The Evolution of War Art: A Personal Reflection

This blog is a copy of an essay I wrote for my degree, but having just had Remembrance Weekend, I felt it was very apt. This essay will look at the evolution of art depicting war through the eyes of three different artists. It will explore how the portrayal of war has changed as societal attitudes and responses to conflict have evolved. Throughout history, conflict or war has served as a brutal and powerful source of inspiration for artists. These portrayals have ranged from glorification, such as abirpothi.com, to more honest and brutal depictions of the violence and struggles of war, like Pablo Picasso’s Guernica (1937). By examining the works of three artists in this essay—Richard Caton Woodville (1825-1855), Terrence Cuneo (1907-1966), and myself—I aim to trace the evolution of war art. This journey transitions from the dramatized heroics of the 19th century to a more human-focused perspective.

Richard Caton Woodville (1825-1927)

Richard Caton Woodville was an English painter and illustrator, renowned for his battle scenes in the 19th century. During his active years, war was largely portrayed as acts of heroism, with the battlefield serving as a stage for such noble acts. Woodville experienced battle first-hand during the Anglo-Russian War (1877-1878). “The Illustrated London News sent Richard Caton Woodville to report upon the Russo-Turkish War, where he experienced battle first-hand. He did so again in 1882 during the Anglo-Egyptian War, where he made numerous sketches and obtained photographs of the trenches” (Haynes Fine Art, n.d.).

His work showcased acts of heroism, nationalism, and noble sacrifice. Paintings like The Charge of the Light Brigade (1855) present a romanticized image of one of Britain’s most famous military blunders. These works were often reproduced in The Illustrated London News, which played a crucial role in shaping public perception of war and Britain's military engagements. Woodville’s art is very much a product of its time, where war art served as a tool of propaganda and national pride. The soldiers and horses depicted in his paintings are archetypes of moral and physical courage, often in the face of adversity. Prints of his work can still be seen in military messes throughout the British armed forces, demonstrating that in military circles, there remains a place for this romanticized image of war.

Terrence Cuneo (1907-1966)

Terrence Cuneo was an English painter best known for his detailed depictions of railways and industry. He served as a war artist during the Second World War with the Royal Engineers. Warfare, much like war art, had changed during this era. Gone were the horses and cannons depicted by Caton Woodville; instead, the battlefield was now dominated by tanks and aeroplanes. During the Second World War, Cuneo was regularly commissioned by the Ministry of Information and the War Office, as well as the War Artists Advisory Committee, to create a wide range of propaganda images and secret visual resources (Blatchford, 2018).

Cuneo’s work reflects the evolution of warfare and societal attitudes towards it. This shift began in the First World War with the introduction of tanks and aeroplanes. Artists like Paul Nash and John Singer Sargent started to depict war honestly, showcasing its brutality and inhumanity. Cuneo bridges the gap between romance and brutality. His painting, D Day: The Assault on Gold Beach (1944), captures the grandeur of the event while also conveying the grimness and suffering involved.

In this painting, Cuneo offers a panoramic view of troops coming ashore on D Day, with tanks and landing craft, as well as soldiers making their way up the beach. This artwork illustrates the complexity of warfare and its logistical challenges. It also features intimate human scenes, depicting individual soldiers helping injured comrades, with fear and determination etched on their faces amidst the overwhelming violence. Cuneo’s work is subtle, retaining a hint of heroism and idealism reminiscent of Caton Woodville’s, yet it offers a more honest representation of war, highlighting the dichotomy of mechanization and the human stories behind it all.

Matthew Emery (1978-)

My own work, much like the first two artists, is not solely focused on war. I have served in the Royal Engineers since 1996, painting from my own memories and photographs. Energy, colour, and narrative are central to my art. When I paint, I aim to create an emotional connection between the viewer and the piece, inviting them to pause, to not just look but truly see. I want the energy of the painting to be felt—the story behind it to be understood and experienced.

I strive for my personal experiences to resonate with the viewer. Unlike Caton Woodville, I do not romanticize military scenes, nor do I aim for the detailed depictions found in Cuneo’s work. Some of my pieces, like the painting I created for an earlier exercise on understanding painting media, depict a barrack block that had been bombed in Kosovo in 1999. These works explore the strange relationship and the marks humanity leaves on the landscape, illustrating how, over time, nature reclaims what was once its own.

I hope that my art aligns more closely with society's critical view of war and its aftermath. I aim to bring the human cost and lived experiences of soldiers into focus, as seen in my painting of the 36 Engr Regt in South Sudan on OP Trenton. This piece depicts soldiers at eye level, digging and walking through the mud. I hope it serves as an honest portrayal, highlighting to the viewer that the real legacy of war lies in the lives altered—the soldiers who served and the civilians affected by it.

Conclusion: The Journey of War Art

This essay has examined the works of three distinct artists and the evolution of war art. From Caton Woodville’s noble and heroic scenes to Cuneo’s observed mechanization of war and my own personal portrayals, we see a significant shift. The evolution and progression of war art reflect a transition from glorification and propaganda to a focus on the humanity of those involved.

I believe that this more honest depiction of war, as demonstrated by myself and contemporary artists like Douglas Farthing MBE, who captures scenes from his time in Iraq and Afghanistan, is a reflection of lived experience. Farthing, who served in the Parachute Regiment for 23 years, had no formal art training but turned to art to document his experiences. His works, characterised by heavy mark-making and collage techniques, are raw and honest, differing significantly from both Cuneo and myself.

These works by Caton Woodville, Cuneo, and myself cover a journey through the evolution of war art. They explore the gallant heroism of Victorian battlefields, the mechanization of World War II, and the psychological landscapes of modern veterans' art. I believe I have demonstrated that war art has transformed from a mere depiction of conflicts to a medium that interrogates and questions these conflicts, inviting viewers to consider their consequences and the scars left behind.

In this way, the evolution of war art reflects not only the changing nature of warfare but also our evolving understanding of its impact on humanity.

References

abirpothi.com. (2024, January 12th). 10 most famous paintings on war. Retrieved from abirpothi.com: https://www.abirpothi.com/10-most-famous-paintings-on-war/

Blatchford, I. (2018, Feb 22). artuk.org. Retrieved from Terrence Cuneo: The Railway Artist with a Surprising Lucky Charm: https://artuk.org/discover/stories/terence-cuneo-the-railway-artist-with-a-surprising-lucky-charm

Haynes Fine Art. (n.d.). Haynes Fine Art. Retrieved from Richard Caton Woodville: https://www.haynesfineart.com/artists/Richard-Caton-Woodville