Art During The Great War

(via The Outline of Art) William Orpen writes:

The artisitc activity of Great Britain was at its height in 1917. In March the Imperial War Museum was instituted, and during the summer the Canadian War Memorials Fund was founded by Lord Beaverbrook and Lord Rothermere, who, acting under competent expert advice, accumulated a notable collection of pictures. When the collection was exhibited at Burlington House, prior to its dispatch to Canada, the work of the younger artists revealed to a significant degree the new spirit that was abroad in art. Nevinson and Nash were no longer alone; other artists of their own generation exhibited war pictures in which similar tendencies could be discerned. Conspicuous among those who stressed the Cubist point of view, presenting soldiers as automata and emphasizing the mechanism of war, were Messrs. P Wyndham Lewis and William Roberts; still more numerous were those who adopted a post-Impressionist simplication of statement, among the most prominent members of this school being the brothers Stanley and Gilbert Spencer, Messrs. Paul and John Nash, and Mr Henry Lamb. Pictures by all these artists and many others were also acquired for the Imperial War Museum.

Mr Henry Lamb, another member of the New English Art Club who had attracted attention before the War by his powers of drawing and the emotional force in his pictures, was a comparative late comer; for having been formerly a medical student he was fully accupied with Red Cross work up to and following the Armistice. When he resumed the brush, however, it was seen that he had taken notes during his services in Macedonia, and his picture ‘Advanced Dressing Station on the Struma, 1916’, now in the Manchester Art Gallery, is a notable contribution to the pictorial exposition of the psychology of war. It is not the excitement or frenzy of fighting that Mr Lamb shows us, but the boredom and dreariness of the men who are waiting for untterable things to happen. Precisely drawn, wonderfully clear and simple in its design, this painting depicts a quiet moment in the campaigner’s life, a moment when the weariness of all concerned finds abundant expression.

To deal with all the artists who painted war pictures between 1914 and 1918 is obviously beyond the scope of this chapter, and therefore the work of many eminent painters—several of whom will be referred to subsequently—must be passed over in silence for the moment. Turning to a new subject does not necessarily change an artist’s style, and it is the evolution of a new style rather than the discovery of a new subject which vitally affects the history of art. The number of Official Artists appointed was evidence of the curious way in which the War persuaded a ‘Business Government’ to treat art with more seriousness and consideration than it had yet received in Great Britain. While many artists, like Sir John Lavery and Mr Muirhead Bone, continued their former style and practice when engaged on these new subjects, other artists, as we have seen, were fired by their experiences in the trenches to the invention of new styles for the expression of new emotions. This direct or indirect influence of the War on art was not limited only to the artists who had served abroad; occasionally it made itself felt in the work of the men who stayed at home.

The most remarkable war picture in the Royal Academy of 1918 had for its subject a London ‘Tube’ station during an air raid. Mr Walter Baye’s great canvas ‘The Underworld’ is a vigorous and haunting painting which in its style approaches the new manner of post-Impressionism. Designed as a mural decoration, the picture shows an appropriate monumental treatment of the alien figures who sprawl about the platform. The faces are not English faces, but on occasions such as the artist depicts London’s underworld was full of these types. Mr Bayes ably commemorates in their characteristic attitudes and dishevelled condition the dreary languor of these semi-orientals waiting in safety for the ‘All clear’ signal which will tell them it is safe to return to the surface of the Metropolis. Mr Walter Bayes, who is the Head of the Westminster School of Art and a member of a well-known family of artists, had long been known as a decorative painter of great talent, but he had never previously produced a painting so precious as a human document.

The public, as well as the technical expert, can appreciate good drawing, attractive color, and well balanced design; but these things alone will not serve to capture its imagination. It demands rightly that a picture should contain an idea or an emotion that can be clearly grasped. To some artists—mostly of the younger generation—the War afforded the most astounding experience they had ever undergone, and, overwhelmed by it, they burst through the barriers of school-taught orthodox painting to express with a primitive ferocity the intensity of their own sensations. By placing on permanent record, not only the scenes caused but the emotions evoked by the War, they have rendered services to both History and Art which posterity will know how to value.