Women war artists
Author(s)
Bibliographic Information
Women war artists
Tate, 2011
- : pbk.
Available at 7 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Exhibition catalogue
Catalog of the exhibition held at the Imperial War Museum, London, Apr. 9, 2011-Jan. 8, 2012
Includes index
Description and Table of Contents
Description
Women war artists have acted as witnesses to many of the major conflicts of the twentieth century, from the First and Second World Wars to the current engagements in Iraq and Afghanistan. Some have been commissioned through Official War Art schemes; others have worked independently, bringing an unofficial and independent perspective to our view of conflict. Until recently, their treatment and their access to front-line battle situations has been markedly different to that of their male counterparts. Given these constraints, their achievement in creating works of power, authority and insight deserves far greater recognition. Rather than being an exhaustive survey, this book takes the cases of individual artists and examines both their stories and their art. In the First World War, Olive Mudie-Cooke was a pioneer, gaining access via medical service at the front. In the Second World War Dame Laura Knight, the first woman to be made an RA, was officially commissioned, as was Mary Kessell. Linda Kitson was the first woman to be 'embedded' as a war artist with frontline troops in the Falklands.
Nikki Bell, of contemporary art duo Langlands & Bell, was commissioned by the Imperial War Museum to work in Afghanistan. From women's representations of the "Blitz" and the liberation of Belsen to contemporary icons like Rachel Whiteread's Holocaust Monument in Vienna, Kathleen Palmer explores the unique contribution made by women artists to our understanding of war.
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