¥ Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/artgreatwarOOgall_O ART AND THE GREAT WAR By ALBERT EUGENE GALLATIN PAST CHAIRMAN COMMITTEE ON EXHIBITIONS, DIVISION OF PICTORIAL PUBLICITY, UNITED STATES GOVERNMENT COMMITTEE ON PUBLIC INFORMATION. PAST CHAIR' MAN COMMITTEE ON ARTS &> DECORATION, THE MAYOR’S COMMITTEE ON NATIONAL DEFENSE, NEW YORK. AUTHOR OF PORTRAITS OF WHISTLER, 6?C. W ith One Hundred Illustrations £ NEW YORK E. P. DUTTON & COMPANY 1919 COPYRIGHT, I919, BY E. P. DUTTON 6s? COMPANY ALL RIGHTS RESERVED PRINTED IN THE UNITED STATES OF AMERICA DEDICATED TO MY MOTHER PREFACE T HE purpose of this boo\ has been to chronicle the part played in the Great War by painters, illustrators, etchers, lithographers and sculp' tors, acting in these capacities. Their services were of great value and cer' tainly deserved to be recorded. Speaking of the service rendered by the art' ists, the Honorable Carter Glass, Secretary of the Treasury, has said: “ The whole civilized world owes than\s to the artists of America. Future history would be incomplete without adequate recognition of the mighty concrete values which the artists of the war wrung from the fabrics of their dreams and devoted to the rescue of humanity from further bloodshed and sacrifice I have endeavored to show what the artists of the United States, Great Britain, Canada and France have done, both in depicting scenes at the actual front and behind the lines , in recording the wor\ of the navies and the aviation corps, as well as depicting scenes in the shipyards, munition factories , industrial plants and wor\on the land. I have, too, tried to show the important service rendered by the poster artist, the cartoonist and the camoufleur. With regard to the illustrations appearing in this boo\, it has been my endeavor to ma\e them record as many phases as possible of the Great War, and to select only those possessed of artistic interest. Already a considerable literature has come into existence concerning the part artists played in the Great War; in my bibliography I have re' corded such items as have come to my notice. Many of these items I have consulted in the preparation of the following pages. My best than\s are due to the British Bureau of Information for their courtesy in supplying me with photographs of many of the British pictures. I wish also to than\ Mr. Eric Brown, Director of the "National Gallery of Canada, for his \mdness in sending me desired information concerning the Canadian War Memorials. To Mr. Paul G. Konody, who brought this exhibition to 7 \ lew Tor \ , I am indebted for giving me several photo' graphs of the Canadian paintings. My than\s are also due to Mr. Duncan Phillips for his courtesy in placing several negatives belonging to him at my disposal, and to Mr. H. W. Sage for permitting me to re' produce the paintings by Mr. Maxfield Parrish, of which he is the owner. Bar Harbor, Maine, August, 1919 A. E. Gallatin CONTENTS Introduction Art and the Great War — Former War Pictures — Britishand Canadian Records — America’s Failure to Make Adequate Pictorial Records — Art Museums and the War — American Federation of Arts — National Arts Committee — Mr. Gallatin’s Letter to the President. Chapter One: The United States of America 31^56 Division of Pictorial Publicity — Posters — Official Artists — Other Art' ists in France — Records Made in America — War Pictures Painted in America — Cartoons — Designation T argets — Sculpture — Military Camouflage — Marine Camouflage — New York Committee on Arts and Decoration — Art Committee of New York Liberty Loan Committee — Allied War Salon — Victory Arch, New York; Victory Way in New York. Illustrations: The United States of America 57*127 Chapter T wo : Great Britain and Canada 1 3 1 ' 1 4 3 The Excellent Records Possessed by Great Britain and Canada — Official British Artists — Lithographs Depicting Great Britain’s Efforts and Ideals — Work of G. Spencer Pryse and other Artists — Canadian War Memorials; Official Australian Artists. Illustrations: Great Britain and Canada 145*215 Chapter Three : France 219*228 Work of Steinlen and Forain — Lucian Jonas and Henri Farre — Other War Pictures — Posters. Illustrations: France 229*277 Illustrations: The Netherlands 279*283 285*288 Bibliography LIST OF ILLUSTRATIONS THE UNITED STATES OF AMERICA George Luks The " Blue Devils" Marching Down Fifth Avenue. Oil. Reproduced in color. Frontispiece George Luks Peace Celebration in 7Jew Y or\. Oil Spencer B. Nichols The Tan\er. Oil Edwin H. Blashfield Carry On. Oil Samuel J. Woolf First Aid Station at Seicheprey. Oil John C. Johansen The Launch of the Watonwan. Oil Henry Reuterdahl The Destroyer Patrol. Oil Henry Reuterdahl The Return of the Victory Fleet. Drawing Childe Hassam Early Morning on Fifth Avenue, May, 1917. Oil George Bellows Murder of Edith Cavell. Lithograph George Bellows Massacre at Dinant. Oil Maxfield Parrish Design for the Red Cross. Oil Maxfield Parrish Design for the Red Cross: Detail. Oil Maxfield Parrish Design for the Red Cross : Detail. Oil Harry E. Townsend A Wounded Tan\. Drawing George Harding An American' French Conference in a Wine Cellar; Chateau'Thierry. Drawing Walter J. Duncan Cold Rights Coming On. Drawing Ernest Peixotto Troops Leaving Esnes, September 23, 1918 Harvey Dunn Kamarad — The Sniper. Drawing J. Andre Smith On Hill 204 — Southwest of Chateau'Thierry. Drawing William J. Aylward Troops Waiting to Advance at Hatton-Chatel, Meuse — S. Mihiel Drive. Drawing Wallace Morgan Americans Mopping Up in Cierges. Drawing Wallace Morgan Feed a Fighter. Poster Joseph Pennell Ready to Start. Lithograph Joseph Pennell M a\ing Armor Plate (England). Lithograph Joseph Pennell That Liberty Shall TJot Perish from the Earth. Poster Boardman Robinson The Serb. Drawing Vernon Howe Bailey The Superdreadnoughts 7Jew Tor\ and Arizona. Lithograph Thomas Hastings Victory Arch, 7\ lew Tor\ Paul Manship Jeanne d'Arc Medal Mahonri Young One of the “ Buffaloes Bronze C. B. Falls Boo\s Wanted. Poster Adolph Treidler Farm to Win “ Over There." Poster W. T. Benda For Motherland and Freedom. Poster Henry Raleigh Halt the Hun! Poster George Illian Keep it Coming. Poster George Wright Another Ship — Another Victory GREAT BRITAIN William Orpen A Grenadier Guardsman. Oil. Reproduced in color William Orpen Horses Tfear Aubigny. Drawing William Orpen William Orpen William Orpen William Orpen Muirhead Bone Muirhead Bone Muirhead Bone Muirhead Bone Muirhead Bone James Me Bey James Me Bey Bringing in a Wounded Tommy. Drawing The Gas M as\. Drawing The Big Crater, 7 Jo. 2. Oil South Irish Horse. Drawing A British Tan\. Drawing The Bridge of a British Merchant Ship at Sea. Drawing H. M. S. Vindictive after Zeebrugge. Drawing A Shipyard Scene. Lithograph Ready for Sea. Lithograph Entry of the Allies into Jerusalem. Drawing Water Transport. Drawing Frank Brangwyn G. Spencer Pryse G. Spencer Pryse G. Spencer Pryse G. Spencer Pryse G. Spencer Pryse James Me Bey Detraining a Howitzer by Moonlight. Drawing C. R. W. Nevinson That Cursed Wood. Oil C. R. W. Nevinson After a Push. Lithograph C. R. W. Nevinson The Road from Arras to Bapaume. Lithograph C. R. W. Nevinson Swooping on a Taube. Lithograph John La very A Coast Defense. Oil Paul Nash Sunrise: Inverness Copse. Drawing Eric Kennington A Lewis Gunner of a Yorkshire Regiment. Drawing Charles Pears Maintaining Oversea Forces. Lithograph Edmund Dulac Poland, a TJation. Lithograph Charles H. Shannon The ReFirth of the Arts. Lithograph Frank Brangwyn The Loo\out. Lithograph Put Strength in the Final Blow. Poster The Fall of Ostend. Lithograph The Wayside Crucifix — Belgium, 1914. Lithograph The Only Road for an Englishman. Poster The Retreat of the Seventh Division and Third Cavalry on Ypres. Lithograph Belgium, 1914 Jacob Epstein The Tin Hat. Bronze CANADA Norman Wilkinson Canada’s Answer A. J. Munnings Horses Watering JJear Domart D. Y. Cameron Flanders from Kemmel Leonard Richmond Canadian Railway Construction in France P. Wyndham Lewis Canadian Gunpit FRANCE J. L. Forain The Prisoner. Lithograph. (From a poster) J. L. Forain Forward! Lithograph J. L. Forain What ? Not Even a Child ! Lithograph J. L. Forain — It is a TJeutral — Ah ! ... I Breathe. Lithograph Th. A. Steinlen LAisne D'evastee. Poster. Reproduced in color Th. A. Steinlen Aid to the Wounded. Lithograph Th. A. Steinlen Under the Boot. Lithograph Th. A. Steinlen Concert en Grange. Poster Th. A. Steinlen La Triennale. Poster Th. A. Steinlen Leaving the German Jail. Lithograph Lucien Jonas A Volunteer. Lithograph Lucien Jonas Portraits of General Pershing. Drawings Pierre Auguste Renoir Portrait of His Son, Wounded in the War. Drawing Hermann Paul The American Hymn. Lithograph Benito For the Beautiful Land of France. Lithograph Benito The Conquerors of the Marne. Lithograph Benito The Heart of America. Lithograph Henri Farre Bombing Ffancy. Oil Antonin Mercie Plaquette de la Fraternite des Artistes. Gilded bronze “Sem” Pour le Dernier Spiart d’Heure. Poster “Sem” Pour le Triomphe Souscrivez a VEmprunt Rational. Poster Georges Scott Pour le Drapeau ! Pour la Victoire ! Poster Abel Faivre On les Aura! Poster Abel Faivre L’Or Combat Pour La Victoire. Poster Adolphe Willette Journees Girondines. Poster Francisque Poulbot — Ffouhlie pas de souscrire . . . pour la Victoire! . . . etle retour! Poster THE NETHERLANDS Louis Raemaekers Cleansing the Temple. Lithograph Louis Raemaekers The American Army in France — The Relief. Pencil and water'color v_ ART AND THE GREAT WAR INTRODUCTION N the prosecution of the Great War, and bringing about ultimate vidtory, the artists of the United States and the allied countries played a very important part. This was the first war artists, as such, were used by their governments, and art became a powerful weapon. To the artists was intrusted the extremely important task of organ- iz;ing the camouflage corps of the armies, and on their shoulders also fell the work of developing the art of marine camouflage, both of which tasks they did with marked success. In the recruiting of troops and in the raising of government loans, as well as for many other purposes, in- cluding relief, the artists through their posters rendered a very notable service. The cartoonist was a powerful moulder of public opinion and it has been truthfully said of M. Louis Raemaekers, the great Dutch artist and cartoonist, that “no oration, no literature, no art, has brought the real meaning of the war home so convincingly 11 as his cartoons. As will be brought out in the following pages, the artist also contributed in many other ways towards bringing the war to a successful conclusion. Somewhere I have come across the statement that James Gillray, the English caricaturist, and Philippe Jacques de Loutherbourg were sent to Flanders in 1793 to commemorate the military exploits of the Duke of York. The latter artist was at one time court painter in France and afterwards, going to England, was elected a member of the Royal Academy. Garrick employed him to design scenery and he also painted several works dealing with military and naval episodes. Aside from this, as far as is known, the Great War was the first to be officially recorded by artists. This innovation is one that the historian and posterity will certainly welcome, for pictures, far more adequately than the written word, were capable of recording the great conflict. The Great War was waged to a large extent with explosives and ma- chinery — very different from the individual combat which the soldier of ancient Greece engaged in when he went into battle. It is a far cry from the athletic figures of Greek warriors on the frieze of the Parthe- non to Mr. C. R. W. Nevinsons painting which shows three men work- ing a mitrailleuse down in a trench, barbed wire silhouetted against the sky. These three men are a part of their machine. The hideousness and horror of modern trench warfare is also far re- moved from the pageantry and splendor of warfare in the Middle Ages — it is vastly different also from the comparatively picturesque and open warfare of the Napoleonic epoch. War pictures of to-day have al- most no roots in the past; the pictorial recorder of modern warfare has had no sign-posts to guide him. For one thing, for the first time land- scape formed an important feature of the war picture. Leonardo da Vinci made many designs for fortifications and vari- ous implements of warfare; those familiar with Ravaisson-Mollien’s folio volumes of facsimiles of Leonardo’s manuscripts will remember that he even made a design for an aeroplane. Whatever our own opinion may be in the matter, we must remember that Leonardo always main- tained that he had attained greater excellence as an engineer than as a painter or a sculptor, and it is in this character, rather than as an artist, that his services were of value to his country. The same is true of Michelangelo, who was possessed of similar accomplishments. The battle pictures of these two artists have perished. One recalls the decorative and gorgeous battle pictures of Paolo Uccello and Raphaels Battle of Constantine. Such gay panoramas as these are very different from the trench warfare of the Great War. Durer was also interested in depicting military matters; a work by him printed in Nuremberg in 1527 contains many engravings of fortifica- tions, cannon and various military objects, which he drew on the wood. Velasques’s Surrender of Breda is the greatest military picture ever painted. The horrors of war were truthfully and graphically set down by Cal- lot and by Goya in their powerful etchings. The great Russian painter of warfare, Verestchagin, also completely stripped war of its glamor. The paintings of Gerard and Gros are simply glorifications of Na- poleon; as transcripts of actual warfare they are almost valueless. The lithographs of Charlet and Raffet are full of authority. Afterwards in France came the paintings of the Franco-Prussian War by Detaille, who is always rather cold, and by de Neuville — mere anecdotes. Of the studio-painted, and as regards detail, miniature-like paintings, of Meissonier, one agrees with Courbet (or was it Degas?) who said that everything is of steel excepting the cuirasses. It is most curious that such a military people as the French should have failed to get this en- thusiasm for things military into their art. The greatest possible credit is due the British and Canadian Govern- ments, as well as to the Commonwealth of Australia, for the splendid manner in which they went about obtaining pidtorial records of the war. They sent their best artists to the front and these artists covered all phases of the war in a most thoroughgoing and masterly fashion. France also had her official artists and like Great Britain and Canada is to have a permanent war museum of pictures. That the government of the United States did not realise the great importance of this work is cer- tainly most regrettable and a serious reflection upon the vision and in- telligence of those responsible. A few of our illustrators, it is true, were despatched to France to make a pictorial record of our military activi- ties, but their drawings, for the most part, are rather commonplace. Alongside of the paintings and drawings by Sir William Orpen, Mr. Nevinson, Messrs. John and Paul Nash, the drawings by Messrs. Bone and McBey, the paintings by Sir John Lavery and all the rest of the able works executed for the British and Canadian Governments, they appear very feeble, indeed. Why were not such of our painters as Messrs. Childe Hassam, Sargent, George Luks, George Bellows, William J. Glackens, Gifford Beal and Rockwell Kent in France recording the life of our men and their part in the great conflict? And Mr. John C. Johansen