[PIC GALLERY] Prints, Cartoons & Drawings of All War

"The Strongest" (1915) was painted by the Italian artist Fortunino Matania (1881-1963).
It shows a scene from WW1, where a young boy is making fun of the oppressor. Judging by the French text on the left, it is a French (or Belgian) boy sticking out his tongue to the German soldier, while his mother is avoiding any contact with the soldiers. And the soldier seems uncertain how to react to this…
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"This sketch, of an Army platoon leader of the 29th Infantry Div fully dressed for D-Day, is by Lt. Jack Shea. In his annotations, Shea shows how the soldier carried not just combat gear (hand grenade, carbine, knife) but also materials meant to aide in traversing the French countryside after passing through the battle on the beach (maps, compass, wirecutters, binoculars). The soldier strapped a first-aid kit to his belt, for easy accessibility, and carried another on his boot".

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"According to the 29th Div historical website, one of its regiments was part of the first wave at Omaha Beach, with the rest soon to follow. Fighting alongside the 1st Infantry Div and nine companies of Army Rangers, the 29th assaulted the western portion of the beach. Following D-Day, the Div fought in France and then Germany, remaining in Europe through spring 1945".

"Shea was attached to the 29th as a combat historian. The Historical Divi. of the War Department, home of these “historical officers,” consisted of officers and enlisted men who were former professors, lawyers, and newspapermen".

"Early in the war, the Army’s historians gathered second-hand battle reports and documents, while largely remaining stateside. But in 1944, Gen. George C. Marshall ordered the group to produce morale-boosting short pamphlets about recently concluded operations, to be read by soldiers wounded in those actions while in recovery".

"Shea’s attachment to the 29th Infantry in June 1944 seems to have been one result of this policy".
 
Rico said:
View attachment 22981

The War (German: "Der Krieg"), sometimes known as the Dresden War Triptych, is a large oil painting by Otto Dix on four wooden panels, a triptych with predella. The format of the work and its composition are based on religious triptychs of the Renaissance, like those by Matthias Grünewald. It was begun in 1929 and completed in 1932, and has been held by the Galerie Neue Meister in Dresden since 1968. It is one of several anti-war works done by Dix in the 1920s, inspired by his experience of trench warfare in the First World War.

The triptych has three main panels, with a fourth as a supporting panel or predella below the main central panel. The large central panel is a 204 cm (80 in) square; the flanking panels to either side the same height but half the width, 102 cm (40 in) each; and the predella below the central panel has the same width but is only 60 cm (24 in) high.

From left to right, the left wing depicts a column of German soldiers marching away from the viewer through the fog of war towards the battle in the central scene. The central panel shows a devastated urban landscape scattered with war paraphernalia and body parts, reworking the themes in his 1923 work The Trench, and divided like the 16th century Isenheim Altarpiece of Mathias Grünewald with a living side to the lower left and a dead side to the upper right. A skeletal figure floats above the scene, pointing to the right, with a soldier in gas mask below, and scabrous legs upended to the right, recalling the legs of Christ in Grünewald's crucifixion scene. The right wing shows several figures withdrawing from the fight. A dominant greyish figure, helping a wounded comrade, is a self-portrait of Dix himself, in a composition similar to a descent from the cross or a pietà . In the predella, several soldiers are lying next to each other, possibly sleeping under an awning, or perhaps they represent the dead in a tomb. This fourth panel is based on The Body of the Dead Christ in the Tomb by Hans Holbein the Younger.

The painting uses a restricted palette of mainly dark colours, with cold greens, greys, and whites for death and decay, and warm reds and oranges for blood, destruction and shellfire.
Click to expand...
I knew I had seen this painting before, so I looked through my books and voilà — Ernst Jünger – Storm of Steel.

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