BGuthrie Photos: VA -- Richmond -- Virginia Museum of Fine Arts -- Exhibit: The Great War

VA -- Richmond -- Virginia Museum of Fine Arts -- Exhibit: The Great War:

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Description of Pictures: THE GREAT WAR: Printmakers of World War I
July 28, 2014 – November 11, 2014
“The Great War” changed the face of the world when it began on July 28, 1914. The story of World War I and the emotions it brought on are told through prints by British and American artists such as Muirhead Bone, Kerr Eby, Childe Hassam, James McBey, and Claude Shepperson. The works depict scenes of combat in France and the Near East, life on the home front in the United States and England, and the war’s aftermath and its commemoration. All of the prints come from the Frank Raysor Collection, a promised gift to the museum. Curated by Dr. Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. VMFWW1_140817_002.JPG: THE GREAT WAR: Printmakers of World War I July 28, 2014 – November 10, 2014 This exhibition marks the centenary of the start of World War I -- July 28, 1914 -- which involved more than 40 nations before the conflict ended on November 11, 1918.For the first time, efficient, mechanized, and chemical weapons -- a horrific product of the growing industrialization of Europe -- barraged soldiers and civilians from land, air, and sea, producing an unprecedented nine million casualties and devastation. Rather than presenting a chronology of events, this exhibition focuses on how artists -- many of whom witnessed combat firsthand as official War Artists -- represent the moods and transformative experiences particular to this global conflict. The European and American printmakers included here created an invaluable visual record of the war as conducted on the frontlines and the mobilized home front. This exhibition is dedicated to all who have been affected by war.
2. VMFWW1_140817_009.JPG: Unknown Artist, The Famous Carillon of 66 Bells, War Memorial, Richmond, Va. postcard, ca 1930s-40s The Carillon, the first World War I monument built in Virginia, stands two miles south of VMFA in Richmond's Byrd Park. During the mid-1920s, the General Assembly founded the War Memorial Commission to conceive of a monument honoring Virginians who served in combat or supported the war effort. The resulting 240-foot memorial bell tower, constructed on land donated by the City of Richmond, was dedicated to the Commonwealth of Virginia on October 15, 1932.
3. VMFWW1_140817_018.JPG: Unknown artist The Carillon, Richmond, VA ca 1930s-40s Distinguished Boston architect Ralph Adams Cram, who previously designed multiple Gothic Revival buildings for the University of Richmond, modeled the Carillon in a Colonial Revival style. The reflecting pool pictured appears only in this artistic rendering, as it was never completed due to budget constraints. In 1937, however, the James River Garden Club donated the holly and dogwood trees that line the mall. Today, the Carillon chimes with national songs and military themes each Fourth of July and on holidays that commemorate military service, including Memorial Day and Veterans Day.
4. VMFWW1_140817_036.JPG: Percy John Smith Death Awed (from the portfolio Dance of Death, 1914-1918), 1919 This harrowing image exemplifies the dreadful reach of total warfare: combat boots with the remains of severed feet dismay the personification of death. Printmaker Smith served on the Western Front, a line of trenches that stretched from the English Channel to the Swiss Alps, where the deadliest, most destructive conflicts of the Great War were waged. This image from Smith's series Dance of Death, 1914-1918 reinterprets the often darkly humorous, medieval motif in which a skeletal figure leads people to the grave. But here, even death clutches its chest in horror -- awed.
5. VMFWW1_140817_041.JPG: Muirhead Bone Building Ships: A Shipyard (from The Great War: Britain's Efforts and Ideals), ca 1917 Undaunted by the challenge of illustrating the orchestrated labors of construction sites, Bones uses his signature precision to capture the dynamic industrial activities of a Royal Navy shipyard. Prior to the war, Bone sketched monumental English architecture in various states, from the pristine to the demolished. This highly regarded body of work earned Bone his nickname -- the "London Piranesi," after Italian architect and printmaker Giovanni Battista Piranesi (1720-1778). Piranesi produced a series of etchings that depicted the ancient monuments of Rome, such as the Arch of Titus (shown below), in overwhelming grandiosity and splendor despite their ruined state.
6. VMFWW1_140817_046.JPG: Muirhead Bone Building Ships: A Shipyard (from The Great War: Britain's Efforts and Ideals), ca 1917 Undaunted by the challenge of illustrating the orchestrated labors of construction sites, Bones uses his signature precision to capture the dynamic industrial activities of a Royal Navy shipyard. Prior to the war, Bone sketched monumental English architecture in various states, from the pristine to the demolished. This highly regarded body of work earned Bone his nickname -- the "London Piranesi," after Italian architect and printmaker Giovanni Battista Piranesi (1720-1778). Piranesi produced a series of etchings that depicted the ancient monuments of Rome, such as the Arch of Titus (shown below), in overwhelming grandiosity and splendor despite their ruined state.
