Section two

My Intentions After researching the many various artists and Art works produced around the theme of time, I have discovered that they all have different themes within them as well. For example, many of them contain symbolisms, but there are also religion, light and tone, food, life, vanitas, death and conflict.

Based upon these areas I have decided upon conducting my own research into 'conflict' in different paintings over the years and seeing how different artists use varying techniques and have opposite ideas on how the art is depicted. After completing my personal research I intend to the produce an exhibition that would hold all the works I have been studying as well as producing a poster to promote the Art Show, tickets, touring booklet and possibly a logo.

I chose to study the area of conflict because I was inspired by the work of Hans Holbein on the painting The Ambassadors and the way that the two figures shown, Jean de Dinteville French Ambassador and Georges De Selve Bishop of Lavaur, are two figures in the painting to depict and symbolize the conflict between the Henry VIII and the Roman Church, forming the two separate Religions.

The Battle of San Romano By Uccello, 1440

Paolo Uccello Paolo was and Italian painter born in Paolo Di Dono and was also a mathematician who was credited for his work on the Perspective in Art. Vasari, a famous Italian Painter, Architect, Writer and Historian, wrote a book called 'The Lives of the Most Excellent Painters, Sculptors, and Architects.' Within this book he wrote that Uccello was extremely interested and obsessed with the view of perspective in art. It is said that Uccello would even stay up to all times of the night to analyze the study till he found the exact vanishing point. He aimed to use perspective in different ways such as in his contemporary pieces to convey narratives and stories but also to try portray the feeling of depth and space. Furthermore, Uccello was trained under the critiques of the famous sculptor Ghiberti, who created the gates of Paradise in Florence.

Paolo also worked in the Late Gothic style which has a emphasis on the use of colour and grandeur which contradicted the Classical Realism many other artists were using and creating. Many viewers of his work have described his work as individual and sometimes 'Idiosyncratic'. Similarly to Hans Holbein, he left no school of followers to learn from his work, but he did, however, have a big influence on the 20th Century Art and Literary Criticism. For example, he influenced the works of "Vies imaginaires" by Marcel Schwob and, "Uccello le poil" by Antonin Artaud.

Uccello had many other famous paintings during his time as well such as Saint George and the Dragon. This image depicts St.George on a bright white horse, suggesting purity and nobility, being reared up on his horse to then stab the cruel and dark coloured and hissing dragon. There is also a young and pale female to the left of the art work who appears to be attached to a piece of string that then also attaches to the dragon, which to me, suggests that she has been kept a prisoner and St. George has come to kill the beast and save her.

Gates Of Paradise, Ghiberti, 1425-52 Own Photo!

St George and the Dragon, 1470

Context of the 15th century During this period of time spanning 1400's-1500's it was the 'bridge' between the Late Middle Ages and the Early Renaissance. Many new technological, social and cultural developments were being made and conducted which then lead to improving society and the world of Art. In the years and centuries that followed, many called this time the "European Miracle". This century for Art meant the revival of Classical Learning values from the Roman and Greek times but also brought the birth of science, astronomy and perspective in art. This brought a sense of more realism and depth to paintings and created a new style of creating paintings for Artists to use.

Also during this time there was a battle in San Romano (hence the name of the painting I will study) which is a small place in Italy located near Lucca and 30 miles from the centre of Florence. It took place on 1st June 1432 between Commander Niccolo da Tolentino and Commander Francesco Piccinino. It was the place in between the Republic of Florence and the Republic of Lucca. The main cause of the battle was a decision as to who would get access to the Port in Pisa for the Global Trade. However, this 'epic' fight lasted less than a day – around 6 to 7 hours - and was reported as only a minor battle, although the Florentines had the victory the Sienese sources disagree with this statement. The battle started when the Florentine General Niccolo da Tolentino was attacked after he was split off from the majority of his army when he was exploring and discovering the new area.

Tolentino and the small group of soldiers he had, fought alone and bravely until another General from the Florentine side arrived called, Micheletto Attendolo, who brought with him Reinforcements. The added men in the battle brought over from Attendolo's army encouraged and helped the Florentine's to win the battle.

Niccolo da Tolentino leading The Battle of San Romano

by Uccello, 1440-50, 182cm x 320cm, Tempera on Panel This art work is only a third of the whole painting. Uccello created a triptych to show the story of the battle in San Romano, starting with this painting on the left, then 'Niccolo da Tolentino unseats Bernardino della ciarda as the middle panel and the final section being named 'The counterattack of Michelotto da Cotignola'. Each of these panels are located in different museums across the world, the first is in the National Gallery London, the middle is in the Galleria Uffizi Florence and the last is in Musee du Louvre Paris. The paintings were commissioned by The Bartolini Salimbeni Family in Florence between 1440-50, however, the Uffizi panel is the only to be signed by the Artist. It has also been said that Lorenzo de' Medici was desiring of the paintings and was desperate to possess them that he forcibly had them moved to the Medici Palace in 1845.

