British Romantic Art and the Second World War

Sillars, Stuart

doi:10.1007/978-1-349-09918-4

Cited by 64 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…1 Where war art historians have discussed artistic production during the Second World War, they have largely focused on officially commissioned artworks created by professional artists for the official war art schemes (in Canada, it was the Canadian War Records) and rarely on the unofficial art production occurring on and behind the front lines. This occurred mainly because the official art collection was produced for posterity, commemoration, and history documentation purposes (Brandon and Oliver 2000;Robertson 1977;Bourke 2017;Brandon 2021;Sillars 1991;Bohm-Duchen 2013;and Foss 2007, among others). Rarely do studies on war art created by Canadian POWs enter the official narratives, with a few notable exceptions (Barker and Noakes 2021;Vance 1994;and Cook 2018).…”

Section: Introductionmentioning

confidence: 99%

Curating Community behind Barbed Wire: Canadian Prisoner of War Art from the Second World War

Pagnotta

2024

Genealogy

View full text Add to dashboard Cite

Though often under-represented in the official and national narratives and in Canadian military historiography more broadly, the intimate and personal lived experiences of Canadian prisoners of war (POW) during the Second World War can be found in archives, photography collections, and collections of war art. In an attempt to see past the mythologised versions of POWs that appear in Hollywood films, best-selling monographs, and other forms of popular culture, it is through bits of ephemera—including wartime log books and the drawings carefully kept and sent home to loved ones along with handwritten letters—that the stories of non-combatant men and women who spent their war as POWs, can be told. Together, Canadian POWs created and curated community and fostered unconventional family ties, sometimes called “emotional communities”, through the collection and accumulation of drawings, illustrations, paintings, and other examples of war art on the pages of their wartime log books while living behind barbed wire. This article uncovers some of these stories, buried in the thousands of boxes in the George Metcalf Archival Collection—the textual archives—at the Canadian War Museum (CWM) in Ottawa, Ontario, Canada.

show abstract

Section: Introductionmentioning

confidence: 99%

Curating Community behind Barbed Wire: Canadian Prisoner of War Art from the Second World War

Pagnotta

2024

Genealogy

View full text Add to dashboard Cite

show abstract

“…They presented themselves as heirs to artists such as Blake and Constable, whose work they admired for its modernity. 67 They perceived modern qualities in ancient forms in the landscape. Nash marvelled at the design of the White Horse and thought about the Avebury ring in terms of its 'composition of lines and masses and planes, directions and volumes'.…”

Section: Familymentioning

confidence: 99%