer

C MERO D . Y A N Fla nders from Kemme l

DH LEWIS P. WYN AM Ca nadl a n Gunptt

FRANCE oeuvne DE GUE RRE p oun LA p econsrirurio n FOYERS Dém uirs

L’ A P P E L

LES s o us cp ip rio ns

S O NT RECUES

S IE G E S o c iAL

" 29 B E D MALES HE RB ES 1 , P A R IS

TEINLEN A. S TH .

’ L Aisne Dévastée

R ONAS I LEN, FO AIN and LUCIENJ . believe these lithographs to be greater o f fﬁ r works art than the drawings and paintings by her o cial a tists, for in an inimitable and masterly fashion they express the soul of the great French nation and put before us in a vivid manner her undaunted courr l P ri age and devotion to a at c . I I hi of STEINLE The drawings and etc ngs M . N possesslth e very scent and

' flavor o f Paris . They are as typically Parisian as the drawings o f ROW landsomare essentially English and the pictures o f Goya reek o f the soil o f Spain . STEINLEN With much pertinence M . has been called the Millet o f the hi s o f o f o f streets, for in studies the toilingworkers Paris, the artists and o f w e the destitute, we find the same understanding that find in the f STEINLEN a peasants o Millet . In we see alw ys a p rofound sympathy with suffering humanity and tenderness towards the oppressed and tu r nh o f for nate, learned th ough a long familiarity with the i abitants the

o f various poorer quarters Paris . ’ STEINLEN s : M . artistic output has been enormous his pencil is nearly ’ D m r s hi i ldf as active as was au ie . And always t s gifted pencil has been w e ed o n the side o f justice ; many times has he fought battles for the op o f Macfall pressed . In his history painting, Major Haldane says that “ STEINLEN o ne o f o f hi s M . is the giants age, a man who has bettered the

hi s . world, lifted generation, and brought honor to his great people His

fo r Gil Blas fo r o f e Mauf drawings and illustrations the books Copp , de

chansons enr passant, Anatole France, Bruant, the cabaret singer, and

1a for are numf titled Dans Route, as well as many other publications, u hi s Ch an bered by the thousand . Extremely beautif l are lithographs for so n de Montmartre and full o f character his Des Chats ; no one has STEINLEN drawn a cat as well as M . . With such an artistic equipment and with such a profound sy mpar STEINLEN ff . thy with su ering humanity, it was but natural that M should throw himself heart and soul into depicting events connected with the {222} ar terrible w . He more than rose to the occasion and in a succession of

hi s osterr posters, drawings, lithographs and etc ngs he has pre erved for p ity a magnificent and unequalled record of the nobility ofcharacter and r brave y displayed by the French race, as well as the appalling distress wrought upon that valiant people . With profound understanding and / d sympathy he has gone, sketch bookinhan , to the railway stationwhere the wounded are arriving, he has gone to the devastated town, he has stood by the roadside as the soldiers marched by. An etching shows us several badlywounded men being carried fromthebattlefield underfire : E it is called The scape from Hell . A lithograph has for its subject a pro cession of old people and little children and babies leaving a German o f jail. Another lithograph is of a group soldiers lustily singing as they march down the road . I I I R s M . FO AIN is as cau tic and unrelenting in his realism as was Degas . d Wi In ad ition, he is a satirist and one that shares th the caricaturist the joy of dwelling upon peculiarities of human make up and delving into

s o f : ' the cience physiognomy but he only emphasizes, whereas the cari caturist exaggerates . o f M . FORAIN has gone to the halls justice, to the opera and to the T s . S EINLEN co n glittering re taurants in search of material, while M has hi d th e cerned mself with the artists in the Montmartre istrict, with humble toilers o f Paris and with the vagabonds who dwell in the re ﬁ gions of the forti cations . Taken together, their drawings preserve for posterity an excellent pictorial record o f the manners and customs eX' isting in Paris during their time; this record will be o f inestimable value i to the political and social h storian ofthe future . w The drawings of M . FORAIN are al ays immensely entertaining and exciting, and for the artist they are most stimulating companions . Degas always liked to have a lot of them around . Voltaire was right when he deﬁned a bore as one wh o said everything; no one has ever been bored

I . by a drawing by M . FORA N ’

M . FORAIN S interest is in the essentials, which he always emphasizes, o f o f and his economy means is nothing short marvellous . He faithfully

ch aradteri atio n w o f records an incident, strong in z , ith a dozen strokes i the pen . His drawings , etch ngs, lithographs and paintings are brilliantly cl ey er : in execution, but they are far more than that they disclose a ni . knowledge and a lear ng that is profound Drawing, “Ingres has said, no t o f mo re—ex ressio n does consist only lines, but is much p , the inner ’ ru i . Fo RAIN s form, the st cture, the modeling Daum er and Degas were M .