7. VMFWW1_140817_049.JPG: Muirhead Bone Building Ships: A Shipyard Seen from a Big Crane (from The Great War: Britain's Efforts and Ideals), ca 1917 In May 1916, the British government appointed Bone the first official War Artist. The London-based draftsman, already well regarded for his picturesque architectural drawings and etchings, completed two tours of duty on the Somme. Here, Bone depicts an immense naval shipyard from a dramatic aerial perspective. Multitudes of industrial workers, lightly sketched and minute atop cranes and dockside, underline the magnitude of Great Britain's war preparations. Traveling without restriction along British frontlines, Bone never engaged in combat while creating his vivid record of the Great War. Two hundred of his drawings were published in The Western Front (1916-17), a portfolio featured in the adjacent display case.
8. VMFWW1_140817_074.JPG: Muirhead Bone Building Ships: Ready for the Sea (from the Great War: Britain's Efforts and Ideals) ca 1917 "There is a great bustle about a ship at such a time... It looks like chaos, but everything works up perfectly to the moment when she casts off, free of the seas." -- Charles Edward Montague, The Western Front, October 1917
9. VMFWW1_140817_088.JPG: George Clausen Making Guns: The Great Hammer (from The Great War: Britain's Efforts and Ideals), 1917 English Impressionist painter George Clausen, a prominent member of the Royal Academy of Art, became an official War Artist at age sixty-five. In March 1918, the Ministry of Information, the British government's centralized propaganda agency, commissioned twelve printmakers to represent the diverse patriotic activities of British soldiers and civilians for the portfolio Efforts and Ideals. Making Guns, Clausen's six-print series for Efforts, depicts munitions factory workers assembling large field guns. Together, the imposing radial crane and industrial steam hammer herald the monumental scale and complexity of mechanized warfare.
10. VMFWW1_140817_095.JPG: George Clausen Making Guns: The Radial Crane (from The Great War: Britain's Efforts and Ideals), 1917
11. VMFWW1_140817_102.JPG: George Clausen Making Guns: The Furnace (from The Great War: Britain's Efforts and Ideals), 1917 Silhouetted against sparks falling from a glowing furnace, a factory worker helps to forge a colossal gun barrel. Clausen created the striking white highlights in this print by honing areas of tone on the lithographic stone with an abrasive tool.
12. VMFWW1_140817_115.JPG: James McBey France at Her Furnaces, 1917 This print captures the workaday, backbreaking toil at the white-hot furnaces inside a munitions factory near Le Havre, a major port through which Allied troops and supplies moved during the war. The British government enacted a military draft in May 1916, assigning McBey to the Army Printing and Stationery Services offices in Normandy. In the years immediately preceding the war, self-taught etcher McBey enjoyed critical success in London. Critics praised his etching of the Netherlands, Spain, and Morocco as building upon the pictorial legacy of British Etching Revival artists Seymour Haden and James McNeill Whistler.
13. VMFWW1_140817_122.JPG: James McBey Zero. A Sixty-Five Pounder Opening Fire, 1918-20 After serving in France for one year, McBey was appointed official War Artist for the Sinai and Palestine campaign by Campaign Dodgson, Keeper of Prints and Drawings, at the British Museum. Here, McBey records the precise moment of the twilight attack on the Turkish artillery positions, near the Palestinian village Jelil, on September 19, 1918. Though McBey completed his composition in England, his drypoint technique achieves the swiftness of a sketch made on the spot. Textured, agitated lines evoke the ear-splitting blast of shellfire at "zero hour," as a violent flash of light obscures the surroundings of three gunmen.
14. VMFWW1_140817_132.JPG: James McBey The Sussex, 1916 Torpedoed by a German U-boat while crossing the English Channel on March 24, 1916, the French passenger ferry Sussex beached near Boulogne-sur-Mer. Allied soldiers rescued survivors and recovered more than fifty dead from the ship's cavernous bow while spectators, McBey among them, gathered at a safe distance. Though the United States remained neutral, President Woodrow Wilson condemned the attack as a human rights violation. Germany responded by pledging not to sink ships without first searching for weapons and ensuring the safety of all aboard. Unrestricted submarine warfare resumed in early 1917, however, provoking the US Congress to declare war.
15. VMFWW1_140817_141.JPG: James McBey Study for The Wreck of the Sussex, 1916 Despite the initial wartime restriction that barred sketching in public for security reasons, McBey covertly documented the wreckage several times. After sketching in the palms of his hands and clothes pockets, McBey returned to his barracks to develop the composition. On this small scrap of paper, McBey established the graphic contrast between the clear sky and the shadows of the ship's hollow found in the finished print.
