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By Brandon, Laura

This is a very encyclopaedic survey of artists' responses -- either ""official"" and private -- to ""the horrors of war."" Art and War unearths the sheer range of artists' portrayals of this so much devastating element of the human -- from the ""heroic"" work of Benjamin West and of John Singer Sargent to brutal and iconic works through artists from Goya to Picasso, and the both oppositional paintings of Leon Golub, Nancy Spero and others who reacted with fury to the Vietnam battle. specific recognition is paid to paintings produced according to the 1st and moment global Wars and to more moderen paintings and memorial paintings via artists as varied as Barbara Kruger, Alfredo Jarr and Maya Lin. The booklet seems eventually to the reactions of latest artists reminiscent of Langlands and Bell to the U.S. invasion in 2001 of Afghanistan and the struggle in Iraq.

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It tells the story of Duke William of Normandy’s conquest in 1066 of England, where he subsequently became king. The embroidery is unique for a number of other reasons, especially because it depicts a real event shortly after it happened without symbolism or allegory: William and his men, their ships to cross the English Channel, their weapons, and their 22 Art and War dwellings all appear as they were at the time. It is not only a beautiful work of art, but also an incredible social document. Inscriptions in Latin (still the written language of Europe) comment on the events portrayed.

The Arch of Titus (ad 81) in Rome, for example, has sculpted relief panels that tell of the Emperor Titus’s triumphal return from the conquest of Jerusalem, a campaign that lasted from ad 66 to ad 70. 12 On the Roman column, a 200-metre-long encircling frieze rising up its height depicts Emperor Trajan’s two successful campaigns against the Dacians. It presents 150 separate episodes and several thousand figures. Art historians note Trajan’s column because some of its figures are less than realistic, marking the return to a more symbolic way of depicting people that is characteristic of much medieval European art.

20 Here, military power oozes from the rider’s aggressive, twisted stance and the repressed energy of his heavily muscled mount. ’ The phrase ‘reins of power’ has rarely seemed more apt. Twisting forms become the norm in figure studies in the fifteenth-century Italian Renaissance. 21 Every muscle is in tension, so that the intended sense of movement instead suggests a peculiar stillness. Pollaiuolo’s engraving is an early example of a printing technique that, until the invention of photography, provided one of the few means to mass produce and mass distribute images.

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