nourr ces hi s w artistic i , but he is absolutely original and ork could never fo r o f i be mistaken that another man . His line is al ve and even more u o f o f telling and f ll character than that the greatest Japanese . R STEINLEN Itwas inevitable that M . FO AIN, like M . , should have been completely absorbed by the war and it was likewise a foregone co ncluf th e him sion that war would react upon and his artin a powerful manner . A set o f perhaps a hundred and ﬁfty lithographs o f events and scenes connected directly w ith the war rank with his most brilliant achiev ef

Ho w o his lith e , ments . gripping and how m ving is such a drawing as graph entitled Forward "and h o w extraordinaryis the draughtsmanship "

IV w h o M . LUCIEN JONAS, before the war was known as a painter and T N E S EI L N o r . l a . R an i lustrator, is younger man than either M M FO AIN “ 1 1 and is an artist who has come into prominence since 9 4 . The war

inn r brought h im inspiration and developed his art . He has made umer o f o f able drawings at the front types, as well as portraits generals, most

f / o f . o them quite interesting However, it is a set twenty four lithographs

o f s entitled The Heroic Soul France, as well as many other stirring print ’ o f s r . this description, that display the artist s gifts in their full matu ity STEINLEN to . M . JONAS is not be classed with such artists as MM and

O no t F RAIN , for he does possess their great artistic endowments, but his drawings are probably more popular with the masses than either . Mr . “ Duncan Phillips has written : They are compounded o f the heart stuff {224}

a Of r 1 1 8 1 1 in many p rts the United States du ing the years Of 9 and 9 9.

Quite a large group Of drawings in wash and charcoal, with a few in

G TT / color, were the work Of M . GEOR ES SCO , the well known illustrator . u His sketches and drawings, well executed and f ll Of ﬁre, are scenes in n the trenches and o the battleﬁeld . One is called Gloire au Soldat de

Oﬁ ensif . u France, another en Champagne, another Patrols A beautif l drawing in pen/andf ink and water color entitled Watchers at the Foot tw o hi Of Tofana shows men in a trench, a gh mountain covered with

/ snow being in the background . Some very strong water color studies Of Of RE EEER . N soldiers both back the lines and in the trenches, were byM .

' Other excellent drawings OfSoldier types were by M . BERNARD NAUDIN

ROGERDE . m o f hi and M . VALERIO A using little lithographs c ldren play B T ing soldier were by M . POUL O . Other good drawings were by MM .

B ISFLEU RY r is O . . Co t so LUCIEN JONAS and A . Mr Royal z well summed up the impression conveyed by these delectable sketches when he wrote : “ It s is not, indeed, Of artistic ambition at all that we are consciou as we ni survey these souve rs Of the war . It is, instead, Of everyday human traits, Of brave men relieving an intolerable routine with unpretentious

Off aflirmf artistic excursions, dashing Slight memoranda Ofdreary scenes ing not SO much dexterity Of hand as a simple manly courage . Early in 1 91 9 a collection Of sev enty /sev en paintings by French arf tists tw ent /fiv e o n o ne , y in number, were placed view in Of the New GILLOTT f k Of . . York galleries . They were the wor M E LOUIS , O ficial FOU UERAY f Of artist Ofthe French army, M . CHARLES Q , O ficial painter the ’ é l Armee E Beaux'arts Mus e de , several pupils at the cole des and other

r . artists . But few Of them possessed ve y great interest

/ fo r Hundreds Of small drawings, mostly in water color, the work of

t E Beauxf arts mer s udents Of the cole des , were sent to America to be sold fo r the beneﬁt Of the families Of artists who had been wounded o r killed in the war . Many Of these sketches were extremely well drawn .

out . This excellent work was carried by Mr Henry Renwick Sedgwick,

Of New York . {226 } ' . T ex e Thirty paintings by M JEAN GAU IER, representing personal p

rienc es Of the artist inthe battles ofVerdun and the Marne, were shown 1 1 d r in New York in March, 9 9, and prove to be fai ly interesting. and d FRA OIS FLAM . N ENG Many ﬁne spirited rawings by MM O , G TT f d CHARLES HUARD and GEOR ES SCO , all O ﬁcial artists, have appeare ’ f L Illustrati n in the pages O o . V I I