16. VMFWW1_140817_148.JPG: Emil Orlik Austrian Munitions Column on the Serbian Border, 1915 In this aquatint by Berlin-based war artist Emil Orlik, an Austrian artillery brigade descends a snow-capped mountain. After Austria-Hungary shelled the Serbian capital, Belgrade, with bombs on July 29, 1914 (in response to the assassination of Austrian archduke Franz Ferdinand and his wife, Sophie), alliances formed in quick succession across Europe, escalating into a far-reaching conflict. Here, a mounted infantry trudges across steep terrain under bitter weather conditions.
17. VMFWW1_140817_159.JPG: James McBey Dawn. The Camel Patrol Setting Out, 1917-19 In summer 1917, McBey accompanied an Australian camel-mounted infantry on a five-day reconnaissance across Egypt and Palestine. Charged with guarding the Suez Canal from Ottoman forces, the Imperial Camel Corps takes its first strides toward Beersheba (in present-day Israel). McBey sets a dramatically low horizon etched with minimal lines of varied thickness, a perspective suggesting a boundless expanse of sun-drenched, arid land. McBey developed many of his wartime sketches into prints upon returning to England in early 1919. Dawn opens the First Palestine Set, a series of eight etchings that chronicles the patrol's progress across the Sinai Desert.
18. VMFWW1_140817_169.JPG: Kerr Eby Shadows, 1936 Eby served in the US Army in 1917, designing defensive camouflage for soldiers and artillery along the Western Front. Witnessing the drudgery and intolerable conditions of the trenches -- as well as brutal combat -- Eby quickly became disenchanted with war. Here, Eby recollects an ordinary moment: a column of American doughboys (wearing uniform circular steel helmets) march wearily through ruins, under the cover of night. In 1936, Eby reproduced this etching in WAR, a portfolio drawn from his "indelible impressions of war" dedicated to "those who gave their lives for an idea ... who never came back."
19. VMFWW1_140817_176.JPG: Kerr Eby Dawn, the 75's Follow Up, 1919 Eby shows an American field artillery team advancing at dawn -- presumably after a nocturnal barrage that left ruins in its wake -- towing a seventy-five-millimeter field gun and its munitions-saddled caisson. Simply called the "75," the French-made cannon fired more than fifteen shrapnel shells per minute and reached targets up to five-miles afield. In the late stages of the war, most US Army batteries adopted this highly accurate gun for dispersing lethal chemical agents, including mustard gas.
20. VMFWW1_140817_183.JPG: Kerr Eby In the Open, ca 1924-27 Eby hints at the vulnerability of soldiers who transport a seventy-five-millimeter cannon across an apparently deserted battlefield: forces hidden in trenches or positioned miles behind the lines were likely to fire shells on enemy troops who pushed ahead in daylight. In the Open and Daw, the 75's Follow Up (above) also appeared in Eby's book WAR, in which the confirmed pacifist admits that "of late years I have had a growing feeling that we who known something of what war means should get up on our hind legs and do or say what we can."
21. VMFWW1_140817_190.JPG: Claude Shepperson Tending the Wounded: Advanced Dressing Station in France (from The Great War: Britain's Efforts and Ideals), 1917 The lithographs by Shepperson, Muirhead Bone, and George Clausen included in this exhibition were produced for Efforts and Ideals. Proceeds from the sale of the two hundred portfolios -- which were exhibited on tour across England and New York -- supported the survivors of French artists who died in combat. In the series Tending the Wounded, Shepperson documents the care received by an injured soldier, from his swift removal from combat by stretcher-bearers, as shown here, through his serene convalescence.
22. VMFWW1_140817_200.JPG: Claude Shepperson Tending the Wounded: Detraining in England (from The Great War: Britain's Efforts and Ideals), 1917
23. VMFWW1_140817_208.JPG: Claude Shepperson Tending the Wounded: Convalescence in England (from The Great War: Britain's Efforts and Ideals), 1917 Before becoming an official War Artist, Shepperson illustrated fashionable society at play for the satirical magazine Punch. Here, he illustrates a different kind of leisure: soldiers resting at a verdant English estate under the care of nurses. To help cope with the influx of casualties, thousands of British schools, town halls, and private homes were converted into auxiliary hospitals during the war. Upperclass women who lived at country houses -- like this Tudor mansion -- often tended to convalescents after training with the Red Cross. The British television series Downton Abbey portrayed such service through the character Lady Sybil Crawley.
24. VMFWW1_140817_221.JPG: Frederick Landseer Griggs Epiphany, 1918-19 Inscribed, In festo Epiphania domini nostri / Anno salutis MCMXIX (In the Feast of Our Lord's Epiphany / In the year of salvation 1919). Architect and printmaker Griggs designed stone war memorial crosses for cemeteries in the Cotswold Hills of Gloucestershire, a range dotted with medieval churches. The region supported a thriving Arts and Crafts movement, in which Griggs was a leading practitioner. In 1919, Griggs presented his friends with this commemorative etching, which synthesizes his affections for Gothic design and art with a moral purpose. Griggs inscribed this idyllic scene with verse from Christmas vespers in Christian liturgy: The King of Peace is magnified, whose power the whole earth desires. The King of Peace is magnified above all the kings of the whole earth.
