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These traditionally were a select group of artists who were employed on contract, or commissioned to produce specific works during the First World War, the Second World War and select military actions in the post-war period. The four Canadian official war art programs are: the First World War Canadian War Memorials Fund (CWMF), the Second World ...
The Canadian government has sponsored four official war art programs: the First World War Canadian War Memorials Fund (CWMF), the Second World War Canadian War Records (CWR), the Cold War Canadian Armed Forces Civilian Artists Program (CAFCAP), and the current Canadian Forces Artists Program (CFAP). [3]
In 1943, he was transferred to officer training and made an Official Second World War artist. On June 6, 1944, Fisher came ashore with the 3rd Canadian Division at Mike Beach near Courseulles-sur-Mer (at the eastern part of Juno Beach). [4] As he was landing, he realized that the art supplies he carried might drown him and threw them away.
The CFAP was a successor to several other art programs. The tradition got its formal start in Canada in 1916, with the creation of the Canadian War Memorials Fund. 800 paintings, sculptures and prints were completed throughout the First World War. Most of the works submitted were by artists already serving with the military.
Canadian Forestry Corps' Gas Attack, Lievin (1918) by Canadian war artist A. Y. Jackson. Representative works by Canada's artists whose work illustrates and records war are gathered into the extensive collection of the Canadian War Museum. The earliest war art in Canada was rock art created by Indigenous peoples from all regions of the country ...
Comfort was one of the organizers of the 1941 Kingston Conference, a meeting of Canadian artists to discuss the role of art in society as well as other issues facing the arts at the time. He also helped to initiate Canada's World War II War Art program, serving as an Official Second World War artist .
After the war he became chief designer at the Canadian Government Exhibition Commission, and finally chief of design and displays for the National Museums of Canada. He also contributed to the Canadian Pavilion at Expo 67. [3] When he retired in 1975, Wood embarked with five artist friends on a series of painting expeditions to Newfoundland.
During the Second World War, Jackson became one of the central figures in the development of the Canadian War Art Program in 1943. Working with the National Gallery of Canada, he played a pivotal role in organizing the largest public art project in Canadian history: the Sampson-Matthews silkscreen print program in 1942. [18]