Some have said that he basically stole the paintings.

The panel that I will focus on is the first, located in London. The panel is brightly coloured with accented paints of red, blue and gold. There are other colours included, such as white, black and browns creating a chromatic effects on the painting and making certain colours stand out more. The central figure in the painting is shown to be Niccolo da Tolentino on his white horse in the middle of the battle and leading the Florentines to victory. This is identifiable from the 'Knot of Solomon' on his banner. It has been suggested as well that the paintings may have originally been designed to have arched tops to be able to fit in below a Gothic Vault ceiling. However, in the 15th Century they were made into rectangular panels. As you can tell in this painting Uccello was fascinated by the use of One Point Linear Perspective and Foreshortening of images – seen in the arrangement of broken lances and the way that the view of the background recedes and gets smaller the 'further' it goes back.

At the top of the painting you can see where it was originally for curved gothic arch – the curves around the orange tree on the right, and the third lance in on the left – but were changed to square tops.

This painting is quite unique because of the Early Renaissance qualities it contains such as the use of linear perspective and well put together composition. As you can see in the image the view of the painting in the background seems to decrease and get smaller as things get further away. This is due to the new discoveries in the Renaissance Era bringing more realism and proportion to paintings. It also adds more impact to the foreground of the painting because it does not distract from the battle taking place but still shows other movements and events happening at the same time else where.

The overall mood and atmosphere of this painting, to me, comes across as quite dark and gloomy with the added 'depressing' feeling because of all the conflict going on in the picture frame. You can see the main battle occurring at the foreground of the painting which is where your eyes are immediately drawn to, however, if you closely look in the background you can see figures caught in the moment of running with swords and participating in individual fights. This painting is also extremely successful in capturing the power that humans contain for their determination. Uccello has also been very clever in the way that he has been able to create the human figures in such a way they appear intelligent because of the well thought out positioning readying for battle in a strategic way.

The horses look almost separate to the rest of the image depicted because of the way that they have a smooth appearance to them and are painted in a bright white colour which often symbolizes purity and heroism in historical Art as well as innocence. The innocence shown contrasts with the fighting and battle that is happening around them. This is also emphasized by the fact that they are devoid of weapons unlike those who ride them in to the Battle. However, they also match the painting and surroundings in the way that they look well placed because of the way that they have been shaded and given the texture of their fur and are reared up like they, themselves, are preparing for battle.

Some of the horse shown toward the front of the painting is not a white colour like the most of them, but painted in black, which could suggest and give an emphasize of the dark theme of conflict and war from the time and battle of San Romano. The black horses located behind Niccolo are actually striking when you look at them in more detail because of the way Uccello has crafted beautiful shading on them making them appear more mysterious.

There is also extreme detail painted into the figures and men in the painting. Different pieces, shapes and details can be made out and distinguished but this doesn’t mean that they are the sole focus of the painting.

The smoothness of the horses, and smooth yet sharp looking weapons as if readily prepared for a bloody battle compliment the roughness of the armor that the soldiers wear and visa versa, the soldiers and foreground compliment the horses and the weaponry depicted. Because of the contrasting yet complimenting smoothness of the horses and detail of the soldiers the shapes made automatically draw your attention to them.

Uccello shows Niccolo da Tolentino as being the most prominent man in the painting riding the brightest white horse with the most flamboyant hat suggesting to the viewer that he is the good and noble man in the battle – this could also be made this way as he was the one who 'lead' Florence to winning the Battle. Niccolo has a lot of detail in his face making it appear very striking. You can see the fierce look in his eyes as he charges toward his enemies showing the strength and determination he has for winning. He has also been shown with a slightly green coloured skin. This could be from discoloration from over the years or deliberate, either way it adds to the effect of ferocity emitted from Niccolo.

Niccolo and the men that follow behind him are shown as risking their lives by fighting against the Siena forces for what they believe is the greater good. By adding the white horse the leader rides it adds a sense of movement and dynamics to the piece and creates a clear focus point: Niccolo da Tolentino. The white horse and the rider is centered deliberately in front of all the darker elements, for example, the other soldiers, horses, dark green foliage and distant landscape. The horses, along with the raised weapons of the fighters adds animation to the piece and are all defined by subtly different colour variations. Niccolo and the men that fight behind him are actually clothed in ceremonial armor rather than battle armor and when it was first painted would've been a bright shining silver.

From this painting I have been inspired to research more art works with the theme of war within Conflict.