to paint the great docks and railway systems built by the Engineer Corps? It was the purpose of the War Department not to send painters, but illustrators who had the capacity for recording impres- sions and whose work was suitable for reproduction in the press. This was a mistake. Even as drawings suitable for publication in the press the pictures were not a success, as is shown by the fact that out of one hundred and ninety "six drawings offered to the magazines only fifty-one were accepted for publication. Why was not Lieutenant'Commander Henry Reuterdahl with our overseas fleet? And Mr. Paul Dougherty, the famous marine painter, both of whom undoubtedly would have painted some stirring pictures of the dangers and tragedies and heroism attending those who fought the cowardly monsters which infested the deep? America has no pictorial record of the wonderful achievements of her navy during the Great War. It was the same in the Spanish" Amen ican War, of which there is not a single record of the navy’s many achievements, some of them of a spectacular nature. Every foreign coun" try knew the value of propaganda and made particular efforts to tell their people what their working forces were doing. Our Navy Department has recorded nothing at all. It looks very much as if the authorities wished to keep the work of the navy anonymous. Admiral Sims and the chairman of the Committee on Public Infon mation both made strong recommendations to the Navy Department that Lieutenant"Commander Reuterdahl be sent abroad to depict the activities of our fleet. As a matter of fact, he entered the navy for this express purpose. Admiral Sims knew of Lieutenant'Commander ReU' terdahl’s long association with the navy and of his ability to portray her achievements. He also, doubtless, realized what an inspiration to the youth of the land a series of paintings by this artist would be if hung [- 4 ] in the Naval Academy at Annapolis. The Secretary of the Navy, how- ever, apparently thought otherwise. It makes one sad to consider this amazing situation. Why, too, has our government no plans for a museum in which to house pictorial records of the war? Even Australia has done this. The National Museum at Washington has made a collection of posters, but that is all. Possibly the drawings made by our official artists may also be deposited there, but even this is undecided. Credit is due to the Library of Congress for their foresight in asserm bling a large and representative collection of posters and cartoons on the war. In this collection are posters issued by the American Govern" ment for recruiting, relief and for the special purposes of the Depart' ments of Agriculture, Commerce, Labor, State, Navy, Treasury and War, many hundreds in number. Included also are the posters issued by the Food Administration, the War Finance Committee and many other organisations. Very comprehensive collections of broadsides, posters, cartoons and lithographs from Great Britain, Canada and France have also been made, as well as smaller ones from Italy, Germany, Poland and Russia. Many special exhibitions have been shown, including the car" toons of M. Raemaekers, the lithographs of M. Lucien Jonas, the set of lithographs depicting Great Britain's efforts and ideals, and various posters and medals. Mr. Charles Moore, chairman of the National Commission of Fine Arts, had much to do with the collecting of this material. It is also a pleasure to note that the New York Public Library has formed a splendid collection of about two thousand war posters, very comprehensive in its scope. A word here regarding the influence of the war on the various art museums of the country may not be out of place. No museum in the country rendered such a notable service to the community as the Art Institute of Chicago, where the attendance was much larger than dur" ing peace times; one million, one hundred and thirty "two thousand persons visited their galleries during 1918. One hundred and twenty'six war meetings of various kinds were held within the building, numerous exhibitions during the course of the war helped to give an understand' ing as to what was taking place in Europe, students and instructors in the Art School gave much of their time to the making of posters, the Middle West Department of the Division of Pidtorial Publicity was organised at the Art Institute, whose steps were a scene of almost daily meetings and where thousands of people met in connection with varh ous “drives. 11 A notable collection of the best of the war posters was made by the Institute; it cooperated with the government in every possible way in helping to win the war. This alliance of art with the state and the people, which finds its most perfedt expression in France, should be continued, for art is not exclusively for the connoisseur. That the director of the Metropolitan Museum of Art took a firm stand against art connected with the war entering the portals of this institu' tion will always arouse curiosity. The attendance at the Metropolitan Museum of Art in 1918 was only a little more than half that of the Art Institute of Chicago — and the population of New York is about double that of Chicago. Great credit is due Mr. John W. Beatty for his enterprise in obtain' ing many of the chief exhibits contained in the Allied War Salon which was held in New York in December, 1918, for the Carnegie Institute of Pittsburgh, of which he is the Director of Fine Arts. It is a pleasure also to pay a tribute to the admirable work done by Mr. Duncan Phillips in agitating the value of art to the government in the prosecution of the war, for his work in helping to get up the Allied War Salon and for his cooperation with the American Federation of Arts in arranging numerous exhibitions of war pictures, which were shown throughout the country. In addition to arranging these ambulant exhibitions, which did much to stimulate patriotism throughout the country, the American Federation of Arts organised a strong committee on war memorials, of which the Honorable William H. Taft is honorary chairman, Mr. Charles Moore is chairman and Mr. Robert W. de Forest is vice' chairman. Miss Leila Mechlin, the secretary of the Federation, who was very active in arranging the exhibitions of war pictures, is secret tary of this committee. In the first chapter of my book I have noted the admirable work done by Mr. Charles Dana Gibson and Mr. F. D. Casey in organising the poster artists of the country. At about the time that this book is to go to press there comes the an" nouncement that the newly formed National Arts Committee has sent a number of portrait painters to Paris to paint many of the military and civil leaders of the Great War. This is indeed good news. The Amer" ican Peace Commissioners have endorsed the projedt, of which Mr. Henry White is acting as honorary chairman. This group of portraits, which is to be presented to the nation and deposited in the new National Portrait Gallery in Washington, is being painted by Messrs. Joseph De Camp, Edmund C. Tarbell, John C. Jo hansen, Douglas Volk, Irving R. Wiles, Charles S. Hopkinson, Miss Cecilia Beaux and Jean McLane [Mrs. John C. Johansen]. Mr. Jos" eph De Camp is painting the Peace Table. Mr. Herbert L. Pratt is secretary and treasurer of the National Arts Committee, which includes in its membership Messrs. J. P. Morgan, Henry C. Frick, Robert W. de Forest and Mrs. E. H. Harriman. Pa" triotic citizens in various cities besides New York have also contributed towards the expenses of this undertaking. A few days previous to the announcement of the National Arts Com" mittee [29th May, 1919] the following letter was sent by the writer to the President of the United States, adting on behalf of a number of artists and persons interested in art: “ A group of Americans who realized the importance of art as a national asset, and who are deeply stirred by the example of Great Britain, France, Canada, Italy and Australia in sending their best artists to the front to create permanent and national records of the war, its heroism, sacrifice and suffering, have deputed me to send you this letter. We deplore the fad: that thus far very little has been done to bring before present and future generations of Americans the great and inspiring part our country played in the war. We urge that a number of our leading artists be sent abroad immediately to paint from adtual observation our historic battlefields, portraits of our army and navy leaders, of our soldiers, the life of our Army of Occupa- tion on the Rhine, the scenes of war, the stupendous results of our efforts in engineering, railway building, hospital equipment, shipping and all other branches of our war activity. We also regret deeply that we have missed the opportunity of gaining the services of our greatest painter, Sargent, who has just painted for the British Government a monumental war canvas. It may be too late to paint incidents of warfare, but modern war consists not merely of fighting. There are still immense fields to be covered if immediate adtion be taken. We appeal to you, therefore, for approval of such a projedt. The inspiring Canadian example proves that a national memorial of this kind can be created without the financial, though not without the moral and practical support of the government. The success of such a projedt would mean the presenta' tion to our government of the finest kind of a war memorial. n At my suggestion the National Arts Committee agreed, upon certain conditions, to broaden the scope of its activities and to have at least a few pictures painted of the description that I suggested in my letter to the President. Unfortunately, however, I was unable to bring this about. UNITED STATES OF AMERICA GEORGE LUKS The “Blue Devils” Marching Down Fifth Avenue CHAPTER ONE UNITED STATES OF AMERICA ITH reference to the inspiring opportunity given to the painters, sculptors, illustrators and cartoonists of the country by the war, one critic has written: “Never since the Middle Ages, when the church taught its lessons by means of pictures to people who could not read the written word, has art been called upon to serve in so many ways.” It is gratify' ing to know that the artists of America came forward with an eagerness to serve the country that was not excelled by any other group. More than that, all of the drawings and posters which they made for the government were presented, as gifts. It is a pleasure to pay a tribute to the splendid spirit of patriotism shown by these men. The Division of Pidtorial Publicity of the Committee on Public In' formation, of which committee Mr. George Creel was chairman and the Secretary of State, the Secretary of War and the Secretary of the Navy were members, was established shortly after America’s entrance into the Great W ar. This was done at the urgent request of Mr. Charles Dana Gibson and a body of American illustrators. Mr. Gibson was [ 33 ] THE chosen to be chairman of the Division of Pidtorial Publicity; his asso- ciates were Mr. F. D. Casey, who was vice-chairman, and Messrs. F. G. Cooper, Charles B. Falls, Louis Fancher, Henry Reuterdahl, C. D. Williams and Robert). Wildhack. The function of the Division of Pidtorial Publicity consisted in supply' ing the various departments, bureaus and commissions of the govern- ment with every form of pidtorial publicity that they desired. Member- ship in it was unlimited; any individual who expressed a desire to carry out such work as was required by the government automatically be- came a member. The headquarters of the Division were at 200 Fifth Avenue, New York, with sedtional branches in Chicago, Boston and San Francisco. The New York division met once a week, at which meetings requests from the government for various designs were read. The drawings sub- mitted were passed upon by the chairman and his associates and then sent to Washington for final approval. That the officials in Washing- ton had the privilege of selecting the designs, instead of the artists, was of course most unfortunate. This most unfair system accounted for the issuing of several thoroughly inartistic Liberty Loan posters — the choice of the Treasury officials. From its inception on 17th April, 1917, until the 15th of November, 1918, the Division of Pictorial Publicity made for the government and various patriotic societies and committees, fifty-eight in number, seven hundred posters, two hundred and eighty-seven cartoons and four hun- dred and thirty-two cards and designs for newspaper advertising. Be- sides the various departments of the government, these designs were used by such organizations as the Red Cross, the Shipping Board, the American Library Association, the Y. M. C. A., the Y. W. C. A. and the Salvation Army. [ 34 ] As a matter of record, the names of the associate chairmen and the executive committee are here appended: Associate Chairmen HERBERT ADAMS FRANCIS C. JONES E. H. BLASHFIELD ARTHUR F. MATHEWS RALPH CLARKSON JOSEPH PENNELL CASS GILBERT EDMUND C. TARBELL OLIVER D. GROVER DOUGLAS VOLK Executive Committee F. G. COOPER W. A. ROGERS N. POUSETTE'DART HENRY REUTERDAHL I. DOSKOW JACK SHERIDAN F. E. DAYTON H. SCOTT TRAIN C. B. FALLS H. D. WELSH A. E. GALLATIN J. THOMSON WILLING RAY GREENLEAF H. T. WEBSTER MALVINA HOFFMAN WALTER WHITEHEAD II Owing to the efforts of the Division of Pictorial Publicity, the posters issued by our government in time became very creditable. In the be' ginning of the war our posters were extremely crude and inartistic and consequently made but a small appeal. This was owing to the fact that the various departments of the government, with an appalling igno' ranee of all things artistic, merely gave orders to commercial firms of lithographers to turn out posters and other forms of pictorial publicity, without thought of the artists at all. Innumerable posters were required by the government for Liberty Loan, War Savings Stamp, Red Cross and other “drives,” for recruiting purposes, to urge the conservation of certain foods, as well as coal, to speed up shipbuilding and for dozens of other purposes. An anonymous author has written: “To build morale, to spiritually awaken the nation, [ 35 ] to stimulate concentrated effort, to quicken every war activity, the government employed art in the form of pictorial publicity for the first time and on a grand scale. This campaign may be described as ‘The Battle of the Fences.’ ” The artists went to the government and offered their services, and without recompense, and it was only after considerable opposition that their services were accepted. The best men in the country were mobilized by Mr. Gibson’s and Mr. Casey’s committee, and considering that we had but few real poster artists in this country, owing to the fact that technical schools in Amer- ica are almost non-existent, the results obtained by many of these men were excellent. Twenty years ago the artistic poster enjoyed a wide vogue in Great Britain, in France and in this country. Many elaborate books were is- sued on the subject, magazines devoted to posters were published, large exhibitions were arranged, and hundreds of collections were formed. Then the interest in posters died out. But many of these lithographs will always hold an honorable place in the portfolios of the amateur and the museum. In France the lithographs used for advertising purposes which were drawn by Toulouse-Lautrec and M. Steinlen rank among the most notable graphic work of their time. Cheret, Mucha and Grasset also produced work which will live. In England notable work was done by Mr. William Nicholson, Mr. James Pryde and Aubrey Beardsley, while many extremely fine posters were executed in Amer- ica, notably by Messrs. Maxfield Parrish and Edward Penfield. Then the Great War came along and with it the renaissance of the poster. Once more, as in the Middle Ages, art became the property of the peo- ple, as it should be, and not ticketed specimens in a tomb-like museum. The effective poster is the simple poster, and one that tells its story in unmistakable terms. It must, too, have been drawn by a master crafts- man, one with a knowledge of design, a proper feeling for color and power of conception. It is because possessed of those qualities that [ 36 ] the Books Wanted poster of Mr. C. B. Falls ranks with the best of our war posters. Mr. Falls designed several other excellent posters, include ing three entitled The Camp Library is Yours, New York Decorators’ Fund, and E-E-E-Yah-Yip. On the whole, I should say that the most notable series of posters de^ signed by one man in America are those of Mr. Adolph Treidler. All of his lithographs are conceived and drawn in exactly the manner true posters should be made. The poorly drawn sketches by Messrs. How- ard Chandler Christy and Harrison Fisher and others of our popular illustrators, were not posters at all. Neither was the altogether absurd Greatest Mother in the World “poster.” It is possible, of course, that such designs as these appealed to certain intellects, and thereby served their purpose. Among Ml.Treidler’s many very successful posters may be singled out his twenty-four sheet lithograph urging the purchasing of war savings stamps, which shows a gun in action, Have You Bought Your Bond? Help Stop This, Farm to Win and Make Every Minute Count for Pershing. None of our posters have been more thoroughly artistic than those drawn by Mr. W. T. Benda. His posters, in color, issued to stimulate recruiting among the Poles in this country, are very handsome compo- sitions; his simpler drawings, such as that made for the Y.W.C A., en- titled Stand Behind the Country’s Girlhood, are charming and strong drawings. Mr. Henry Raleigh, with his Hunger, Blood or Bread, and Halt the Hun posters produced three of the best of our war posters, drawings full of strength and character. The poster entitled Keep it Coming, by Mr. George Illian, was also a notably fine drawing, as was Mr. Wallace Morgan’s Feed a Fighter. Mr. Joseph Pennell’s statue of liberty poster was also excellent, as were two others by him, of shipping subjects, en- largements of his lithographs. Effective posters were also drawn by Messrs. Henry Reuterdahl, Edward Penfield, Charles Livingston Bull, Charles Dana Gibson, Albert Sterner, F. Walter Taylor, Fred J. Hoertz, Walter H. Everett, George Wright, Hibbard V. B. Kline, Jonas Lie, F. Luis Mora, Howard Giles, W. D. Stevens, Charles Sarka, H. Devitt Welsh and several other artists. Mr. Welsh, it may be mentioned, was Art Director of the Committee on Public Information during the au- tumn of 1917. For the Victory Liberty Loan, Mr. L. A. Shafer designed an excel- lent poster, showing an American destroyer coming to the rescue of a transport, about to be torpedoed. The navy had its own organization for pictorial publicity, conducted by the United States Navy Recruiting Bureau, in New York. During the entire war Lieutenant-Commander Henry Reuterdahl served as artistic advisor. Many of the navy's most striking and successful draw- ings and paintings used for recruiting purposes were executed by him. It is worth noting that the navy was the first department of the gov- ernment to issue any posters. Lieutenant-Commander Reuterdahl was attached to the United States Navy Recruiting Bureau in March, 1917, and at once set about getting good posters for the navy. Acting as a com- mittee of one, he wrote to about fifty of our prominent artists asking for poster designs, and a few days before this country entered the war the navy actually had some of their first posters on the lithographic stone. Thanks to the foresight of Lieutenant-Commander Reuterdahl, the navy, as usual, was ready. The marine corps also acted independently, but, like the navy, ob- tained their posters from the same artists who contributed to the Divi- sion of Pictorial Publicity. A number of excellent posters were also is- sued by the Publications Section of the United States Shipping Board Emergency Fleet Corporation, for display in shipyards and industrial plants. These posters had the desired effect of making many thousands of workmen feel the patriotic necessity of close cooperation with the government and in speeding up their work. It is interesting to note that Mr. Brangwyn and M. Raemaekers both [38} made designs for use by the United States Navy. Excellent ones were also drawn by Messrs. Albert Sterner, George Wright and James Daugherty. For a hoarding in Chicago, Mr. Robert Reid painted a picture measuring fifty by one hundred and thirty 'three feet. Lieutenant' Commander Reuterdahl made three paintings of large dimensions to advertise the Fourth Liberty Loan; these were shown in Washington. In collaboration with Mr. N. C. Wyeth, he painted a picture ninety feet long and twenty 'five feet high, for the Third Liberty Loan, which was placed on the Sub'Treasury Building in New York. Ill It was in May, 1917, that plans were set on foot to send artists to France to make a pictorial record of the various activities of our armies. Major Kendall Banning, who was at that time director of the Division of Pictures of the Committee on Public Information, and who after' wards was attached to the War College Division of the War Depart' ment, was responsible for this recommendation. He at once consulted with representatives of Great Britain and France and learned what those countries had done in using their artists for portraying the his' tories of their armies. Their advice was to commission capable artists and to assign them to duty within military 2,ones, which would not be open to civilians. In June, 1917, Major Banning got in touch with many artists who seemed to him to be available for duty as official artists; Major Banning also conferred with Mr. Charles Dana Gibson. Major Banning then submitted his recommendations to the Secretary of War. It was, how' ever, not until late in January, 1918, that the Secretary of War took any action. Authority was then obtained to commission eight men as offi' cial artists in the Engineer Reserve Corps. At Major Banning's sugges' tion, Mr. Charles Dana Gibson was chosen chairman of a group of artists to make recommendations. Mr. J. Andre Smith was the first of the group to be commissioned a captain in the Engineer Reserve Corps [39] and sent overseas. He was followed by Captains Ernest Peixotto, William J. Aylward, Harry Townsend, Wallace Morgan, George Harding, Walter J. Duncan and Harvey Dunn. Up to January 14, 1919, two hundred and seventy-seven drawings had been received from our overseas artists, one hundred and five be- ing from Captain J. Andre Smith. At the Allied War Salon, held in New York, in December, 1918, all of the drawings received to date were exhibited, one hundred and ninety-six in number. These drawings had been shown in W ashington the month before and in January, 1919, they were exhibited in Pittsburgh, afterwards being shown in other cities. Considering the fad: that these artists were rather hampered in their work, it is most creditable to them that they produced so many good drawings; it should also be borne in mind that they were depictingvery unfamiliar subjects. The collection on the whole reflects the spirit of our men, their backgrounds and the incidents of their lives in a reasonably satisfactory manner, although it leaves much to be desired. Certainly they are more valuable than any photographs. The subjects of these drawings were thus described by the art critic of the Js[ewTor\Times: “The subjects cover practically the whole field of war, dressing stations, supply trains, bomb-proof billets, ‘chow, 1 officers’ mess, German prison- ers, the hurry call to fight, and the roll-call afterwards, artillery and ma- chine guns, drawings showing the kind of ground over which our men fought, the type of village in which they were billeted, the cavalry school at Saumur, machine-gun battalions at drill, and a hundred other scenes of activity, all of which give a clear impression of the great powers of organisation at work behind them.” The pencil sketches on tinted paper, touched with water-color, by Captain J. Andre Smith, are excellent drawings. His subjects are prin- cipally landscapes and towns, and strictly speaking are not war draw- ings at all. Extremely well drawn are also his pastels and water-colors. Captain George Harding’s pastels of marching soldiers and scenes right at the front are also well drawn and very graphic. Captain Ernest Peixotto’s sketches of landscapes, men on the march, locomotive shops, and other subjects, which are executed in charcoal and gray water-color, are also of interest. Captain Wallace Morgan’s excellent draughtsmanship was well illustrated in his spirited drawings, which were among the best sent home by these artists. Unfortunately Captain Harvey Dunn’s sketches did not arrive in time to be shown with the drawings of the other official artists. Appar- ently he made very few drawings, but those he did make are excellent, if one may judge from the photographs of them which he has showed me. Captain Dunn, with two or three of the other artists, actually went over the top with the men. Rapid sketches made by him on a specially designed box, with rollers to wind up his sketches and present a new surface of paper, possess a very real interest. IV Several artists went to France who did not hold official positions. One of these was Mr. Samuel J. Woolf, who went ostensibly as a war correspondent, but really with the idea of making drawings and paint- ings. With him he carried letters from the War Department and the Secretary of the Navy; accordingly, he not only secured permission to visit the training camps, but also the various sectors held by the Amer- ican troops. He lived with our men, eating and sleeping with them; at one time he drove an ambulance, at another acted as cook. He was slight- ly wounded and also gassed. All of these experiences saturated him with his subjedt and enabled him to produce a series of paintings and draw- ings of decided interest. Several of Mr. Woolf’s paintings and drawings were shown at the Allied War Salon in New York; twenty-one paint- ings by him and about sixty sketches and drawings formed a special exhibition held in New York in February, 1919. Mr. Lester G. Hornby was with the American troops during the summer and autumn of 1918 and made a number of slight, but interest- [4i] ing, drawings. Some of these sketches were published in the spring, 1919, issues of Harpers Magazine to accompany a series of articles entitled How the War Was Won, written by General Malleterre of the French army. Mr. Hornby was given passes as a sketclvcorrespondent by the French Committee on Public Information. Mr. Will Foster, who was in the army at the beginning of the war, and later became a member of the ambulance service, made a number of admirable drawings at the front. Several of his drawings were repro' duced in the April, 1919, issue of Scribners Magazine to accompany an article written by the artist, entitled A Day with a Sketch'block at the Front. Mr. jo Davidson, the sculptor, went to France, where he modeled excellent busts of many of the great allied generals and statesmen; Mr. Robert I. Aitken also did some work of this nature. Mr. Joseph Cum' mings Chase went to France to paint the portraits of various American and allied officers, as well as privates who had been decorated. Hispon traits are devoid of merit. Three etchings of Rheims Cathedral under fire were made by Mr. Louis Orr, three plates of marked excellence. V Mr. Joseph Pennell has made a hundred or more lithographs of war work in America, a continuation of a series started in England. They form a part of his set of lithographs dealing with the wonder of work. Building the Battleship, Shell Factory, Shaping a Gun from an Ingot, and Making War Locomotives are titles of drawings which suggest the range of his subjects. In his Food and Fuel series we find such titles as Loading Coal, Stock Yard and The Mining Town. These lithographs constitute an adequate and excellent record of America’s manifold preparations for waging war. I know of no one who could have done the work better. For Mr. Pennell’s album of reproductions of his war work in England, Mr. H. G. Wells wrote an introduction in which he stated that “Through all these lithographs runs one present motif, the motif M of the supreme effort of Western civilization to save itself and the world from the dominance of the reactionary German Imperialism that has seized the weapons and resources of modern science.” Mr. Vernon Howe Bailey has also made an excellent series of draw- ings and lithographs of war work in America, remarkable for their sound draughtsmanship and sense of verity. Seventy-six of these have been exhibited in many parts of the country, under the following classifica- tions: Navy Yards, The Fleet, Gun Shops, Bethlehem, Aeroplanes and Merchant Ships. Mr. Bailey executed his drawings at the New York, Philadelphia, Washington and Norfolk Navy Yards, at the Bethlehem Steel Company’s Works, the Curtis Aeroplane Company’s Works, at the Mineola Flying Field and at three different shipyards. Aside from Mr. Bailey’s beauty of drawing, his studies possess a very real histori- cal value. Mr .John C. Johansen went to the shipyards and painted a very nota- ble set of thirty or more pictures which will always be a valuable rec- ord of this most necessary of all war acti vities in the United States. They are very well painted. Some of these pictures show us ships under con- struction, while several are of launchings. A number of shipyard pictures were also painted by Mr. Thornton Oakley, while several excellent lithographs were drawn by Mr. Herbert Pullinger and noteworthy drawings were made by Mr. Hugh Ferriss, of similar subjects. Unfor- tunately but few records were made of the camps in this country, but the navy fared a little better. Mr. George Wright sketched at the Pel- ham Bay Training Station and the Brooklyn Navy Yard and Lieuten- ant-Commander Henry Reuterdahl made many colorful paintings of our destroyers and other naval craft in home waters. VI Innumerable pictures have been “turned out” by the painters of this country to be used for patriotic purposes. These battle pictures, atroc- ity pictures and pictures of hospital ships being torpedoed by subma- [ 43 ] rines, all painted in America, were used in connection with the Liberty Loan and Red Cross “drives . 11 The generous and patriotic spirit shown by these artists was admirable and their pictures served their purpose well by encouraging the public to buy bonds and in obtaining contrb butions. But, as one writer has truthfully said, “Art cannot be hurried. Art should not be hustled into serving an immediate and clamoring cause. Art is feeling, and feeling is born within the artist . 