AS was to be anticipated, the ﬁnest war posters have come from

France, where the artistic poster was originally conceived and brought t n to great perfec ion . It has been well said that the inspiri g French war posters are an intimate expression Of the greatest conv ulsion in the ” history Of civilization . None Of the French posters have been more effective or artistic than

f STE LE : O . IN N hi s Of ft those M designs are masterpieces poster cra , Simple, Of hi straightforward drawings, w ch the lettering is by him and forms

an integral part, and posters which serve their purpose well by telling

his nf their story in an unmistakable and forceful manner . In poster e ’ L Aisne é é u d titled D vast e, which is an appeal for f n s for a charity inf

terested Of n in the reconstruction destroyed homes, we see a you g

f mother grasping her two small chil dren to her side . A completely ru ine d tu Of hi house inthe background completes the pic re, thepathos w ch STE L o ne e . IN EN surely could have been rendered by no els as well as M . d d Of In La Triennale, a poster esigned to a vertise an exposition French Of i é art held for the benefit the Fratern t des Artistes, we perceive the magnificentand undaunted figure Of an Older and bearded soldier gazing hi Of hi e u at a man ploug ng with a pair great w te oxen, prec ded by a fig re

f w r Of SOI' O Victory. Other superbly dra n ﬁgu es the invincible French ’ diers appearin a poster entitled Concert en Grange and Pendant Qu Arf sene se Bat, while in a poster issued by the Serbian Relief we have a Of f u mo st tragic procession hal starved ref gees . ’ Veteme nt du ni M. FORAIN S poster entitled Le Prison er de Guerre u d contains the ﬁg re Of a seated sol ier, a prisoner, engaged in writing, [227] using hi s right knee as a table . The drawing Ofthis soldierhas been done

no t f in a most masterly fashion ; technically, indeed , the war produced h ing ﬁner than this . Another superb drawing by M . FORAIN appears o n for the poster issued a charity known as Le Bon Feu . NO artist o f France has had the war react o n hi s art in a more inter “SEM ” esting way than , the famous caricaturist. He designed two postf ers which take the highest rank among all the posters produced during ‘ ’ tw o the war . His posters entitled Pour le dernier quart d h eure ’ and Pour le triomphe souscrivez a l emprunt national are Simply magf t w niﬁce n . In the former print e see a general with his aides watchin g

sh ell /h oles a regiment Of soldiers march by, over a field spotted with ; in the latter a symbolical View Of the Arc de Triomphe which fairly breathes the spirit Of ardent patriotism ’ dra s B A E Full Offire and spirit and splendidly w ni M . A EL F IVR S postf " for er entitled On les aura issued the second government loan , which “ ” u o ne Shows a youthf l soldier apparently just going over the top . It is B Of the finest Of all the war posters . Another stirring design by M . A EL ’ R hi s L Or LaVictOire FAIV E is poster bearing the legend Combat Pour , in which the cock o n an enormous tw enty /franc piece is springing o ut to attack a crouchi ng German soldier . ’ G OTT r le " Other excellent posters are M . GEOR ES SC S Pou Drapeau ’ ’

TT é . B T Pour la Victoire M . WILLE E S Journ es Girondines andM POUL O S ’ N Oublie pas de souscrire pour la Victoire " et le retour "to men tion but a few more Of the many excellent posters which have been produced in France . GU Y R X TO NN MM . A NOU , BENI and HERMA PAUL have made some mm s Of most interesting drawings to co emorate certain event the war, such as the arrival Of the American troops in France and the work Of mi I the American Red Cross . These char ng designs, which are ssued singly, have been drawn after the manner Of Old French woodcuts and broadsides and are printed in color .

H A TEI LE T . . S N N Under the Boot

TH . A. STEINLEN La Trie nna le

LUCIEN JO NAS A Volunteer

PIERRE AU GUSTE RENO IR P a HIS Son W e In the Wa r ortr it of , ound d

BENITO For the Beautiful Land of France

BENITO The Heart of America

ANTO NIN MERCIE Plaquette de la Fra termté des Artistes

"GSEM

’ Pour le Triomphe Souscn v ez a l Emprunt Na tiona l

ABEL FAIVRE On les Aura l

ADO LPHE WILLETTE Journées Girondines

NETHERLANDS

Ce ntury Co LOUIS RAEMAEKE—RS a e Th e Re e The American Army In Fr nc li f

’ / B A DA WITH S ETCH OO ON THE RO T. i ll o ster Ill tr us ate . r Y A K B K F N y W F . d S c ibner s i 1 1 Ma a ine New Yo r A r . g z " k), p l, 9 9

RIC ART B r l I TISM IN ME . a ter ll R TI L TR O A ass . I r P AC CA PA AN y C G ustrate d . A t and Life

