Another country XV

Another Country XV (2001) by John Timberlake, purchased by the Imperial War Museum in 2004, included in group exhibition of contemporary art in the collection of the IWM, curated by Sara Beva

The first ever anti-football painting: A consideration of the soccer match in John Singer Sargent’s "Gassed"

The paper presents a discussion of Gassed, a large oil painting by John Singer Sargent displayed at the Imperial War Museum in London. Completed in 1919, Gassed is the major achievement from Sargent’s commission as an official war artist at the appointment of the British War Memorials Committee during the latter period of World War I. Prominent in the painting is a group of soldiers, blinded by a mustard gas attack, being lead to a casualty clearing station tent. In the distant background of the painting, another group of soldiers can be seen kitted out in football attire playing a match. The significance of this football imagery is our point of enquiry. As our title suggests, some recent interpretations regard the painting as offering critical reflection, from the time, about the symbolic links between sport and war. However, while the painting may certainly be left open to this type of viewer interpretation, archival and secondary resource material research does not support such a critical intention by the artist. Yet, nor is there evidence that Sargent’s intention was the projection of war-heroism. Rather, Sargent’s endeavour to faithfully represent what he observed allows Gassed to be regarded as a visual record of routine activity behind the lines and of football as an aspect of the daily life of British soldiers during the Great War

Football: a counterpoint to the procession of pain on the Western Front, 1914-1918?

In this article, three artworks of the First World War containing images of recreational football are analysed. These three images, In the Wings of the Theatre of War, Artillery Men at Football and Gassed, span the war from its beginning to its conclusion and are discussed in relationship to the development of recreational football in the front-line area, the evolving policies of censorship and propaganda and in consideration of the national mood in Britain. The paper shows how football went from being a spontaneous and improvised pastime in the early stages of the war to a well organized entertainment by war’s end. The images demonstrate how the war was portrayed as a temporary affair by a confident nation in 1914 to a more resigned acceptance of a semi-permanent event to be endured by 1918; however, all three artworks show that the sporting spirit, and hence the fighting spirit, of the British soldier was intact

Maude Abbott and the origin and mysterious disappearance of the Canadian Medical War Museum

From the mid-1960s a new breed of scientific instrument curators emerged in the United Kingdom. This small community of practice developed in parallel to but Context.—In the early 1900s, it was common practice to retain, prepare, and display instructive pathologic specimens to teach pathology to medical trainees and practitioners; these collections were called medical museums. Maude Abbott established her reputation by developing expertise in all aspects of medical museum work. She was afounder of the International Association of Medical Museums (later renamed the International Academy of Pathology) and became an internationally renowned expert on congenital heart disease. Her involvement in the Canadian Medical War Museum (CMWM) is less well known. Objective.—To explore Abbott’s role in the development of the CMWM during and after World War I and to trace its history. Design.—Available primary and secondary historical sources were reviewed. Results.—Instructive pathologic specimens derived from Canadian soldiers dying during World War I were shipped to the Royal College of Surgeons in London, which served as a clearinghouse for museum specimens from Dominion forces. The Canadian specimens were repatriated to Canada, prepared by Abbott, and displayed at several medical meetings. Abbott, because she was a woman, could not enlist and so she reported to a series of enlisted physicians with no expertise in museology. Plans for a permanent CMWM building in Ottawa eventually failed and Abbott maintained the collection at McGill (Montreal, Quebec, Canada) until her death in 1940. We trace the CMWM after her death. Conclusions.—Sadly, after Abbott had meticulously prepared these precious teaching specimens so that their previous owners’ ultimate sacrifice would continue to help their military brethren, the relics were bureaucratically lost

Leadership Sculpture: Abraham Lincoln Portrait

The glass sculpture features an image of Lincoln and etched quotation. A facsimile of Lincoln\u27s signature as well as the printed version of his name appear at the bottom in gold.https://scholarsjunction.msstate.edu/fvw-artifacts/4172/thumbnail.jp

Latvijas Kara muzeja publiskais parskats par 2003. gadu

Available from Latvian Academic Library / LAL - Latvian Academic LibrarySIGLELVLatvi

Latvijas Kara muzeja parskats par darbu 2002. gada

Available from Latvian Academic Library / LAL - Latvian Academic LibrarySIGLELVLatvi

Leadership Sculpture: Abraham Lincoln Portrait

The glass sculpture features an image of Lincoln and etched quotation. A facsimile of Lincoln\u27s signature as well as the printed version of his name appear at the bottom in gold.https://scholarsjunction.msstate.edu/fvw-statuettes-and-figurines/1066/thumbnail.jp