11 As I have said, these pictures served their purpose, but they have no document tary value and only a very few can possibly be considered works of art, and as possessing aesthetic qualities, and it does not seem to me that these pictures should be seriously considered in a book of this nature. In this generalisation I do not include Mr. George Bellows’s Murder of Edith Cavell, which in composition and color is quite impressive.Very well painted, also, is Mr. Paul Dougherty’s picture entitled Sunk Without a Trace. There are, however, a number of exceptions to the above assertion or rather there are a number of pictures which were painted in this coum try which do not fall into the above category. I refer to the pictures of actual events in the United States and to pictures of a symbolical or allegorical nature. Mr. George Luks painted a picture of the famous French “Blue Dew ils” marching down Fifth Avenue, which is one of the best of all the American war pictures. It is admirably painted, rich in color, and full of life and vigor; the suggested motion of the men as they swing down the avenue is really quite masterly. Less interesting in every way, but also a notable picture, is another canvas by Mr. Luks entitled Cz,echo" Slovaks in American Camp Celebrating Their Recognition as a Nation, in which they are seen dancing around a huge bonfire, which shoots an enormous yellow flame skywards. Yet another painting by Mr. Luks, of the celebration held in New York upon the signing of the armistice, is really more of an enormous, loosely constructed sketch, but at the same time it is full of movement and fire and is highly amusing. Well M painted, also, is Mr. Luks’s pidture which shows the Leviathan steaming up New York Bay, freighted down with members of the returning Twenty 'seventh Division and escorted by scout patrols and various other craft. It is a matter of keen regret that other artists did not essay such subjects as these. Mr. Gifford Beal painted a pidture of the peace celebration in New York, a canvas full of rich color, and Mr. Hayley Lever one of French Day on Fifth Avenue. A series of paintings showing New York be' decked with the flags of the United States and the Allies was painted by Mr. Childe Hassam — a very notable set of pictures by one of the greatest of living American artists. No artist has equalled Mr. Childe Hassam in recording the beauty of New York, and it was fortunate that New York had such an artist to paint her bannered beauty. Mr. Has' sam is the foremost exponent of the teachings of Impressionism in Amer' ica, a most individual and original painter and one possessed of an ex' tremely sensitive color vision.The freshness and coolness of his pigments are seen to great advantage in these pictures of New York on parade. My only criticism is that in none of them does there appear among the crowds a soldier or a sailor. This would have given a certain note, a cer' tain touch, an accent, which would have enhanced the picture, besides, of course, being truthful. Mr. Edwin H. Blashfield’s picture entitled Carry On is one of the most notable war pictures painted by an American artist. This canvas, by one of America’s welbknown mural painters, is full of fire and shows a spirit of ardent patriotism. It is remarkable both in design and color. Fortunately the Metropolitan Museum of Art opened its doors, barred to all art connected with the war, wide enough to admit this pidture, which it has purchased. A painting by Mr. William Ritschel, called Crusaders, is another spirited and noble conception. Three paintings by Mr. Augustus Vincent Tack, entitled 1918 — CarryOn,To the Last Drop and You Must Choose, are distinguished by refinement of vision and exquisite color, his blues being particularly beautiful. Mr. George [ 45 ] Bellows painted two excellent canvases symbolizing the dawn of peace for the Red Cross membership drive which was held in New York in December, 1918, as did Mr. Maxfield Parrish. The other paintings, as well as numerous arches, made for this occasion were excruciatingly bad, being the work of half-baked extreme modernists. In America lithography, the most autographic of the reproductive arts, is just beginning to receive from collectors the attention which it merits. Whistler’s lithographs are very rapidly taking their place with his etchings in popular estimation and numerous American artists have been attracted to the artistic possibilities of the lithographic stone. Messrs. J. Alden Weir, John Sloan and Ernest Haskell have several stones to their credit, Mr. William J. Glackens one, Mr. Albert Sterner quite a number, and Mr. Joseph Pennell hundreds. Lithographs have also been drawn by Mr. George Bellows and Mr. Childe Hassam, of subjects connected with the war, and it is of these that I wish to say a few words. Mr. George Bellows has drawn a set of twelve lithographs depict' ing atrocities committed by the German armies in Belgium, based upon Lord Bryce’s Report. His Murder of Edith Cavell, from which he sub' sequently made a painting, as he did from several others of the litho' graphs, is beautifully composed and beautifully drawn. Although the' atrical in conception, it is on the whole a splendid piece of work. The titles of Mr. Bellows’s other lithographs are Bacchanal, Sniped, Gott Strafe England, Belgium Farmyard, Massacre at Dinant, The Cigarette, The Germans Arrive, Dressing Station, The Barricade, The Last Victim and Return of the Useless. Some of these drawings are marred by rather feeble and faulty draughtsmanship, others in their terrible frankness ex' ceed the bounds set by art and by taste, but these are only details: this set of lithographs is one of the most eloquent contributions made by an American artist. Although based on fact, these lithographs are not a record of personal experience, having been drawn in America. They should not, however, for this reason be lightly dismissed from serious consideration, because if they were, all of Rembrandt’s paintings and etchings with Biblical subjects would have to go with them. Years agoMr.CmLDEHASSAM made some delightful drawings in black and white of street scenes in Paris, London and New York. In return' ing to black and white I am glad that Mr. Hassam has chosen lithography as his vehicle. Mr. Hassam’s six lithographs of New York seen in war time are entitled Lafayette Street, The Avenue of the Allies, Camouflage, The French Cruiser, North River and New York Bouquet. These rapid notations are all delightfully spontaneous and brilliant in execution. VII If never before had the poster artist enjoyed such a golden opportu' nity to make use of his art, this was equally true of the cartoonist. He wielded a powerful weapon and in his hand it could truly be said, as of the author, that the “pen is mightier than the sword . 11 The cartoonist proved to be one of the most important of all agencies for moulding public opinion. In America Mr. Charles Dana Gibson played no small part in putting the real issues of the war before the pub' lie, and in a striking and telling manner. Mr. W. A. Rogers was another strong cartoonist, as was Mr. Cesare, Mr. Boardman Robinson, whose technique was borrowed from M. Forain and who technically is one of the most adroit of our cartoonists, also did some remarkably clever and telling work for Colonel George Harvey’s War Weekly, in which it appeared anonymously. Many of the cartoons of Messrs. Rogers, Cesare and Robinson have been collected in album form. VIII Landscape, or designation targets, have long been used by the armies of Europe and in the training of the recruit they are of great value. These “targets” are large landscapes depicting typical French rural scenery and are used in our military schools to train the embryo artillery officer to locate quickly a given point in a landscape. The most satisfactory land' scape targets are those painted in clear and bright colors. The sine qua non is correct perspective. The sizes vary from three by six feet to five by twelve feet. These landscapes are used in class-room instruction to visualize the country in which the men are to fight, for panoramic sketch- ing, for working out problems of offense and defense, for target designa- tion according to the clock-face method in machine-gun, artillery and rifle practice, and for other purposes. Many of our landscape artists supplied the need for these “targets” in our artillery schools and thereby rendered a very useful service to the government. IX The manner in which the sculptor was able to apply his special talents to work connected with the war, and the way the war reacted upon his art, forms an interesting feature of our study of the part art played in the Great War. Many sculptors entered the camouflage unit of the army {40th En- gineers], where they were able to render notable service. Others are now having an opportunity to design monuments to our heroic dead. Captains J. Andre Smith and Aymar Embury, 2nd, designed medals for the government, they being modeled by Private Gaetano Cecere. Mr. Paul Manship, the most gifted of living American medalists, cooperated with several noted artists on the new Congressional Medal of Honor for the navy and on the Distinguished Service Medal and Distinguished Service Cross for the navy. The latter two designs were accepted, but that for the Medal of Honor was rejected. The Secretary of the Navy then obtained designs from various manufacturing concerns, eventually accepting that submitted by a button maker. Comment is unnecessary. Mr. Manship also modeled a Jeanne d’Arc medal of marked distinction, as well as three others which were sold for war charities; these were entitled Kultur, French Hero’s Fund and Art War Relief. An excellent opportunity to study what effect the war had on Amer- ican sculpture was afforded at the Allied War Salon held in New York [48] in December, 1918. Forty-three works were in the collection, the work of thirty-two sculptors. Nothing in this group possessed more vitality and showed greater mastery of modeling than Mr. Mahonri Young’s colored soldier on the march called One of the Buffaloes, which was the nickname given to one of the colored regiments. Also full of life was his Artilleryman. Clio Bracken [Mrs. H. H, Bracken] had an excellent statuette of Lieutenant Henri Farre, and other works of note were con- tributed by Mr. Herbert Adams, Mr. Solon Borglum, Miss Malvina Hoffman, Mr. Hermon A. MacNeil, Mr. Isidore Konti, Anna Cole- man Ladd [Mrs. Maynard Ladd], Miss Jessie M. Lawson and Mr. Theodore Spicer-Simpson. In England Captain Derwent Wood did some notable work in con- structing masks to cover facial injuries. Professor Henry Tonks also worked with the plastic surgeon. A Boston sculptress, Anna Cole- man Ladd [Mrs. Maynard Ladd], reading reports of Captain Wood’s studies, went to Paris, where she and her assistants rendered splendid service in the French hospitals making new faces for soldiers whose faces had been partially shot away. X Under the direction of Major Evarts Tracy, an architect, a camou- flage unit for our army was organised in August, 1917. The men studied at the American University, Washington, D. C. This unit formed a part of the Corps of Engineers [40th]. It was a military organisation com- posed of artists, architects, carpenters, ornamental iron workers, tin- smiths, plasterers, photographers, stage carpenters and property men. Lieutenant-Colonel Bennion commanded the camouflage unit in France. The work in general dealt with the concealment of gun emplacements, trenches and sheds of military value; the screening of roads and manu- facture of materials for this purpose; the painting of roofs and large areas of canvas for the covering of ammunition storage and the like; the mak- ing of various devices and clothing for the concealment of observers and snipers and occasionally the painting of a scenic drop. [49} Captain Homer Saint Gaudens, who was in charge of the work of the Second Army, informs us that camouflage had two functions, to deceive the eye and to deceive the aeroplane cameras; aeroplane obser- vation was largely photographic. Concealment from aeroplane observa- tion he states was the more difficult, as the camera was more accurate than the eye. Color, Captain Saint Gaudens further informs us, proved to be of relatively small importance, but that strips of dulbcolored cloth, tied to fish-nets gave the needed variation of light and shade. Modern camouflage is based upon the studies of Messrs. Abbott Thayer and Louis Fuertes, two painters, as well as those of Dr. Chap- man of the American Museum of Natural History, who have made a study of bird life and protective coloration. Some familiar examples of nature’s camouflage are the frog spotted like a tree; the polar bear with a coat of white fur which blends with his surroundings of ice and snow, and the tiger, striped in such a way as to make him invisible in a bam- boo forest. An interesting collection of sketches made by the overseas men of the camouflage unit was shown at the Arts Club of Washington in April, 1919. Portrait studies were exhibited, as well as drawings show- ing fortifications and military works. XI Owing to Germany’s development of the submarine and the large number of them which she was able to operate, marine camouflage be- came a most important science. In this country Mr. Willi am Andrew Mackay, an artist, was the pioneer marine camoufleur. He began his studies in 1912 and in 1914 worked with the Navy Department. Some months before the United States entered the war Mr. Mackay founded a school for the study of marine camouflage and when we finally entered the conflict the group of men under him became the nucleus from which the great body of men in this service grew. Marine camouflage was done under the direction of the Navy De- [50] partment, the work being executed by the United States Shipping Board Emergency Fleet Corporation’s department of camouflage. In each dis- trict was stationed a district camoufleur, with a corps of trained men. The first system of marine camouflage to be used was intended to make the vessel as nearly invisible as possible. Mr. R. F. Yates, in the course of a most interesting paper on the subject, says that in this sys- tem “the colors used are of such combinations and values that they cause the vessel to melt away on the horizon. 