New Yor une 1 1 . " k) , J , 9 9

Entire issue Of The meri an Ma a in WAR MEMORI LS. A c e o Art Washin ton A g z f " g ) ,

Se tem er 1 1 . p b , 9 9

WAR e ture de i er t - PICTORIAL RECORDS OF THE . A l c l v ed a th e Metropo litan Museum E all tin The m r Of Art New Yor . B A . . a . A e ican Ma a ine o Art ash , k y G g z f "W

in ton Octo er 1 1 . g ), b , 9 9

Edit eor e h t RT S e b . e . 1 0 ill tr i H E AR IN OO . c T W CA N d y G g J H 0 us at ons . New York °

tt n 69 CO. 1 1 . E P. Du o . , 9 9 Posters

AR R . B en ri h t lustrat Th n r e . e te nati n l POSTERS AND W WO K y Hel W g . Il d I o a S tudio "New

Yo r une 1 1 8 . k), J , 9

t . . r I HT. T M I G OSTERS G B Mo n ro se Mo ses I ust ate d . he Boo man New Yor AK N P F y J ll k " k),

u 1 18 . J ly , 9

' ’ B r , Ro e t orteS HOlli . OSI G THE WAR FOR THE INTER . C da Illust t Th P N PA y b y ra ed . e Book

man New Yor u 1 1 8 . " k) , J ly , 9

’

B t l tr t . M l TERS . d cC ure s i e OU R IGHTI G OS u ian Stree . I us a e Ma a n New or F N P y J l l g z " Y k),

u 1 18 . J ly , 9

Do nal ll S A T . . . B Mc d . ustrated ea o er THE STORY OF THE W R POS ERS . y H A I P w "New

' Yor Au ust Nov ember 1 1 8 . k) , g , 9

’ E h e ll ll str t H E ELL I RT STER . u a ed . h ilad l JOSEP P NN S L B Y LOAN PO By Josep P nne . I P e phia

i in o tt CO . 1 1 . . c 8 J B L pp , 9 .

I l f D ustra e . New o r U . . POSTERS ISSUE BY THE UN TED STATES NAVY . I l t d Y k : S Nav y Re

cruitin Bureau 1 1 8 . g , 9

: le t r ' ICI L OSTERS . United t in ar mer enc e o orati n I us OFF A P S ates Sh ipp g Bo d E g y F C p o . ll

t h i ad h ia : u li atio ns Se tio n 1 1 8 . tra ed . e c c P l lp P b , 9

’

h . e erli h t . a R RT I H B o u us r te . The THE POSTE S PA N T E GREAT WAR . y Ad lp L F c Ill t d

oster h ica o e ruar 1 1 . P "C g ) , F b y , 9 9

Camouﬂage

it ll t a e The rchitectural Re ord A ré Sm h . us r t . A c B . n NOTES ON CAMOUFLAGE. y J d I d

New Yor No v em er 1 1 . " k) , b , 9 7

’ ’ ll stratio ns in o o r b L E D M S B A mar Em ur II . I c N TURE S MOU G AN . u A CA F A AN y y b y , l y

1 8 . The ew ountr i e arden it N. 1 h ar es iv in sto n Bu . C l L g ll N C y L f "G C y , 9

A o t Th er The Scienti c Monthl New Yor Decem er B . a . OU L GE . t H CAM F A y bb y ﬁ y " k), b , 1 1 9 8 . AM L GE B o ert us RI . n l M E OU R hma Mur h . I ustra ed Se A N C F A y b C p y l t . a Power "New

Yor anuar 1 1 . k) , J y , 9 9

RI E MOU L GE ROUGHT TO ER ECTI B z M O I AMERI CA. I l N indell T. ates l U S A N CA F A B P F N y L B . d The Sun w o 1 trate . Ne r anuar 1 Y 1 . " k), 9 J y , 9 9

THE CIE CE OF AMOU L GE M RI E EXPLAI ED B R mo nd ranci Y . a Ever S N C F A [ A N ] N y y F s ates . y da En ineerin Ma a ine New o r March 1 1 Y . y g g g z " k), , 9 9

GREAT BRITAIN l U CH RTOO S OF THE RE T WAR . An a um Of r o cti n ew Yo r P N CA N G A b epr du o s . N k

r e CO . 1 1 . eo H . Do ran G g , 9 5

R BY UIRHE D E a THE ESTER O T. TWO h un red r w in i n art M O . d d a s n te s . o n W N F N A B N g , p L

don : ountr i e Ltd . and eor e New nes Ltd arden it New Yor C y L f , , G g , ; G C y , k l a da a e d o . ew or o r ra m an 1 1 Dou e C N Y : e e H . Do n o . b y , P g n ; k G g C p y , 9 7