25. VMFWW1_140817_228.JPG: Alfred Ost The Belgian Dime (Le Dubbeltje Belge), ca 1916 Children often supported the war through patriotic classroom displays and fundraisers. Inscriptions on this enlivening propaganda poster describe these young Belgian refugees as "too young to save [our homeland] by force of arms" yet compassionate for those suffering in German-occupied Belgium. From 1914 to 1918, Germany ravaged neutral Belgium, sending more than one million refugees to the Netherlands and France. The Dutch charity Dubbeltje Belge (Belgian Dime) commissioned Ost to design stamps, medallions, and prints to raise funds. Proceeds from the sale of this print supported collaborative French and American humanitarian efforts.
26. VMFWW1_140817_239.JPG: William Strang The Convalescent, 1915 In 1880, Strang became a member of the Royal Society of Painter-Etchers and Engravers, joining his teacher Alphonse Legros and Etching Revival artist Francis Seymour Haden in promoting printmaking as an expressive, original medium. This engraving portrays an officer recuperating from leg injuries, encouraged by the hand of the woman dressed in mourning attire. During convalescence -- leave that facilitated recovery from combat wounds -- soldiers remained under military orders, returning to combat when deemed physically fit.
27. VMFWW1_140817_267.JPG: Jean-Louis Forain The Marker (La Borne), 1916 Impressionist painter and social satirist Forain worked as a war correspondent for the Parisian newspaper Le Figaro. In 1916, Germany provoked the Battle of Verdun, pursuing a strategy of attrition to exhaust the French military's resources that tragically claimed 700,000 lives. Here, Forain renders a mass of lifeless bodies at the foot of a mile-marker for the French town of Verdun. The spiked helmet of a German soldier is barely visible buried among the casualties. Variations of this composition appeared in the Allied press, and leaflets were distributed behind enemy lines as psychological warfare, sending a prophetic message of doom to Germany.
28. VMFWW1_140817_273.JPG: James McBey Spring, 1917, 1917 McBey witnessed this stark landscape -- a once-dense forest stripped bare and shattered to stumps -- following the British capture of Trones Wood. The shell-fire and indiscriminate chemical warfare dispenses during the Battle of the Somme laid entire villages to waste. Untold numbers of unexploded artillery shells also scarred surrounding land, often leaving it impassable. In this drypoint, McBey composes splintered trees from ragged lines, suggesting how fruitless these woods lie, despite the arrival of springtime.
29. VMFWW1_140817_285.JPG: James McBey The Carpenter of Hesdin, 1917 A carpenter cuts rough planks of wood, which he will later fashion into cross-shaped grave markers. In late 1916, more than one million soldiers and civilians died in the unrelenting Battle of the Somme. While on leave from his duties at Boulogne, McBey sketches the devastation in the region. This print bears the signature of an official propaganda censor necessary for its publication. Censors approved the sale of this image to neutral -- and thus potentially pro-British -- audiences because McBey represented the Allied cause poignantly but without controversy.
30. VMFWW1_140817_304.JPG: Childe Hassam Avenue of the Allies, 1918 Revelers thronged Fifth Avenue during September and October 1918 to view shop-window displays and flags raised to support the sale of Liberty Loans. Organizers of this dazzling fundraising campaign referred to the festooned stretch of Manhattan as the "Avenue of the Allies," as each block celebrated the efforts of one of twenty-two Allied nations. Here, American Impressionist Childe Hassam foregrounds the section dedicated to Brazil -- the only independent South American country to enter the war. Hassam made a series of more than thirty flag paintings during the war, including The Flag, Fifth Avenue on view in VMFA's American Art galleries.
31. VMFWW1_140817_311.JPG: The Flag, Fifth Avenue, 1918 Childe Hassam
32. VMFWW1_140817_323.JPG: Albert Eugene Gallatin Art and the Great War
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2014 photos: Equipment this year: I mostly used my Fuji XS-1 camera but, depending on the event, I also used a Nikon D7000. Trips this year: three Civil War Trust conferences (Winchester, VA, Nashville, TN, and Atlanta, GA), Michigan to visit mom in the hospice before she died and then a return trip after she died, and my 9th consecutive San Diego Comic-Con trip (including Las Vegas, Reno, Carson City, Sacramento, Oakland, and Los Angeles). Ego strokes: Paul Dickson used one of my photos as the author photo in his book "Aphorisms: Words Wrought by Writers". Number of photos taken this year: just over 470,000.
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