11 This system, an attempt to make vessels invisible, was later largely superseded by a system of “baffle” or “dazzle” painting, which was in- vented by Lieutenant-Commander Norman Wilkinson of the British navy, a well-known marine painter. His painting was designed to dis- tort the outlines of the ship and mislead the submarine commander as to the craft’s siz,e and character, as well as to the course she was making. This system was most successful and undoubtedly prevented many fine ships from being sent to the bottom of the sea. XII A committee on Arts and Decoration, a sub-committee of the Mayor’s Committee on National Defense for the City of New York, was estab- lished in May, 1918. The director invited the present writer to organize this committee and to accept the chairmanship of it. This committee was organized for the purpose of developing the field of art in connec- tion with the war, where the services of artists, architects, sculptors and those practising the allied arts were employed. A Bureau of Information was established, in the Hall of Records, to advise and direct those seeking to apply their talents to work connected with the war. Here could be obtained accurate information concerning the designing of pictorial placards for government purposes, cartoons, landscape targets, military and naval camouflage, decorations and other subjects. A leaflet containing suggestions and information was prepared and distributed gratuitously. A Division of Exhibitions was established to further the cause of pictorial propaganda. Three times the official British lithographs reflect' ing Britain’s efforts and ideals in the Great War were shown under the auspices of this committee, and a collection of one hundred and twen' tyffive colored facsimiles of cartoons by M. Raemaekers was shown in the various cantonments throughout the country. It was the chairman of this committee, cooperating with Messrs. Duncan Phillips and Au' gustus Vincent Tack, whom he appointed to form the Division of Ex' hibitions, who arranged the Allied War Salon held in New York in December, 1918. The Committee on Arts and Decoration assisted in the artistic cem soring of the historic floats, banners and costumes appearing in the In' dependence Day Pageant'Parade held in New Y ork in 1 9 1 8.This parade, in which about sixty different nationalities took part, was easily the most interesting parade ever held in New York. The Advisory Art Com' mittee of the Liberty Loan Committee asked for the closest cooperation between the two committees. The chairman of the Committee on Arts and Decoration was also invited to serve on the Victory Arch Com' mittee. These are but a few examples of the wide and useful scope of this committee in coordinating art work in so far as it affected the community. Mr. Duncan Phillips, a member of this committee, drew up a set of resolutions containing a suggestion whereby Germany and Austria might be compelled to make at least some reparation for their wanton destruction of works of art in France, Belgium and Italy. This resolution was sent to the President of the United States. The last clause in it read as follows: “ Resolved , that we do herewith petition our people’s repre' sentatives, the President of the United States, and others who may be vested by him with authority, to suggest to the representatives of the allied nations when they assemble in council and consider upon what terms Germany and Austria may obtain peace, that an Inter' Allied Com' mission of Artists be empowered to select such works of art as will be demanded from the German and Austrian Governments, not in revenge, but in justice, as part of our war indemnity, and as partial reparation for those beautiful cathedrals and other monuments which the forces of evil in Germany and Austria have deliberately caused to be dese- crated and destroyed.” Mr. Lloyd Warren was the vice-chairman of this committee, and the executive committee was composed of Messrs. Herbert Adams, Paul W. Bartlett, Nicholas Murray Butler, Robert W. de Forest, Charles Dana Gibson, Thomas Hastings, Archer M. Huntington and Clarence H. Mackay. Thirty-four men composed the general committee. XIII The Liberty Loan Committee in New York had a very competent Art Advisory Committee which rendered a most useful service in as- sisting in their campaigns. Mr. H. Van Buren Magonigle was chair- man of this sub-committee, his associates being Messrs. Herbert Adams, Paul W. Bartlett, Edwin H. Blashfield and Charles Dana Gibson. Their appointments were made when the arrangements for the Fourth Liberty Loan were already under way and therefore, in view of this, the committee decided to concentrate their efforts upon the decoration of Fifth Avenue, Mr. J. Monroe Hewlett being placed in charge. Thanks to the work of this committee, New York had during Octo- ber, 1918, the opportunity of viewing one of the most inspiring exhi- bitions of pidmres ever held in the metropolis. Fifth Avenue, the fairest avenue in the world, was the gallery, about a hundred windows along the thoroughfare being the settings for the paintings. Many of the fore- most artists in the country painted these patriotic pictures, including Messrs. Paul Dougherty, Gari Melchers, Edwin H. Blashfield, Au- gustus Vincent Tack, Frank W. Benson, George Bellows, Jonas Lie, Gifford Beal and George Luks. Messrs. Herbert Adams and Mahonri Young were among the sculptors. This most interesting display was the idea of Mr. Augustus Vincent Tack, who carried it out with marked success. The idea involved in this exhibition is contained in the an- nouncement drawn up by Mr. Tack, which reads, in part, as follows: “In the early days, artists showed their works in public. We read the [ 53 ] stories of competition decided by popular vote, of the birds who were deceived and of the populace who were deceived by the painted veil of Apelles. In the later Italian days paintings were exhibited on the Rial" to, where the people became familiar with them, grew to know and understand them. Something of this is possible here. Fifth Avenue is our Rialto.” Another most interesting feature of the work done by this committee was placing a pictureTrame, measuring eight by sixteen feet, in front of the New York Public Library, on which on twenty "two successive days was painted a picture typifying the spirit of one of the allied nations. Mr. Charles B. Falls was the chairman of this committee. Among the twenty"two artists who painted these pictures were Mr. James MqnT" gomery Flagg [Belgium], Lieutenant"Commander Henry Reuter" dahl [British Empire], Mr. Charles S. Chapman [Cuba], Mr. F. Luis Mora [France], Mr. George Wright [Greece], Mr. Charles B. Falls [Japan], Mr. Adolph Treidler [Montenegro], Mr. Jonas Lie [Pana" ma], Mr. W. T. Benda [Poland], Mr. William J. Glackens [Russia], and Mr. Charles Dana Gibson [United States]. XIV An Allied War Salon, one of the most significant and interesting ex" hibitions of pictures ever held in New York, was opened to the public on 9th December, 1918, remaining open until Christmas. This exhibition was held under the joint auspices of the Division of Pictorial Publicity of the Committee on Public Information, the Mayor s Committee on National Defense and the American Federation of Arts. The Secretary of State, the Secretary of War, the Secretary of the Navy, the Acting British High Commissioner, the Ambassador of Italy and the Acting French High Commissioner were patrons. The Allied War Salon, however, was not at all “official” in character, as that word is commonly interpreted. As a matter of fact, there were no committees, other than honorary ones, and no jury, but the entire material, some eight hundred items, was gathered by Mr. Duncan Phil" [ 54 ] lips and the writer of this book, ably assisted in collecting the paint" ings by American artists by Mr. Augustus Vincent Tack. As already noted, nearly two hundred drawings by our official artists in France were shown in this exhibition. A group of fifty or more Ameri" can posters, including many originals, was shown, as well as some hun" dred carefully selected examples by French and British artists. Sixty or seventy pictures by American artists, painted in this country, were the work of Messrs. Gifford Beal, George Bellows, Ernest C. Blumenschein, Howard Russell Butler, Charles S. Chapman, Paul Dougherty, Charles W. Hawthorne, Albert Herter, Hayley Lever, Jonas Lie, George B. Luks, Gari Melchers, William Ritschel, AuguS" tus Vincent Tack, Douglas Volk, Childe Hassam, J. Alden Weir and many other artists of reputation. One of the most interesting exhibits was a group of thirty "six paintings and drawings by the marine camoufleurs of the United States Shipping Board, Second District. Drawings, lithographs and etchings in the American sections were the work of Messrs. George Wright, W. A. Rogers, Charles Dana Gibson, Louis Orr, Samuel J. Woolf, George Bellows, Childe Has" sam, Hugh Ferriss, and Herbert Pullinger. Two landscape targets, one painted by Mr. Augustus Vincent Tack and one by Messrs. H. Bolton J ones and Francis C. J ones, attracted much interest. Sculpture by Amer" ican artists, with war subjects, about forty examples, completed the American exhibit. In the large gallery given over to Great Britain was the set of litho" graphs depicting Britain’s efforts and ideals in the Great War, as well as notable displays of the lithographs of Messrs. Frank Brangwyn and G. Spencer Pryse. One of the most interesting galleries in the exhibition was that de" voted to the lithographs of MM. Lucien Jonas, Forain and Steinlen. Other French pictures were by MM. Renoir, Hermann Paul, Guy Arnoux, Benito and Abel Faivre, as well as many original drawings by M. Lucien Jonas. Eighteen original cartoons by M. Raemaekers and [ 55 ] etchings by Messrs. J. C. Vondrous and Gianni Caproni complex ed the exhibition. Great interest was manifested in the etchings by Signor Caproni, who besides being the world’s greatest designer of aeroplanes, is an etcher of considerable ability and has executed a number of plates depicting the aerial side of modern warfare. XV With Mr. Thomas Hastings as architect and Mr. Paul W. Bartlett as the chief sculptor, a temporary arch was eredted at Madison Square and Fifth Avenue, New York, to do honor to New York’s returning troops. This Victory Arch, about one hundred and fifty feet high, was the largest arch ever built in America. Surmounting this arch, which was an excellent piece of work, was a large equestrian group, the work of Messrs. Paul W. Bartlett and Attilio Piccirilli. This group showed a chariot, drawn by six horses and surmounted by a winged figure. On the main columns were panels by Messrs. Daniel Chester French and Herbert Adams. The spandrils were by Messrs. Isidore Konti and Andrew O’Connor, while bas-reliefs were by Gertrude V. Whitney [Mrs. Harry Payne Whitney], Mr. Mahonri Young, and fourteen other sculptors. The art committee of the Liberty Loan Committee was responsible for a well-designed Vidtory Way on Park Avenue, New York. Rows of Doric columns formed the two sides of the scheme. A frieze of paint- ings supplied a background to the speakers’ rostrum. Mr. Arthur Crisp had a painting of Vidtory in the center, and Mr. J. Monroe Hewlett paintings of New Zealand and Australia, while South America was painted by Mr. Charles S. Chapman and North America by Mr. Fred- erick J. Waugh. Mr. W. T. Benda painted Europe and Mr. Arthur Covey Africa. The color scheme was the same in all of these paintings, as well as the scale, and this collaboration worked for harmony. Simplic- itywas the key-note of this notable achievement. The same committee placed pictures of scenes connected with the war in many of the prom- inent windows on Fifth Avenue. [ 56 ] GEORGE LUKS Peace Celebration in New York SPENCER B. NICHOLS The Tanker EDWIN H. BLASHFIELD Carry On SAMUEL J. WOOLF First Aid Station at Seicheprey JOHN C. JOHANSEN The Launch of the Watonwan HENRY REUTERDAHL The Destroyer Patrol HENRY REUTERDAHL The Return of the Victory Fleet CHILDE HASSAM Early Morning on Fifth Avenue, May, 1917 GEORGE BELLOWS Murder of Edith Cavell GEORGE BELLOWS Massacre at Dinant MAXFIELD PARRISH Design for the Red Cross © H. W. Sage MAXFIELD PARRISH Design for the Red Cross : Detail MAXF1ELD PARRISH Design for the Red Cross: Detail HARRY E. TOWNSEND A Wounded Tank GEORGE HARDING An American-French Conference in a Wine Cellar ; Chateau-Thierry WALTER J. DUNCAN Cold Nights Coming On ERNEST PEIXOTTO Troops Leaving Esnes, September 23, 1918 HARVEY DUNN Kamarad — The Sniper J. ANDRE SMITH On Hill 204 — Southwest of Chateau-Thierry WILLIAM J. AYLWARD TroopsWaiting to Advance at Hatton-chatel, Meuse — S. M ihiel Drive WALLACE MORGAN Americans Mopping up in Cierges '4 We must not only Feed our Soldiers at the Front but the millions of women 6 - children behind our lines” Gen. John J. Pershing WASTE. NOTHING UNITE D S TAT E S' VOOD ADMINISTRATION GEORGE ILLIAN Keep It Coming GEORGE WRIGHT Another Ship — Another Victory ANOTHER VICTORY UNITED STATES SHIPPING BOARD EMERGENCY FLEET CORPORATION GREAT BRITAIN AND CANADA WILLIAM ORPEN A Qrenadier Quardsman CHAPTER TWO GREAT BRITAIN AND CANADA HE greatest credit should be given to the British Govern' ment for the foresight and judgment displayed in dispatch' ing artists of real ability to France. That the British authori' ties did not select popular shams when they finally decided to permit artists to go to the front is as commendable as it is astonishing. One would have imagined that the official war artists would have been chosen from the conservative and uninspired painters of typical Royal Academy anecdotes. But nothing of the sort was done; on the contrary, England sent her most vigorous and original men. She has, in conse' quence, a very adequate pictorial record of the Great War, a record which far outstrips that of any other country, Canada only excepted. France was left far behind and the United States is nowhere at all. Stress should also be laid upon the fact that Great Britain gave her artists a free hand and imposed no restrictions of any kind upon them : they were at perfect liberty to go where they chose and to do what they wanted. This accounts in large part for the excellence of their work. The offi- cial American artists, on the other hand, lacked proper direction and were not given facilities until quite late for carrying on their functions. Great Britain chose wisely in selecting such artists as Sir William Orpen, Messrs. C. R. W. Nevinson and Eric H. Kennington to depict the activities of her armies in France, and Mr. James McBey to record her campaigns in Palestine and Egypt, and no other living artist could C‘33] have recorded the environment of the British army and Royal navy as well as Mr. Muxrhead Bone. Excellent, too, are the sea paintings of Sir John La very. These artists, to mention but a few, not only produced work quite worthy of them, but in many instances their art was actually broadened and developed by the war. Mr. John S. Sargent also paint' ed some pictures in France; one of them is entitled Gassed, and shows a procession of gasTlinded soldiers groping their way across a battlefield. The majority of these fine works, it is gratifying to know, are to be deposited in the Imperial War Museum in London or in the Canadian War Memorials in Ottawa, where they will always be viewed with interest and prove a source of inspiration to coming generations. II Under the auspices of the Ministry of Information, a representative selection of the paintings and drawings, with a few lithographs, which were made for the Imperial War Museum were sent to this country. The exhibition was first shown at the Corcoran Gallery in W ashington, in January, 1919, afterwards coming to New York, and then shown throughout the country, with the cooperation of the Worcester Art Museum. This exhibition, which comprised two hundred and forty 'one numbers, gave an excellent idea of the pictorial records which Great Britain possesses of her part in the Great War. One hundred and two of the total number of pictures included in this exhibition were paintings and drawings by Sir William Orpen, who was gazetted a major in the Army Service Corps. This group of portraits, studies of types, of battlefields and other subjects comprised, I believe, about onedialf of the total amount of work done by him. Major Orpen’s series of portraits of British officers and soldiers, as well as one of Marshal Foch, are most dextrous and brilliantly clever pieces of painting. Rapidly executed, with the background often left unfinished, they possess the freshness of sketches. I am sure that all of Orpen’s portraits are capital likenesses and also that he has got considerable of the sitters’ personals ties fixed upon his canvases. Painted with a very high-keyed palette, as are the portraits. Major Orpen’s pictures of battlefields and views of the town of Cassel, where he made his headquarters, are also very realistic. His pencil drawings are a delight and rank in technical interest above the paintings: but in spite of all the evidence of technical ability shown in them, they are a little hollow and they display no feeling. They appear cold and lacking in sympathy when compared with the eloquent and moving lithographs of M. Steinlen and Mr. Pryse. However, posterity will undoubtedly set a high value upon all this splendid work, so ably ex- ecuted by one of the most prolific of all the war artists. It is a record of which the artist may well feel proud and which the British nation may congratulate itself upon owning. No artist has touched upon as many sides of the war as Mr. Muirhead Bone, the famous etcher, and no artist has given us more faithful and ar- tistic records. He has worked at the navy yards, he has visited the Grand Fleet and he has made many