FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2567281437> ?p ?o ?g. }

• W2567281437 endingPage "699" @default.
• W2567281437 startingPage "697" @default.
• W2567281437 abstract "Reviewed by: British Art and the First World War, 1914-1924 by James Fox Laura Brandon Fox, James – British Art and the First World War, 1914-1924. Cambridge: Cambridge University Press, 2015. Pp 233. British Art and the First World War, 1914-1924 is a compact, well-researched and illustrated national case study on the relationship between art, society, and the Great War in the United Kingdom. In six chapters, it chronologically examines the business of wartime art and the new relationships established between art and its [End Page 697] publics over a 10-year period ending with the British Empire Exhibition in 1924. The book is based on James Fox’s doctoral dissertation. His nearly decade-long exploration of his subject is reflected in the slim volume’s 30-page bibliography. If Fox’s argument that the First World War catastrophically affected British art is perhaps too strongly put, certainly the evidence he provides for a complex, transformational and, at times, contradictory wartime relationship between art and society, including the state, puts any such dispute conclusively to bed. The nature of British art was altered fundamentally by the conflict as it was, albeit differently, in every other belligerent country. Fox quotes from John Ruskin’s 1866 The Crown of Wild Olives: Three Lectures on Work, Traffic, and War: “there is no great art possible to a nation but that which is based on battle.” (p. 3) British Art and the First World War is a remarkably easy read. Fox writes clearly, fluidly, and concisely, presenting a thematic portfolio that never strays from the book’s overlying chronological structure. To be fair, he acknowledges the restrictions of this arrangement stating “all of these themes overlapped and coexisted throughout the war years.” (p. 10) While in an era of transnational studies it would have been interesting to see some evidence of comparative work, it has to be recognised that on the basis of the bibliography, no such research exists in accessible form. Dispensing in the Introduction with the possibility of art holding itself aloof from wartime society, Fox sets the scene in chapters 1 and 2 for his central argument, that the war’s artistic consequences were enduringly productive. He describes wartime hardship in the form of the absence of sales, dealers, commissions, materials, exhibitions, art organisations, and travel and study opportunities. He shows how artists adapted to the challenging conditions they found themselves in as they sought income to enable them to continue practicing their craft. Within this context, Fox also explores how the state began to revise its early wartime attitude to art as elitist and its possession a luxury in favour of its usefulness to the achievement of military goals. He divertingly discusses how artists had to actively demonstrate that they were not spies when painting or sketching outdoors, skills he later shows to be valued and essential to the work of camouflage and observation. In chapter 3 we learn that museums—before the war bulwarks of elitist notions of knowledge and art—transformed into centres of national identity to the extent that in 1917 “the War Cabinet approved the decision to form a National War Museum,” now the Imperial War Museum in London. (p. 68) A transformation of past history also occurred in wartime poster design. If the conflict can be posited as having brought the prewar Modernist experiment in British art to a halt, “bold and confrontational” poster design proved the opposite. (p. 69) Chapter 4 explores the expansion of a military visual culture that the proliferation of posters had already demonstrated was growing in strength. The pre-war public was familiar with photography and film and demanded its presence in their wartime lives. The result was the creation of official films like Battle of the Somme (1916) and new and popular illustrated publications such as War Pictorial. Beginning in June 1916, the need for visual images growing ever stronger, artists too became part of the state apparatus with the appointment of Muirhead Bone as the first [End Page 698] British official war artist. His work, and that of the other official war artists, was widely distributed in published form. In this chapter, Fox explains..." @default.
• W2567281437 created "2017-01-06" @default.
• W2567281437 creator A5001245225 @default.
• W2567281437 date "2016-01-01" @default.
• W2567281437 modified "2023-10-17" @default.
• W2567281437 title "British Art and the First World War, 1914-1924 by James Fox" @default.
• W2567281437 doi "https://doi.org/10.1353/his.2016.0056" @default.
• W2567281437 hasPublicationYear "2016" @default.
• W2567281437 type Work @default.
• W2567281437 sameAs 2567281437 @default.
• W2567281437 citedByCount "0" @default.
• W2567281437 crossrefType "journal-article" @default.
• W2567281437 hasAuthorship W2567281437A5001245225 @default.
• W2567281437 hasConcept C137355542 @default.
• W2567281437 hasConcept C142362112 @default.
• W2567281437 hasConcept C161191863 @default.
• W2567281437 hasConcept C166957645 @default.
• W2567281437 hasConcept C17744445 @default.
• W2567281437 hasConcept C195244886 @default.
• W2567281437 hasConcept C199539241 @default.
• W2567281437 hasConcept C2777855551 @default.
• W2567281437 hasConcept C2778627824 @default.
• W2567281437 hasConcept C2779112814 @default.
• W2567281437 hasConcept C37531588 @default.
• W2567281437 hasConcept C41008148 @default.
• W2567281437 hasConcept C52119013 @default.
• W2567281437 hasConcept C554144382 @default.
• W2567281437 hasConcept C74916050 @default.
• W2567281437 hasConcept C81631423 @default.
• W2567281437 hasConcept C85363599 @default.
• W2567281437 hasConcept C94625758 @default.
• W2567281437 hasConcept C95457728 @default.
• W2567281437 hasConceptScore W2567281437C137355542 @default.
• W2567281437 hasConceptScore W2567281437C142362112 @default.
• W2567281437 hasConceptScore W2567281437C161191863 @default.
• W2567281437 hasConceptScore W2567281437C166957645 @default.
• W2567281437 hasConceptScore W2567281437C17744445 @default.
• W2567281437 hasConceptScore W2567281437C195244886 @default.
• W2567281437 hasConceptScore W2567281437C199539241 @default.
• W2567281437 hasConceptScore W2567281437C2777855551 @default.
• W2567281437 hasConceptScore W2567281437C2778627824 @default.
• W2567281437 hasConceptScore W2567281437C2779112814 @default.
• W2567281437 hasConceptScore W2567281437C37531588 @default.
• W2567281437 hasConceptScore W2567281437C41008148 @default.
• W2567281437 hasConceptScore W2567281437C52119013 @default.
• W2567281437 hasConceptScore W2567281437C554144382 @default.
• W2567281437 hasConceptScore W2567281437C74916050 @default.
• W2567281437 hasConceptScore W2567281437C81631423 @default.
• W2567281437 hasConceptScore W2567281437C85363599 @default.
• W2567281437 hasConceptScore W2567281437C94625758 @default.
• W2567281437 hasConceptScore W2567281437C95457728 @default.
• W2567281437 hasIssue "100" @default.
• W2567281437 hasLocation W25672814371 @default.
• W2567281437 hasOpenAccess W2567281437 @default.
• W2567281437 hasPrimaryLocation W25672814371 @default.
• W2567281437 hasRelatedWork W164711866 @default.
• W2567281437 hasRelatedWork W225385936 @default.
• W2567281437 hasRelatedWork W2343898579 @default.
• W2567281437 hasRelatedWork W2614008986 @default.
• W2567281437 hasRelatedWork W2748952813 @default.
• W2567281437 hasRelatedWork W2800274548 @default.
• W2567281437 hasRelatedWork W2899728781 @default.
• W2567281437 hasRelatedWork W3176134255 @default.
• W2567281437 hasRelatedWork W379684204 @default.
• W2567281437 hasRelatedWork W630314147 @default.
• W2567281437 hasVolume "49" @default.
• W2567281437 isParatext "false" @default.
• W2567281437 isRetracted "false" @default.
• W2567281437 magId "2567281437" @default.
• W2567281437 workType "article" @default.