AR I TI G B . t a R Y . W E SO ith an intro du or ess P. . MODE W . R N VI c b N PA N N C . N N . W y y y G K no ll ustrated w o r ert Ri h ard Ltd Ne : o . o d . I . on o n : rant c Y R M s . y L d G , ; k b B e an 1 1 Mc rid d CO . . , 9 7

ll trated . H I D MES MC BEY . us BRITISH ARTISTS IN T E WAR " ONE . MU RHEAD BONE AN JA I

The Internati onal tudio New Yor e ruar 1 1 . S " k), F b y , 9 7

’ L S PI D ith an intro du tion b JOSE PH PENNEL CTURES OF WAR WORK IN ENGLAN . W c y

f illi m einemann hiladel hia . . l if n lates . n n H e s . F t o e o do : a : H . G. W l y p L W ; P p J B i in tt co CO. 1 1 . L pp , 9 7

’ Mal , T RIT I RTS D DE E I TED B RITISH RTISTS. B THE GREA WAR . B A N S EFFO AN I ALS D P C Y B A y

lm lam n ll t l di Ne r t er 1 . Sa a . ustra e . The nternationa tu o w o o 1 cO . I I Y Oc C d S " k) , b , 9 7

llustrate I D d . A MI S OF THE RITISH V ORTRAITS IN OLOURS BY R C S DO D . D RAL B NA Y. P C F AN I e o r r e r n e CO . N. . N w Y : o H . Do a D k G g ,

RITISH OVER ME T EXHI ITIO fﬁ ia atalo ue in realit a catalo ue Of lith o / B G N N B N . O c l C g [ y g ’ ntro tion graph s reﬂecting Great Britain s effort s and ideals in th e Great War]. I duc l rit h m tion ureau 1 1 mes a ter mith . ll te ew r : is nfor a 8 . b a I ustra d . N Yo I y J W S k B B , 9 ‘ — ith an in r u f H RE R . W. EVI SO . t o d c T E AT WAR F R . N G OU TH YEAR . PAINTINGS BY C N N W i h ar Lt 1 1 t n r ds d . 8 or essa . E c n o ant R c wf r lit h . ll ustrated . o . b . ra o I y y y J C d F L d G , , 9

RITISH ARTISTS AT THE R S ith intro ductions b am , W. EVI O . RO T 1 C. . N B F N . . N N W y C p ell n ith intro du tions b Do d so an . M VE R . c d E n . IR O o ta e . 2 S HN b g C . gu J LA Y W y Ro ert ROSS an M ith intro uctions b ohn alis E. onta e UL SH . d . u N b C g . 3 . PA A W d y J S

E. a ell o d son an . h t u tion b m d Mont . it in ro c D a e ERIC KE . C gu 4. NNINGTON W d s y C pb g and E l ates on on ountr . . Monta ue E ch te th co o e C g . a part illustra d w i r d pl . L d : C y i e Ltd an . d eor e New nes 1 1 8 . L f , , G g , 9 m la a . DR WI GS BY MES M A T B Malcolm . a n CBEY O ICI L RTIST IN LES INE. A N JA , FF A PA y C S

T e 1 1 . I ustrate . h International Studio New Yor March 8 ll d " k), , 9 R NO . RITISH ARTISTS AT THE O . . 1 SIR ILL O P c c T I M R E . ari ature in olors b B F N W A N C , , y Rev ille ndon Max eer ohm . e o Au ust 1 1 B b "L ) , g , 9 8 .

WAR EMORI LS. B P K N DI M . . o no d Illu M THE . strate l " CA A AN A y G y d . Co our agazine "Lon m r 1 don Se te e 1 8 . ) , p b , 9

’ RPEN S WAR ICTURES B ir SIR ILLI M O . S rederic edmo re Ill t I , . us rat e T W A P y F W d . he nter national Studio New Yor Se tem er 1 1 8 . " k) , p b , 9

HE RO T. NO. 2 O ARTISTS AT T . M R AUGUSTUS OH . aricature in colors F N AJ J N C , , by Max Reveille ond n hm . o Nov em er eer o 1 1 8 . B b "L ) , b , 9

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e i te b istin uis h ed rit h THE RE T WAR . D c D is Artists Ill tr d n n . us ate o do : The G A p d y g B . L di 1 Stu o 1 . , 9 9

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THIS book h as been set by BERTHA GOUDY from types and decorations designed by FREDERICK W GOUDY and printed in

W . G . the shop Of ILLIAM E RUD E, New York City The engravings G G were made by the BECK EN RAVIN COMPANY, New York City .