drawings on the western front, of which latter drawings Field-Marshal Sir Douglas Haig has said: “They illus- trate admirably the daily life of the troops under my command.” His draughtsmanship is well-nigh faultless; his landscapes, executed in pencil and wash, are among the greatest landscape drawings made since the time of Rembrandt, with whose drawings, in absolute mastery and emo- tional appeal, they are comparable. Mr. Bone’s vision is always that of a true artist; his line is most intelligent and displays great learning, a line which is at once extremely delicate and full of great strength and power. No artist has made a more notable series of drawings of the war than Mr. Bone. His naval subjects are miles ahead of those attempted by any other artist. Mr. James McBey, a Scotsman, favorably known before the war for his beautifully drawn dry-points and water-colors, was sent to Palestine and Egypt in his capacity as official artist and in these countries he made a great number of very sensitive and interesting drawings. With a commendable spirit of broadmindedness and fairness, Great Britain also included among her official artists converts to the teachings of the Post-Impressionists, the Cubists, the Expressionists and the Futur- ists. Chief among these artists was Mr. C. R. W. Nevinson, a Futurist, who has done some extremely interesting work. Mr. Nevinson has always been thoroughly alive and intensely interested in all the newer manifestations of art. Impressionism at first claimed his attention, then Cubism and its geometric formula, Expressionism and Futurism. Out of all these teachings and theories and influences he has evolved a style which might be described as a compromise between Futurism and illus- tration. His art is always dynamic and concerned with synthesis and abstraction. Pattern and design are also vital matters in his art. Mr. Nevinson was a motor mechanic and ambulance driver in Flanders the first year of the war ; afterwards he was with the French army as an hospital orderly. In July, 1917, he was appointed one of the official Brit- ishartists. Mr. Nevinson has thus seen the war from many and varied angles. It has always been his endeavor to get at the truth : his pictures are entirely free from all music-hall and journalistic heroics. Soldiers, I believe, are unanimous in their praise of these pictures, saying that they depict the very soul of the war. The artist has done considerable flying and his paintings of aeroplanes are really remarkable. In such a litho- graph as the Swooping on aTaube the speed of the ’plane is rendered in a marvelous manner ; the rhythm and swinging motion that he gets into columns of marching men is also very wonderful. From his darling paintings Mr. Nevinson has executed lithographs and dry-points of great distinction. Working in these mediums, he has also made many equally engaging compositions of subjects not connected with the war. He is a dry-pointer possessing considerable skill and a lithographer who gets a beautiful lithographic quality into his drawings. Mr. Paul Nash has suc- cessfully painted the utter desolation of the shell-torn landscape. Messrs. William P. Roberts, John Nash and P. Wyndh am Lewis were among the other modernists. Among other interesting works in the exhibition sent to America by [x 3 6] the British Government was a large study, excellent in composition and in color, of three soldiers standing before a mass of ruins, by Major Au- gustus John. This painting, a finished study for a large mural decoration which the artist has painted for the Canadian Government, in its sim- plicity and strength, but above all in its pale and reticent color, rather suggests the decorations of Puvis de Chavannes. This was one of the most notable pictures in the exhibition. Several canvases by Sir John Lavery, a painting by Mr. George Clausen, a piece of sculpture by Mr. Jacob Epstein, the only one in the collection, lithographs by Messrs. Eric H. Kennington, Frank Brangwyn and G. Spencer Pryse, with other works by Messrs. W. B. Adeney, Alfred Bentley, John Everett, Colin W. Gill, C. J. Holmes, Bernard Meninsky, William Rothenstein, Henry Rushbury, Randolph Schwabe and E. AVerpilleux were also shown. Ill Under the auspices of the British Government, a set of sixty-six litho- graphs depicting Great Britain’s efforts and ideals in the war was dis- played in many parts of the United States. A number of sets were sent to this country to be exhibited and sold as propaganda. The idea origi- nating with the artists who made these lithographs. Artistically, the six prints by Mr. Muirhead Bone, entitled Building Ships are the most important, being most masterly in execution. Mr. Eric Kenningtons set entitled Making Soldiers is also very fine indeed. Mr. Robert Nichols, an English poet, who served throughout the war, quite rightly, I think, says that Mr. Kennington’s drawings are won- derful portrayals of the British soldier as he is — a sober reflective being, and not a music-hall humorist with a passion for being killed, as the music-halls would make him out. Excellent, too, are the sets by Mr. Frank Brangwyn entitled Making Sailors, by Mr. George Clausen entitled Making Guns, by Mr. C. R. W. Nevinson entitled Making Aircraft, by Mr. Charles Pears entitled Transport by Sea, by Mr. William Rothenstein entitled Work on the Land and by Mr. Claude Shepperson entitled Tending the Wounded. Mr. A. S. Hartrick’s series bearing the legend Womens Work was not so well drawn as the others. The above lithographs are intended to illustrate Great Britain’s eh forts in the war: the second part of the exhibition sets forth some of the ideals for which she was fighting. These were all in color, with the exception of Major Augustus Johns lithograph entitled The Dawn. Perhaps the most beautiful in the set is Mr. Charles H. Shannon’s The Re-birth of the Arts, in which Art, unscathed, is seen rising to her feet amidst a scene of desolation. Extremely beautiful also, both in design and color, is Mr. Edmund Dulac’s Poland, a Nation. The other litho- graphs in this set are Mr. Ernest Jackson’s Defense Against Aggres- sion — England and France — 1914, Mr. Charles Ricketts’ Italia Re- denta, Mr. Frank Brangwyn’s The Freedom of the Seas, Mr. William Rothenstein’s The Triumph of Democracy, Mr. William Nicholson’s The End of War, Mr. Maurice Greiffenhagen’s The Restoration of Alsace-Lorraine to France, Mr. George Clausen’s The Reconstruction of Belgium, Mr. G. MoiRA’sThe Restoration of Serbia and Mr. Edmund J. Sullivan’s The Reign of Justice. IV During the first two years of the war it was almost impossible for either an artist or a photographer to get to the front. Mr. Frederic V illiers, one of the most famous of living war artists, having covered practically every war since the Franco-Prussian War, was refused per- mission to work with the British armies, but succeeded in getting per- mission to sketch with the French. His very accurate drawings, as a rule actually made on the spot, many times in a front-line trench, were pub- lished in The Illustrated London J\[ews. Mr. Villiers told the writer of this book that they are the only drawings in existence depicting the first two years of the conflict, which gives them a very real value as historical records, aside from their excellent draughtsmanship. Artistically speaking, the British war posters are very far below the French in interest, being for the most part but garish and illy drawn commercial products, as were the American. The posters of Messrs. G. Spencer Pryse and Frank Brangwyn, whose posters some years ago in the London “Underground” attracted so much attention owing to their very great artistic appeal, are the exceptions. Captain Pryse 1 s post- ers are true works of art and constitute some of the best lithographs of any description produced during the war. Such a poster of his as that en- titled The Only Road for an Englishman, which shows a regiment of British soldiers marching through a ruined town, is not only extremely well drawn and excellent in composition and in color, but it makes a very strong emotional appeal. In addition to his posters, Captain Pryse has drawn a great many auto-lithographs, issued in proof form and pos- sessing a very beautiful lithographic quality. The strong human appeal in all of these lithographs is irresistible and accounts in large part for their great popularity; however, the artistic appeal which they make is a real one, and they are quite different from the story-telling pictures which one associates with the Royal Academy. Mr. Brangwyn’s posters to en- courage enlistment in the navy are very vigorous compositions, full of energy and displaying a keen sense for the dramatic. Major Charles Pears has painted a series of extremely fine marine paintings, many of them being of camouflaged ships. Mr. Glyn Philpot has painted portraits of four of the British admirals, while Mr. Francis Dodd has made pencil drawings, colored with water-color, of twelve: these latter are beautifully drawn. In touching upon the war pictures which have been made by British artists, one must certainly not neglect to mention the humorous and racy sketches made at the front by Captain Bruce Bairnsfather. His three favorite characters, who appear in most of his drawings, Old Bill, Alf and Bert, were great favorites among both the soldiers at the front and the people at home. These three famous characters have had a very suc- cessful play written around their exploits. V The Canadian War Memorials Funa was founded in order that every phase of Canada’s operations, both in Canadian training camps and on the battlefields of France, might be properly recorded. The idea for this form of memorial originated with Lord Rothen mere, former British Air Minister and Lord Beaverbrook, head of the Canadian War Records Office and former Minister of Information. Mr. Paul G. Konody was appointed art director, which positionhehasheld since the inception of the Memorial, in the summer of 1917. In organising the scheme, as is pointed out in the foreword to the catalogue of that portion of the pictures which was shown in London and in New York [i9i9j,“the committee throughout endeavored to do equal justice to the claims of history and of art. Historical accuracy has been secured by the timely dispatch of a band of distinguished artists to the fighting front. To ensure artistic success the committee worked out a schedule of subjects embracing every sphere of Canadian war preparation and war activity exemplified by typical scenes, each one being entrusted to the artist whose past achievements pointed most clean ly to his ability to do full justice to his task. These artists were selected in the most catholic spirit, to represent every school and group. This series of decorative panels was thought out in connection with an an chitectural scheme which is to form a suitable and imposing framework for the pictures, so that they will present themselves as an impressive ensemble in orderly sequence. Around this nucleus of vast decorative panels has been built up a comprehensive collection of minor paintings, drawings and engravings of war subjects, portraits of generals, states' men and Canadian V. C.’s, works of sculpture, and a historical section of early English paintings and engravings, directly connected with Canadian history.” Among the latter paintings, it is interesting to note, are Romney’s pon trait of Joseph Brant, the celebrated “sachem” of the Mohawk Indians, Reynolds’s portrait of Sir Jeffrey Amherst, Lawrence’s portrait of Sir Alexander Mackenzie and West’s painting entitled The Death of Wolfe. Majors Augustus John, D. Y. Cameron, Richard Jack and J. Kerr Lawson were the first artists to be sent to the front by the Canadian War Memorials. Major John’s painting, which will dominate the mag- nificent building which is to be erected in Ottawa to house this col- lection, is a large decorative canvas measuring forty by ten feet. Mr. Konody describes it in the following words: “John’s art is always syn- thetic. He is not an illustrator. He goes for the typical, not the inciden- tal. His subject is not any particular episode, but a summary of all he has seen, of all that has stirred his imagination and his sympathy dur- ing his five months at the front. His picture may be described as an epitome of modern war.” Major Cameron painted an impression of the featureless plains of Flanders and Major Jack pictures of the second bat- tle ofYpres and of the attack made on Vimy Ridge on the 9th of April, 1917. Major Lawson showed in his paintings the ruins ofYpres and Arras. Mr. C. R.W. Nevinson painted one of the exploits of Major Bishop, Canada’s greatest airman, and a series of four panels entitled The Roads of France, illustrating the progress of the fighting force from the base to the front line. Mr. A. J. Munnings painted a series of fifty small paint- ings of Canadian cavalry and lumbermen, pictures of marked excellence and most spirited. Other important pictures of events connected with the war were painted by Lieutenants A. Y. Jackson and Algernon Tal- mage, Gunner W. Roberts, Lieutenant Paul Nash, and Mr. Leonard Richmond, to mention but a few of the fifty or more other artists en- gaged in this work. Portraits of military and civil personages of distinc- tion were painted by Mr. Charles H. Shannon, Major Ambrose Mc- Evoy, Mr. Harold Knight, Sir William Orpen, and numerous other portrait painters of great reputation. In addition to the pictures painted in the fighting zone, Canada also possesses a valuable series of paintings and drawings showing the making of the soldier in Canada and all the other activities at home. Mr. Arthur Lismer has painted records of things going on at Halifax: Mine sweeping, convoying, patrolling and harbor defense. Miss Mabel May went to the munition works in Montreal, where women and girls labored unceasingly. Mr. Manly MacDonald chose woman s work on the land as his subject. Mr. Francis H. Johnston went to the Toronto Fly- ing Schools and Mr. R. F. Gagen painted a shipbuilding picture in Toronto Bay. Lieutenant-Commander Norman Wilkinson painted a spirited canvas showing the great fleet which carried the First Canadian Division across to England at the outbreak of the war. I have merely chosen a few examples to illustrate the interesting and comprehensive manner in which this side of the work was accomplished. Sculpture, it should be noted, was executed by Captain F. Derwent Wood and M. I. Mestrovic. The following comments on the Canadian War Memorials, and on war memorials in general, are taken from an anonymous article pub- lished in Canada in Khaki. I am so in accord with the writer s views on this subject that I have ventured to quote him at some length : “The idea of an artistic war memorial is generally connected with a winged and laurel-crowned confection in marble and bronze, erected on some prominent site for the edification or derision, as the case may be, of future generations. Or, if it takes a pictorial form, it is apt to be a series of unconvincing, melodramatic illustrations, more or less fanciful, of famous episodes or individual acts of heroism, that are of little artistic and absolutely no documentary or historical value. Who can pass through the endless galleries of battle pictures at Versailles without experiencing a sense of invincible boredom? A war memorial of this kind, if it is to be of lasting value, if it is to teach future generations, to stir their imagination, to stimulate their patriotic feeling, must be a thrill- ing record of facts, based on personal experience. “If a pictorial record of this greatest of all wars is to be of perma- nent value, it must be created from actual impressions