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Images of the Army: The Military in British Art 1815–1914. Manchester: University Press. Knott, Richard, The Sketchbook War. The History Press, 2013. Sillars, Stuart (1987). Art and Survival in First World War Britain. Basingstoke: Macmillan. Holme, Charles. The war depicted by distinguished British artists (The Studio Ltd., 1918).
Zonnebeke is an oil-on-canvas painting created in 1918 by the Irish artist William Orpen. It was one of the series of paintings that he made when he was a British official war artist in World War I. The painting has the dimensions of 63.5 cm by 76.2 cm. It belongs to the collection of the Tate in London. [1]
Meninsky had enlisted as a private in the Royal Fusiliers in January 1918, and worked in a clerical capacity in the regiment. [19] He applied to be a war artist under the scheme run by the British War Memorials Committee (BWMC), and was released from military duties for an initial four-month period from May 1918. [20]
November 7–December 14 – British painter Colin Gill, having previously served as a soldier on the Western Front, returns to France to work for the British War Memorials Committee. December 3 – The November Group (Novembergruppe) of expressionist artists is formed in Germany, and shortly afterwards merges with the Arbeitsrat für Kunst. [2]
Paul Nash, We Are Making a New World, Imperial War Museum Sunrise, Inverness Copse, the 1918 drawing on which the painting was based. We Are Making a New World is a 1918 oil-on-canvas painting by Paul Nash. The optimistic title contrasts with Nash's depiction of a scarred landscape created by a battle of the First World War, with shell-holes ...
The Harvest of Battle (1918) (Art.IWM ART 1921) In 1918, after some negotiation, Nevinson agreed to work for the British War Memorials Committee to produce a single large artwork for a proposed, but never built, Hall of Remembrance. He was offered an honorary commission as a Second Lieutenant but refused, fearing it would prejudice his medical ...
In February 1918, Aitken was made head of the new British Ministry of Information (MoI) and subsequently established the British War Memorials Committee (BWMC). The BWMC which began recruiting artists to compile a record of the war in France and at home.
After, the British War Memorials Committee did commission Gill to produce a large work for the proposed, but never built Hall of Remembrance, [5] he was released from his duties at the Camouflage School and returned to France on 7 November 1918 to do sketches, and other work, for his BWMC commission.