Bibliography: https://en.wikipedia.org/wiki/Paolo_Uccello

https://en.wikipedia.org/wiki/Giorgio_Vasari https://www.nationalgallery.org.uk/artists/paolo-uccello https://en.wikipedia.org/wiki/15th_century http://www.tripimprover.com/blog/the-battle-of-san-romano-in-the-nationalgallery-by-paolo-uccello https://www.nationalgallery.org.uk/paintings/paolo-uccello-the-battle-of-sanromano http://stuffaboutlondon.co.uk/treasures-of-the-national-gallery/uccello-thebattle-of-san-romano/ https://en.wikipedia.org/wiki/The_Battle_of_San_Romano Art Book: The Definitive Visual Guide, by Andrew Graham-Dixon

Peace and War

by Ruben, 1629-30

Peter Paul Rubens Rubens was a an extremely remarkable man. He was very successful in life and was only enhanced his stature after death. He produced a number of works in Art, but he also had an important role within 17th Century European Diplomatic Politics. He has been said to be very charming and described as 'a tall stature, a stately bearing, with a regularly shaped face, rosy cheeked...' He was born and from Germany and his first job was as a page boy to a countess in Antwerp. It was a respectable position for such a young age but Ruben agitated and started training as an Artist. Soon after his training he went over to Italy to see the start of the Renaissance and Revival of Classical artworks he knew from copies in his training. After his mother's death he returned home and by 1833 he was appointed as Court Painter to the Rulers of the Netherlands – Archduke Albert and his wife Isabella. A year later he married, bought a grand house and built a large studio in which he would paint and teach his pupils.

His studio was made in an Italian style with a circular sculpture hall that had been inspired and based on the Pantheon.

The majority of his works were Altarpieces as he enjoyed working on grand scales. He often woke at Click to add text 4am in the morning and didn't stop working till 5pm meaning he was incredibly disciplined and then he would go out for a ride on his horse to keep himself physically fit. During the hours that he worked he would have someone hired to read him Classical Literature as it was another one of his interests, but because of his schedule, he hardly had any time to read for himself.

1625, Ruben threw himself into his Diplomatic work as a distraction after the death of his much loved wife (thought to have died from the plague.) Rubens had been called upon several times to help with the negotiation of France and England for both Archduke Albert and then his wife after Albert had died, for the Spanish Netherlands. He was also used for Diplomatic Politics by going on 'secret' undercover visits to other places around the world to gather information, he got away with this because it was incredibly normal for painters to keep travelling for art inspiration. He soon became a close confidante of Isabella and she valued his advice. 1624 Rubens was made noble by Isabella's nephew Philip IV and in 1627 she moved him even further up the social scale by making him a 'Gentleman of the Household'. 18 months later Rubens was sick of politics and returned home to his family and dedicated himself solely to his painting.

Middle panel of an Altarpiece, 'The Raising of the Cross', 1610

17th Century Context In the 1600's around 1629-30 there was an Italian Plague which was a series of Bubonic Plague outbreaks in Northern and Central Italy. It became known as 'The Great Plague of Milan' and it took around 25% of the Italian population. The German and French troops had brought the plague to the city of Mantua in Italy because of the Thirty Years war. The Venetian troops that had been infected retreated to the Centre of Italy which only lead to further spreading of infection. It reached Milan and even though there were increased public health measures and limitations of German soldiers and trades of goods the plague only burned slowly and smoldered. Because of the decrease in deaths as it lay low the health care became more relaxed and in 1630 there was a there was a huge outbreak of the disease. And another, second one, occurred the year after in the spring and summer in 1631. It is approximated that 60,000 out of 130,000 people in the population of Milan were killed because of the disease. The years following had many further outbreaks killing thousands more of the Italian population.

1630-31, Venice was hit hard and had a record hit of 46,000 death out of a 140,000.

Many believe that the dramatic loss of life in Venice had a big impact on Venice's Political Power. The Bologna lost 15,000 citizens with its neighboring cities also being hugely effected. It even spread over to Tyrol in Australia and the Western parts of Austria. A few years later in 1633-56 cities such as Florence, Naples, Rome and Genoa there were big outbreaks of the Bubonic Plague, which again stole many lives of the people in the population of those areas.

Unknown artist and name of cartoon but the work shows a scene from the effects of the Plague in Milan with bodies lying around everywhere and people looking afraid to walk the streets.

Peace and War by Ruben, 1629-30, 203.5cm x 298cm, Oil on Canvas The painting has been depicted in such a way that it tries to illustrate the artists hopes and dreams for peace during the negotiation between England and Spain during his services to Philip IV of Spain.

After the work was finished he gave the final piece as a gift of King Charles I of England. He had also been sent to England for a diplomatic mission where he also decorated the Kings banqueting house.