whilst they are i>q fresh on the mind, whilst emotions and passions and enthusiasms are at their highest. A ‘posthumous’ war picture is as valueless as a posthu" mous portrait. . . . Art remains to teach posterity of the glorious part of the race, and to keep alive the flame of patriotism. Our whole knowh edge of civilizations that have vanished long since — Egypt, Babylonia, Chaldaea, and so forth — is derived from the scanty artistic records that have been saved from the destruction of Time and War. The visual evidence of one fragment of art teaches us more, and more tellingly and rapidly, than whole volumes of erudition.” Australia also had her official artists to depict her achievements, as well as men in the ranks who recorded their impressions. These artists, who worked in Palestine and Egypt, as well as in France, made many hundred paintings and drawings of marked excellence. Some of the best of these pictures are by Lieutenants F. R. Crozier, G. W. Lambert, A. Streeton and S. J. Lamorna Birch. Lieutenant Lamberts paintings of the tragedies attending the Gallipoli campaign are particularly well painted. I WILLIAM ORPEN Horses Near Aubigny WILLIAM ORPEN Bringing in a Wounded Tommy WILLIAM ORPEN The Qas Mask WILLIAM ORPEN The Big Critter, No. 2 WILLIAM ORPEN South Irish Horse MUIRHEAD BONE A British Tank - MUIRHEAD BONE H. M. S. Vindictive after Zeebrugge I ; , A Shipyard Scene MUIRHEAD BONE Ready for Sea JAMES Me BEY Entry of the Allies into Jerusalem JAMES Me BEY Water Transport -V JAMES Me BEY Detraining a Howitzer by Moonlight C. R. W. NEVINSON That Cursed Wood « C. R. W. NEVINSON After a Push C. R. W. NEVINSON The Road from Arras to Bapaume C. R. w. NEVINSON Swooping on a Taube JOHN LAVERY A Coast Defense PAUL NASH Sunrise : Inverness Copsi ERIC KENNINGTON A Lewis Qunner of a Yorkshire Regiment CHARLES PEARS Maintaining Oversea Forces EDMUND DULAC Poland, A Nation CHARLES H. SHANNON The Re-birth of the Arts V FRANK BRANGWYN The Lookout FRANK BRANGWYN Put Strength in the Final Blou > G. SPENCER PRYSE The Fall of Ostend G. SPENCER PRYSE The Wayside Crucifix — Belgium, 1914 through Darkness THE ONLY ROAD Through Fiqhiing FOR AN ENGLISHMAN ° G. SPENCER PRYSE The Only Road for an Englishman G. SPENCER PRYSE The Retreat of the Seventh Division and Third Cavalry on Ypres •PS**' G. SPENCER PRYSE Belgium, 1914 JACOB EPSTEIN The Tin Hat ■RCFjraMHHm ■£i% NORMAN WILKINSON Canada’s Answer I A. J. MUNNINGS Horses Watering near Domart . D. Y. CAMERON Flanders from Kemmel LEONARD RICHMOND Canadian Railway Construction in France P. WYNDHAM LEWIS Canadian Qunpic FRANCE L'AISNE bEVASTEE OEUVRE DE GUERRE POOR LA RECONSTiTUTiON DE5 FOYERS DETRUiTS LES SOUSCRIPTiONS SONT RECUES AU L- APPEL Frere. regorde et l/s . la Fortune est res tee Tranquillement. Assise a tonfoyer 'eft A/sne est deuastee par FAHemand / 0 Mi sere / ODouleur'ODeuil'Ie cceur du marbre J omollirait f Reqardepks de pierre au village. plus darbre Dans lojoret / Plus dftomme a le/ob/i, de Verge a la Cbopelle. Den id au tod Vois cede ueuue oup deup enfonts je leroppellc Que rest pour loi! Ouure les coffre Jorls el les humbles sacoehes iljout des dons / // leresle del or ou des sous, dans fespoches Nous a Hendons! SIEGE SOCiAL 129,B A - D MALESHERBES PARiS Imp .H.CHACHOIN . Pa ft IS Ultions "L A GUERRE “HO. Avenue Victor- Hugo PARIS - V/St It' 109*9 TH. A. STEINLEN L’Aisne Devastee CHAPTER THREE FRANCE T was in France that the lithograph first became a recognised medium for artistic expression. Gericault and Delacroix made many strong drawings, to be followed in the thirties by the great Daumier, a marvellous draughtsman and the king of caricaturists. In the sixties notable lithographs were made by Manet, Barye and Millet. The most perfed: expressions of Fantin-La- tour’s sensitive art are to be found in his lithographs, enchanting prints which rank with the masterpieces of the art. In many cases Fantin first drew his lithograph and from it made his painting, the lithograph in- variably being the more spontaneous and charming. Later came the pen- etrating lithographs of Toulouse-Lautrec, who was another master, and one who successfully introduced color into his prints, as well as Degas, whose lithographs only became generally known when his cohesions were dispersed in Paris, shortly after his death. MM. Foraxn and Stein- len, the greatest draughtsmen in France to-day, are doing much of their finest work on the lithographic stone. Since the artistic possibilities of the lithograph were thus so splen- didly developed in France, it is not surprising to find that so many of her artists choose the lithograph as their medium for recording the events of the Great War. As a matter of fact, the most artistic and important pictorial records made in France are to be found in her post- ers and in the powerful lithographs in black and white by MM. Stein- t> 31 ] len, Forain and Lucien Jonas. I believe these lithographs to be greater works of art than the drawings and paintings by her official artists, for in an inimitable and masterly fashion they express the soul of the great French nation and put before us in a vivid manner her undaunted coun age and devotion to la Patrie. II The drawings and etchings of M. Steinlen possesslthe very scent and flavor of Paris. They are as typically Parisian as the drawings of Row' landson are essentially English and the pictures of Goya reek of the soil of Spain. With much pertinence M. Steinlen has been called the Millet of the streets, for in his studies of the toiling workers of Paris, of the artists and of the destitute, we find the same understanding that we find in the peasants of Millet. In Steinlen we see always a profound sympathy with suffering humanity and tenderness towards the oppressed and urn fortunate, learned through a long familiarity with the inhabitants of the various poorer quarters of Paris. M. Steinlen’s artistic output has been enormous: his pencil is nearly as active as was Daumier’s. And always this gifted pencil has been wield' ed on the side of justice; many times has he fought battles for the op' pressed. In his history of painting, Major Haldane Macfall says that M. Steinlen is “one of the giants of his age, a man who has bettered the world, lifted his generation, and brought honor to his great people.” His drawings for Gil Bias and illustrations for the books of Coppe, de Mau' passant, Anatole France, Bruant, the cabaret singer, and chansons em titled Dans la Route, as well as for many other publications, are num' bered by the thousand. Extremely beautiful are his lithographs for Cham son de Montmartre and full of character his Des Chats; no one has drawn a cat as well as M. Steinlen. With such an artistic equipment and with such a profound sympa' thy with suffering humanity, it was but natural that M. Steinlen should throw himself heart and soul into depicting events connected with the terrible war. He more than rose to the occasion and in a succession of posters, drawings, lithographs and etchings he has preserved for poster' ity a magnificent and unequalled record of the nobility of character and bravery displayed by the French race, as well as the appalling distress wrought upon that valiant people. With profound understanding and sympathy he has gone, sketch-book in hand, to the railway station where the wounded are arriving, he has gone to the devastated town, he has stood by the roadside as the soldiers marched by. An etching shows us several badly wounded men being carried from the battlefield under fire: it is called The Escape from Hell. A lithograph has for its subjedt a pro- cession of old people and little children and babies leaving a German jail. Another lithograph is of a group of soldiers lustily singing as they march down the road. Ill M. Forain is as caustic and unrelenting in his realism as was Degas. In addition, he is a satirist and one that shares with the caricaturist the joy of dwelling upon peculiarities of human make-up and delving into the science of physiognomy: but he only emphasises, whereas the cari- caturist exaggerates. M. Forain has gone to the halls of justice, to the opera and to the glittering restaurants in search of material, while M. Steinlen has con- cerned himself with the artists in the Montmartre district, with the humble toilers of Paris and with the vagabonds who dwell in the re- gions of the fortifications. Taken together, their drawings preserve for posterity an excellent pictorial record of the manners and customs ex- isting in Paris during their time; this record will be of inestimable value to the political and social historian of the future. The drawings of M. Forain are always immensely entertaining and exciting, and for the artist they are most stimulating companions. Degas always liked to have a lot of them around. Voltaire was right when he defined a bore as one who said everything; no one has ever been bored by a drawing by M. Forain. M. Forain’s interest is in the essentials, which he always emphasises, and his economy of means is nothing short of marvellous. He faithfully records an incident, strong in characterisation, with a dosen strokes of the pen. His drawings, etchings, lithographs and paintings are brilliantly clever in execution, but they are far more than that: they disclose a knowledge and a learning that is profound. Drawing, Ingres has said, does not consist only of lines, but is much more — expression, the inner form, the structure, the modeling. Daumier and Degas were M. Forain’s artistic nourrices, but he is absolutely original and his work could never be mistaken for that of another man. His line is alive and even more telling and full of character than that of the greatest Japanese. It was inevitable that M. Forain, like M. Steinlen, should have been completely absorbed by the war and it was likewise a foregone conchi" sion that the war would react upon him and his art in a powerful manner. A set of perhaps a hundred and fifty lithographs of events and scenes connected directly with the war rank with his most brilliant achieve" ments. How gripping and how moving is such a drawing as his litho" graph entitled Forward ! and how extraordinary is the draughtsmanship ! IV M. Lucien Jonas, who before the war was known as a painter and an illustrator, is a younger man than either M. Steinlen or M. Forain and is an artist who has come into prominence since 1914. The war brought him inspiration and developed his art. He has made innumen able drawings at the front of types, as well as portraits of generals, most of them quite interesting. However, it is a set of twentyTour lithographs entitled The Heroic Soul of France, as well as many other stirring prints of this description, that displays the artist’s gifts in their full maturity. M. Jonas is not to be classed with such artists as MM. Steinlen and Forain, for he does not possess their great artistic endowments, but his drawings are probably more popular with the masses than either. Mr. Duncan Phillips has written: “They are compounded of the heart stuff [224] of which people’s prayers are made in times of need. This is the secret of their success with the French people to-day. M. Jonas explains to them their own fighting idealism.” One of the lithographs in the set which shows the heroism of France is entitled A Volunteer, which is not only the best of the series, but also one of the most inspiring drawings which the war has brought forth. An officer of the famous Blue Devil regiment is seen calling for a volunteer to perform some par- ticularly hazardous duty — and every man within sight springs forward for the privilege of giving his life, if need be, to France. Another print shows a blind chaplain struggling along a rough, shell-swept highway carrying on his back a paralysed soldier, who endeavors to direct his course. Yet another print is of a much bandaged soldier who has been taken prisoner by the Germans and is being interrogated by two offi- cers. One of these officers, a revolting looking beast, holds a revolver almost against the forehead of the prisoner, who looks him in the eye and replies to his question: “I shall tell nothing.” V Lieutenant Henri Farre has painted some of the most remarkable and authoritative of all the war pictures which have been made. He has depicted the part played by the French aviators in the war and he has painted it most graphically and in a beautiful manner. At the outbreak of the war he was painting portraits in Buenos Aires, but immediately went to France and offered his services to his country. He was attached to the Escadrille de Bombardement with the rank of Observer-Bombar- dier and subsequently flew over all parts of the Western Front. His most interesting paintings, executed in all cases from notes made as he flew and painted immediately upon landing, have been exhibited in many parts of the United States. VI Under the auspices of the French High Commission, several hundred intimate and delightful sketches by French soldier-artists were exhibited in many parts of the United States during the years of 1918 and 1919. Quite a large group of drawings in wash and charcoal, with a few in color, were the work of M. Georges Scott, the well-known illustrator. His sketches and drawings, well executed and full of fire, are scenes in the trenches and on the battlefield. One is called Gloire au Soldat de France, another Offensif en Champagne, another Patrols. A beautiful drawing in pen-and-ink and water-color entitled Watchers at the Foot of Tofana shows two men in a trench, a high mountain covered with snow being in the background. Some very strong water-color studies of soldiers both back of the lines and in the trenches, were by M. Renefer. Other excellent drawings of soldier types were by M. Bernard Naudin and M. Rogerde Valerio. Amusing little lithographs of children play- ing soldier were by M. Poulbot. Other good drawings were by MM. Lucien Jonas and A. Boisfleury. Mr. Royal Cortissos well summed up the impression conveyed by these delectable sketches when he wrote: “It is not, indeed, of artistic ambition at all that we are conscious as we survey these souvenirs of the war. It is, instead, of everyday human traits, of brave men relieving an intolerable routine with unpretentious artistic excursions, dashing off slight memoranda of dreary scenes, affirm- ing not so much dexterity of hand as a simple manly courage.” Early in 1919 a collection of seventy-seven paintings by French ar- tists, twenty-five in number, were placed on view in one of the New York galleries. They were the work of M. E. Louis Gillott, official artist of the French army, M. Charles Fouqueray, official painter of the Musee de Y Armee, several pupils at the Ecole des Beaux-arts and other artists. But few of them possessed very great interest. Hundreds of small drawings, mostly in water-color, the work of for- mer students of the Ecole des Beaux-arts, were sent to America to be sold for the benefit of the families of artists who had been wounded or killed in the war. Many of these sketches were extremely well drawn. This excellent work was carried out by Mr. Henry Renwick Sedgwick, of New York. Thirty paintings by M. Jean Gautier, representing personal expe' riences of the artist in the battles of Verdun and the Marne, were shown in New York in March, 1919, and proved to be fairly interesting. Many fine and spirited drawings by MM. Francois Flameng, Charles Huard and Georges Scott, all official artists, have appeared in the pages of L’ Illustration. VII As was to be anticipated, the finest war posters have come from France, where the artistic poster was originally conceived and brought to great perfection. It has been well said that the inspiring French war posters are “an intimate expression of the greatest convulsion in the history of civilisation. 