War Artist

When Brigadier James Phelan returns from Afghanistan with the body of a young soldier killed under his command, he is traumatised by the tragedy. An encounter with young Sydney tattoo artist Kira leaves him with a permanent tribute to the soldier, but it is a meeting that will change the course of his life. What he isn't expecting is a campaign of retribution from the soldiers who blame him for the ambush and threaten his career. With his marriage also on the brink, his life spirals out of control. Years later, Phelan is surprised when Kira re-enters his life seeking refuge from her own troubles and with a young son in tow. She finds a way to help him make peace with his past, but she is still on the run from her own. The War Artist is a timely and compelling novel about the legacy of war, the power of art and the possibility of redemption.

What is War Artist An artist who documents first-hand experiences of war through any sort of illustrative or depictive record is referred to as a war artist. This artist may be commissioned by a government or newspaper, or they may chronicle their experiences on their own initiative. Artists who work in the field of war investigate the visual and sensory aspects of combat, which are frequently lacking from written histories and other narratives of warfare. How you will benefit (I) Insights, and validations about the following topics: Chapter 1: War artist Chapter 2: Imperial War Museum Chapter 3: Australian and New Zealand Army Corps Chapter 4: Military art Chapter 5: History of the Great War Chapter 6: William Orpen Chapter 7: Will Longstaff Chapter 8: Anna Airy Chapter 9: QF 13-pounder gun Chapter 10: Arthur John Ensor (II) Answering the public top questions about war artist. Who this book is for Professionals, undergraduate and graduate students, enthusiasts, hobbyists, and those who want to go beyond basic knowledge or information for any kind of War Artist.

What keeps so many of us from doing what we long to do? Why is there a naysayer within? How can we avoid the roadblocks of any creative endeavor—be it starting up a dream business venture, writing a novel, or painting a masterpiece? The War of Art identifies the enemy that every one of us must face, outlines a battle plan to conquer this internal foe, then pinpoints just how to achieve the greatest success. The War of Art emphasizes the resolve needed to recognize and overcome the obstacles of ambition and then effectively shows how to reach the highest level of creative discipline. Think of it as tough love . . . for yourself.

-World War I and American Art provides an unprecedented look at the ways in which American artists reacted to the war. Artists took a leading role in chronicling the war, crafting images that influenced public opinion, supported mobilization efforts, and helped to shape how the war's appalling human toll was memorialized. The book brings together paintings, drawings, prints, photographs, posters, and ephemera, spanning the diverse visual culture of the period to tell the story of a crucial turning point in the history of American art---

Collects the best artwork created before, during and following the Civil War, in the years between 1859 and 1876, along with extensive quotations from men and women alive during the war years and text by literary figures, including Emily Dickinson, Mark Twain and Walt Whitman. 15,000 first printing.

This book, a collection of Alex Danchev's essays on the theme of art, war and terror, offers a sustained demonstration of the way in which works of art can help us to explore the most difficult ethical and political issues of our time: war, terror, extermination, torture and abuse.It takes seriously the idea of the artist as moral witness to this realm, considering war photography, for example, as a form of humanitarian intervention. War poetry, war films and war diaries are also considered in a broad view of art, and of war. Kafka is drawn upon to address torture and abuse in the war on terror; Homer is utilised to analyse current talk of 'barbarisation'. The paintings of Gerhard Richter are used to investigate the terrorists of the Baader-Meinhof group, while the photographs of Don McCullin and the writings of Vassily Grossman and Primo Levi allow the author to propose an ethics of small acts of altruism.This book examines the nature of war over the last century, from the Great War to a particular focus on the current 'Global War on Terror'. It investigates what it means to be human in war, the cost it exacts and the ways of coping. Several of the essays therefore have a biographical focus.

From artists to art workers -- Carl Andre's work ethic -- Robert Morris's art strike -- Lucy Lippard's feminist labor -- Hans Haacke's paperwork.

'Excellent! Jan has written a memorable story about a war time artist that's so descriptive you are completely immersed in it. I thoroughly enjoyed it. Sybil is an extraordinary woman taking on this...' - NetGalley reviewer, 5* *** 'Excuse me,' the man interrupted her as if there was absolutely nothing she could say to comfort him. 'I have to get on with my digging.' Then he stabbed violently at her sketchbook with his finger. 'Get it all down,' he snarled. 'Every single disgusting, pathetic detail. And shove it in their faces.' London, 1940 Following a chance meeting with her former teacher, young painter Sybil Paige wins a coveted assignment from the War Artists' Advisory Committee, and so begins her journey across the length and breadth of the country, sketching everything from airfields and assembly lines to farms and factories. Sometimes it's milkmaids and poultry keepers, brave and hopeful; sometimes it's the harrowed faces of those digging through the rubble to find their loved ones and livelihoods. But armed with her sketchbook, Sybil captures it all, determined to tell the stories of the thousands of women fighting their own battles on the home front. Above all, she wants the voices of her subjects to shine through. But amidst the scenes of despair and courage, the one picture Sybil cannot paint and yet cannot purge from her brain, no matter how hard she tries, is the image of a woman folded into a chair, the crumpled telegram about her missing husband clasped in her hand. Because a self-portrait, Sybil well knows, requires the artist to find her own voice. With each new commission, Sybil grows in confidence. But, like the many people she meets and sketches, she fears the future: will it bring hope or heartbreak? *** Readers love Jan Cacey: '[A] captivating, heart wrenching saga... I adamantly recommend' - 5* reader review 'A story of courage and hope' - 5* reader review 'I love this book... This book drew me in straight away and I just wanted to keep on reading until I finished it. A lovely story' - 5* reader review 'Poignant, warm, gut wrenching and hopeful, this book is just beautiful. I stayed riveted the entire time and could not put it down' - 5* reader review 'The book is full of fervor and the characters grow from beginning to end! I could not put the book down!' - 5* reader review

"A penetrating study based on unique archival material and a deep analysis into hundreds of wartime works of art." —Tim Cook, author of The Fight for History: 75 Years of Forgetting, Remembering, and Remaking of Canada’s Second World War The third volume of this award-winning series showcases paintings and drawings E. J. Hughes created during the artist’s war service in Ottawa, England, Wales, and Alaska. In this, the third volume of an award-winning series on artist E. J. Hughes (1913–2007), Robert Amos turns his focus to Hughes’s service in the Second World War. The narrative begins with Hughes’s cadet days with the Seaforth Highlanders in Vancouver, followed by his enlistment at the Work Point Barracks in Esquimalt in 1939. Named the first “service artist” in 1941, he spent two winters in Ottawa before being posted to London where he was attached to different regiments in England and Wales. His paintings of camp life and convoys reflect his keen attention to the details of vehicles, artillery, and uniforms. In 1943 on the Alaskan island of Kiska, he transformed sub-zero weather and howling gales into a powerful document of this remote theatre of war. He returned to Ottawa where he worked until 1946—Canada’s first, last, and longest-serving War Artist of the Second World War. He was also the most prolific. The book features seventy artworks from the Canadian War Museum’s holdings, expanded with many personal photos and sketches from the artist’s papers. The narrative situates Hughes’s wartime work within the broader context of his life and his development as an artist. With the care and knowledge of a fellow artist, Amos draws the reader into this important chapter in the life of E. J. Hughes and Canadian art.