1 ’ None of the French posters have been more effective or artistic than those of M. Steinlen: his designs are masterpieces of poster craft, simple, straightforward drawings, of which the lettering is by him and forms an integral part, and posters which serve their purpose well by telling their story in an unmistakable and forceful manner. In his poster en- titled L’Aisne Devastee, which is an appeal for funds for a charity in' terested in the reconstruction of destroyed homes, we see a young mother grasping her two small children to her side. A completely ru' ined house in the background completes the picture, the pathos of which surely could have been rendered by no one else as well as M. Steinlen. In La Triennale, a poster designed to advertise an exposition of French art held for the benefit of the Fraternite des Artistes, we perceive the magnificent and undaunted figure of an older and bearded soldier gating at a man ploughing with a pair of great white oxen, preceded by a figure of Victory. Other superbly drawn figures of the invincible French sob diers appear in a poster entitled Concert en Grange and Pendant Qu’Ar' sene se Bat, while in a poster issued by the Serbian Relief we have a most tragic procession of halfistarved refugees. M. Forain’s poster entitled Le Vetement du Prisonnier de Guerre contains the figure of a seated soldier, a prisoner, engaged in writing, using his right knee as a table. The drawing of this soldier has been done in a most masterly fashion; technically, indeed, the war produced noth' ing finer than this. Another superb drawing by M. Forain appears on the poster issued for a charity known as Le Bon Feu. No artist of France has had the war react on his art in a more inter' esting way than “Sem,” the famous caricaturist. He designed two post' ers which take the highest rank among all the posters produced during the war. His two posters entitled Pour le dernier quart d’heure . . . and Pour le triomphe souscrivez, a Temprunt national are simply mag' nificent. In the former print we see a general with his aides watching a regiment of soldiers march by, over a field spotted with shelbholes; in the latter a symbolical view of the Arc de Triomphe which fairly breathes the spirit of ardent patriotism. Full of fire and spirit and splendidly drawn is M. Abel Faivre’s post' er entitled On les aura! issued for the second government loan, which shows a youthful soldier apparently just going “over the top.” It is one of the finest of all the war posters. Another stirring design by M. Abel Faivre is his poster bearing the legend L’Or Combat Pour LaVictoire, in which the cock on an enormous twenty 'franc piece is springing out to attack a crouching German soldier. Other excellent posters are M. Georges Scott s Pour le Drapeau! Pour la Victoire ! M. Willette’s Journees Girondines and M. Poulbot s N’oublie pas de souscrire . . . pour la Victoire! . . . et le retour! to mem tion but a few more of the many excellent posters which have been produced in France. MM. Guy Arnoux, Benito and Hermann Paul have made some most interesting drawings to commemorate certain events of the war, such as the arrival of the American troops in France and the work of the American Red Cross. These charming designs, which are issued singly, have been drawn after the manner of old French woodcuts and broadsides and are printed in color. I>8] -«<*** J. L. FORAIN The’ Prisoner (from a Poster) FORAIN Forward ! , ■ ; , ;; ' ft J. L. FORAIN What ? Not Even a Child ! J. L. FORAIN h is a Neutral Ah! . . . 1 Breatht TH. A. STEINLEN Aid to the Wounded TH. A. STEINLEN Under the Boot L£ PKEMIER CONCERT EN GRANGE A ETE oonne a5omme-5uippes Lel w Nov b r' I 9 I4. E.RT en Grange du XVII? C.A TH. A. STEINLEN Concert en ( grange . M LA TRIEIN INALE EXPOSITION D'ART FRANCAIS AO PROFIT DE LA "FRATERNITY des ARTISTES SALLE du JEU dePAUME TERRASSEdesTUILERIES du 2 Mars au15 Avril1916 de 9 Heures du Matin ALA TOMBEE DU «J O U Vernissage, le 1 1 Mars O O m i t e : MM Albert BESNARD. L. BONNIER. L. BOUCHARD. Maurice CHABAS. J. CHERET. F.R. CARABIN,^ Raphael COLLIN. F. CORMON. C.COTTET, J. DAMPT. A.DECHENAUD, C.DESPIAU. G.DESVALLIERES.Mt Helene DUFAU, M.M. FORA IN. FRANTZ- JOURDAIN. Charles GUERIN. GUIRAND DE SCEVOLA, HARPIGNIES.HENRI MARTIN. F.HUMBERT,R. LALIQUE, Ernest LAURENT.EE^ L. LEGRAN D, A. LEPEf^E, LE SIDANER Maurice DEN IS, A.MERCIE.CbarlesPLUMET.RENOIR.C.RIVAUD. RODIN, f.sabatTe.sTeinlen.vuillard.willetTe^ TH. A. STEINLEN La Tricnnalc TH. A. STEINLEN Leaving the Qerman Jail LUCIEN JONAS A Volunteer ■m. ?^PoHlrvC3s 15 •>»<■» O'l pAV*v$ Cj W J !^S v^. Cjc-mKo^- Y'/^hv^ VVivU- «L ft * % ( ■ < ') Vfv-V •. £\-V- ru. r : - ! ^ ^y A*- ^ UxUovj ^ •’ LUCIEN JONAS Portraits of Qeneral Pershing M.myU- ./up ,"- ,! m Wjw * ' ■■>) -% .;" j> r- $*f; Jr ■

< • r 4 M>' » ?$tr H‘- w .i, w PIERRE AUGUSTE RENOIR PoYtTCiit of Mis Son, VC^ounded in the WtiT / LES HYMNES ALLIES * HYMNE AMER.ICAIN * LA BANNiEAE ETOILEE FUTTE S UR Li F.VYS JYE. LALi8UU% ET LE FOlfER. 3>Fi «RAV£S 3flUUj£.<)€ Hermann Paul,tiree a'1.000€ocmplai«5 J S^it!«iPAI^lS / pui'lcN0UVCLEsS0R,(t0 ( nie^6j^jftres. HERMANN PAUL The American Hymn JPa ysans lie trance, saloons levs soliiats tie la Iibre Amerupie ijin viennent par millions mcler lenr sang a ivc'i le ilroif ill- cnltiver not tv dm nip et pour cmpecher les barLares lie nous ravir les liliertcs composes. » BENITO For the Beautiful Land of France JLJES E/LtMQW/ES/RS ME E/1 MMMWE LlflFiAlfllE GAASSET iil RUE OEr, S A tN 1 PE HE G. PAHIS ire imr oe ct < ' e image quatae cents i j. mpu i] t . •. v.^ons su« wt «*.e »'a«chcs. BENITO The Conquerors of the Marne A 1 mterieur coinme aux armees, aucune souffrance lie laisse incliffereiite laC roix-Rouee amencame. o BENITO The Heart of America ' HENRI FARRE Bombing Nancy ANTONIN MERCIE Plaque tte de la Fraterni t'e des Artistes 0 IP 1 £kk i i || m Wm X i / 3»$r gill* £V ; Mi EES SOUS OUIUUUrS BANQUE DEVAMBEZ, IMP. PAKIS JSMrKliN I NATIONAL SONT REVUES A LA NATIONALE DE CREDIT VISA. N* I'jvot “SEM” Pour le Dernier Quart d’Heure \ flru/i \jl VUo7n/2/{z^^ r? af/ona£ LEsSoUSCRIPTiONS SONT ReQUES A Paris ET EN Province A LA BANQUE NATIONALE « CREDIT “SEM” Pour le Triomphe Souscrivez a I'Emprunt National ™ sSE V Li\™PRU p NT NATIONAL RAMAnc \r PARIS ET EIN p «»vmci NATIONALE de credit VISA _ N? o 406 GEORGES SCOTT Pom lc Drapeau ! Pnur la Victoire! I ✓ (fh L> OUAJX^ 2 ! EMPRUNT DE la DEFENSE NAT 10NALE OtVAMBEZ IMF PA,ilS ABEL FAIVRE On les Aura! TOUR. LA I RANGE VERSEZ VOTRE OR EOr Combat Pour LaAMoire i i>m »*\K i \ '< : - I»J S \ S\)S l)i > \K ! is VR ABEL FAIVRE L ’Or Combat Pour La Victoirc Au pRofit ExcusifoES du«s de Cberre Dll Departement BF.VAMBE7. IMP PARIS ADOLPHE W1LLETTE Journees Qiromlines EM PRU NT la DEFENSE NATIONAL! PUBLIE SOUS LES AUSPICES DE LA FEDERATION NATIONALE DE LA MUTUALITE FRANCAISE QUI FAIT APPEL A TOUS LES TRAVAI LLEURS. A TOUS LES PREVOYANTS ATOUS LES PATRIOTES POUR LA LIBERATION DU TERRITOIRE ET LA VICTOIRE FINALE. FRANC1SQUE POULBOT — N’ 'oublie pas de souscrire . . . pour la Victoire! . , . et le retour! I THE NETHERLANDS LOUIS RAEMAEKERS Cleansing the Temple LOUIS RAEMAEKERS The American Army in France — The Relief BIBLIOGRAPHY THE UNITED STATES OF AMERICA General and Miscellaneous International Cartoons of the War. Selected with an introduction by H. Pearl Adam. New York : E. P. Dutton 6? Co., N. D. Art and the War. By Duncan Phillips. Illustrated. The American Magazine of Art (Washington), June, 1918. American Artists and the War. By A. E. Gallatin. Valentine's Manual (New York), 1918. A Check List of the Literature and Other Material [Including Posters and Cartoons] in the Library of Congress on the European War. Washington: Government Printing Office, 1918. Joseph Pennell’s Pictures of War Work in America. Thirty-six plates and an intro- duction. Philadelphia and London : J. B. Lippincott, 1918. Suggestions for Artists Desiring to Apply Their Knowledge to War Work. By A. E. Gallatin. New York: The Mayor’s Committee on National Defense, 1918. The Value of Landscape Targets. By Captain J. R. Cornelius. Illustrated. Scribners Magazine (New York), October, 1918. New Faces for Mutilated Soldiers. By Grace S. Harper. Illustrated. Red Cross Maga* zine (Garden City, New York), November, 1918. Allied War Salon. Catalogue. With an essay by A. E. Gallatin entitled Art and the War and eighteen illustrations. New York, 1918. Pictures of the Great War. Catalogue. Some of the exhibits from the Allied War Salon. A. E. Gallatin’s essay on Art and the War reprinted. Pittsburg: Carnegie Institute, 1919. The War’s Influence on Art. By Herbert Adams. The Forum (New York), Jan- uary, 1919. The Allied War Salon. By Duncan Phillips. Illustrated. The American Magazine of Art (Washington), February, 1919. Division of Pictorial Publicity. Souvenir menu of a banquet held in New York, 14th February, 1919. A history of the Division of Pictorial Publicity, containing fifty- six miniature reproductions of posters. New York, privately printed, 1919. Reproductions of Drawings showing the American Troops in Action. By Lester G. Hornby. Harper’s Magazine (New York), March, April and May, 1919. Drawings made in France by the Official Artists of the United States Army. Reproduced in Scribner’s Magazine, Century Magazine, and Everybody’s Magazine (New York), March, 1919. A Day with a Sketch-book on The Front. By Will Foster. Illustrated. Scribner’s Magazine (New York), April, 1919. Practical Patriotism in American Art. By Carter Glass. Illustrated. Art and Life (New York), June, 1919. War Memorials. Entire issue of The American Magazine of Art (Washington), September, 1919. Pictorial Records of the War. A lecture delivered at the Metropolitan Museum of Art, New York. By A. E. Gallatin. The American Magazine of Art (Wash- ington), October, 1919. The War in Cartoons. Edited by George J. Hecht. 100 illustrations. New York: E. P. Dutton 6? Co., 1919. Posters Posters and War Work. By Helen Wright. Illustrated. The International Studio (New York), June, 1918. Making Posters Fight. By Montrose J. Moses. Illustrated. The Boo\man (New York), July, 1918. Posing the War for the Painter. By Robert Cortes Holliday. Illustrated. The Boo \ - man (New York), July, 1918. Our Fighting Posters. By Julian Street. Illustrated. McClure’s Magazine (New York), July, 1918. The Story of the War Posters. By H. A. McDonald. Illustrated. Sea Power (New York), August-No vember, 1918. Joseph Pennell’s Liberty Loan Poster. By Joseph Pennell. Illustrated. Philadelphia : J. B. Lippincott Co., 1918. Posters Issued by the United States Navy. Illustrated. New York : U. S. Navy Re- cruiting Bureau, 1918. Official Posters. United States Shipping Board Emergency Fleet Corporation. Illus- trated. Philadelphia : Publications Section, 1918. The Poster’s Part in the Great War. By Adolph L. Feuerlicht. Illustrated. The Poster (Chicago), February, 1919. Camouflage Notes on Camouflage. By J. Andre Smith. Illustrated. The Architectural Record (New York), November, 1917. Nature’s Camouflage and Man’s. By Aymar Embury, II. Illustrations in color by Charles Livingston Bull. The 'Njew Country Life (Garden City, N. Y.), June, 1918. Camouflage. By Abbott H. Thayer. The Scientific Monthly (New York), December, 1918. Marine Camouflage. By Robert Cushman Murphy. Illustrated. Sea Power (New York), January, 1919. Marine Camouflage Brought to Perfection in America. By Lmdell T. Bates. Illus- trated. The Sun (New York), 19 January, 1919. The Science of Camouflage [Marine] Explained. By Raymond Francis Yates. Every - day Engineering Magazine (New York), March, 1919. GREAT BRITAIN Punch Cartoons of the Great War. An album of reproductions. New York : George H. Doran Co., 1915. The Western Front. By Muirhead Bone. Two hundred drawings, in ten parts. Lon- don : Country Life, Ltd., and George Newnes, Ltd.; Garden City, New York : Doubleday, Page and Co.; New York: George H. Doran Company, 1917. Modern War. Painting by C. R. W. Nevinson. With an introductory essay by P. G. Konody. Illustrated. London: Grant Richards, Ltd.; New York: Robert M. McBride and Co., 1917. British Artists in the War Zone. Muirhead Bone and James Me Bey. Illustrated. The International Studio (New York), February, 1917. Joseph Pennell’s Pictures of War Work in England. With an introduction by H. G. Wells. Fifty-one plates. London: William Heinemann ; Philadelphia : J. B. Lippincott Co., 1917. The Great War. Britain’s Efforts and Ideals Depicted by British Artists. By Mal- colm C. Salaman. Illustrated. The International Studio (New York), October, 1917. Admirals of the British Navy. Portraits in Colours by Francis Dodd. Illustrated. New York : George H. Doran Co., N. D. British Government Exhibition. Official Catalogue [in reality a catalogue of litho- graphs reflecting Great Britain’s efforts and ideals in the Great War]. Introduction by James Walter Smith. Illustrated. New York : British Information Bureau, 1918. The Great War— Fourth Year. Paintings by C. R. W. Nevinson. With an introduc- tory essay by J. E. Crawford Flitch. Illustrated. London : Grant Richards, Ltd., 1918. British Artists at the Front, i. C. R. W. Nevinson. With introductions by Camp- bell Dodgson and C. E. Montague. 2. Sir John Lavery. With introductions by Robert Ross and C. E. Montague. 3. Paul Nash. With introductions by John Salis and C. E. Montague. 4. Eric Kennington. W ith introductions by Campbell Dodgson and C. E. Montague. Each part illustrated with colored plates. London ; Country Life, Ltd., and George Newnes, 1918. Drawings by James McBey, Official Artist in Palestine. By Malcolm C. Salaman. Illustrated. The International Studio (New York), March, 1918. British Artists at the Front. No. i. Sir William Orpen. Caricature, in colors, by- Max Beerbohm. Reveille (London), August, 1918. The Canadian War Memorials. By P. G. Konody. Illustrated. Colour Magazine (Lon* don), September, 1918. Sir William Orpen’s War Pictures. By Sir Frederic Wedmore. Illustrated. The Inter' national Studio (New York), September, 1918. Artists at the Front. No. 1. Major Augustus John. Caricature, in colors, by Max Beerbohm. Reveille (London), November, 1918. Reproductions of Drawings by Official Australian Artists. The Graphic (London), 14 December, 1918. War Paintings and Drawings by British Artists. Catalogue. Foreword by Raymond Wyer. Introduction by Christian Brinton. Illustrated. New York: British Bureau of Information, 1919. Artists at the Front. No. 3. John Sargent. Caricature, in colors, by Max Beerbohm. Reveille (London), February, 1919. Canadian War Memorials Exhibition. Catalogue. London : Canadian War Records Office, 1919. The Great War. Depicted by Distinguished British Artists. Illustrated. London : The Studio, 1919. British War Pictures. By Duncan Phillips. Illustrated. The American Magazine of Art (Washington), March, 1919. Canadian War Pictures on Exhibition. Illustrated. English Spea\ing World (New York), July, 1919. Dazzle Painting in War-time. By Hugh Hurst. Illustrated. The International Studio (New York), September, 1919. FRANCE Drawings by Official French Artists. Reproduced in U Illustration (Paris), 1914-1918. Quelques Oeuvres du Front. Illustrated. Les Arts (Paris), No. 171 ; 1918. La Guerre. Par Steinlen. By Camille Mauclair. Illustrated. Numero Special L’Art et les Artistes (Paris), 1918. The Heroic Soul of France — Lucien Jonas’ War Lithographs. By Duncan Phillips. The American Magazine of Art (Washington), October, 1918. THIS book has been set by Bertha M. Goudy from types and decorations designed by Frederick W. Goudy and printed in the shop of William E. Rudge, New York City. The engravings were made by the Beck Engraving Company, New York City. f