This painting gives off the atmosphere of need to encourage peace and prevent wars and fighting amongst the European Nations. The image depicts the ancient Greek and Roman mythological and symbolisms to show the beauty that kindness and beauty can bring once peace is settled upon mankind. Considering that Rubens role as part of the parliament brought him much negativity, the artwork exposes the positivity and hope he holds for the future.

Rubens makes the image look elegant and luscious by the use of bright and vivid colours such as reds and golds and greens. There are many figures in the painting and all, except 2 or 3, are naked showing of their bare skin. The light from an unknown light source off the framing of the painting high lights their skin and makes them look as if they are shimmering and glowing in the light. It emphasizes the importance of the figures in the painting and also increases importance of people in reality to contain the peace between countries and Europe.

The leopard shown at the bottom of the canvas has fur that looks incredibly real and is achieved through thin yellow glazes of oil paint laid thinly in broad strokes. The colour used was burnt umber. The pattern on top of the animal is created through thin dabs of dark brown, and then the whole thing is unified by a glazing of a yellow-brown varnish. The use of this ferocious animal in from the wild also shows strength of the countries but also the way that it has been depicted as calm and placid emphasize the need and desire of peace Rubens wants amongst all those he dealt with during his time in Politics. The Leopard also lies on his back which could also suggest submission to the warring going on during the time. Leopards are often associated with Kings and Queens as well as the Greek Goddess Artemis, the Goddess of Hunting.

When you first look at the painting your eye is immediately drawn to the central female figure who has been shown to be nude. It is said that she represents Pax, the Goddess of Peace. She is depicted as beautiful and calm. She has very pale yet smooth skin showing her purity and innocence and unmarked by conflict or war. Her hair is a golden colour and shines from an unseen light source making it seem like she has a kind of halo surrounding her head and she is what everyone should aspire to be like – peaceful and undesiring of war and fighting. She is the son of Jupiter, the King of all the Gods and she normally shown wearing white – in this case her skin is an extremely pale shade. She is shown to be holding her left breast and squirting milk into the mouth of Plutus, the God of Wealth, who has been shown as a child. The way that Rubens has included this within the image shows the need for peaceful relationships and how you can nurture this peace and prosperity amongst people – or in reality the countries which had been warring on each other. By doing this it would allow mankind to then flourish and succeed in social and economic peace.

Just behind Pax and slightly to the right, the Goddess of Wisdom, Minerva is stood. She is shown in her armor and helment with the light reflecting off her silver plated protection. This makes her stand out from the rest of the figures located in the scene because she seems strong and fearless, as well as being clothed and covered which is a big contrast to those in the foreground of the painting – nude, calm and 'pure'. She is shown holding back the God of War, Mars and his Fury of War, Alecto. She tries to stop them from coming into the foreground of the scene where the peace and tranquility is and stops them from destroying the atmosphere Rubens has created for the mass numbers of figures in the foreground of the painting. In her right arm she holds a large and round shield that pushes back Mas and Alecto from the scene and in her left hand pulled slightly behind her, she holds a spear to emphasize her fearlessness and desire to protect the calm shown behind her but in the foreground of the painting.

Her facial expression looks determined and strong willed as if she will not give up until Mars has gone and left them in peace. This all suggests that Rubens wanted to show the determination he had himself for peace between his country and others.

Opposite to Minerva is the God of War, Mars. He is also shown in silver armor but with a red cape twisting itself around him. By using silver for his armor it creates reflection and makes the scene seem as if it carries on off the edges of the frame because no light source can be directly seen, meaning it must be elsewhere off the edges of the frame. The use of red for his cape also shows the blood that he sheds whilst he fights in battle and the desire he has to fight people. His eyes are wide with wildness and need to come and destroy any peace and calm there is. There is also the Fury of War, Alecto, behind Mars. She is shown in dark colours, mainly in shades of green – possibly to show envy or jealousy? She has a slightly twisted form as if she is turning around and turning her back on Mars.

However, her head is aimed in the opposite direction of her body, towards Mars. Her facial expression looks as though she may be in pain or it could be because she feels as though she is betraying Mars as she has started to turn her back on him and leave the fight that he is trying to cause.

The overall interpretation could imply that the countries that Rubens was trying to settle peace upon, could've slowly started to turn against the idea of War and fight and are leaning towards the idea of peace that has been din the foreground of the image depicted in

At the very bottom of the painting, towards the centre of the image there is a small winged Cupid, God of Desire, Love and Affection, and has been shown to be the size of a baby because of the small size/frame and slightly chubby limbs. The Cupid has their back to the audience and does not engage eye contact, this makes the talk between Cupid and Hymen, another God but this one of Marriage, very intimate and private. Especially as they talk and lead three young children to the Cornucopia. The children are also a symbolism of what comes of marriage and love - 'The Fruit of Marriage'. The Cornucopia or also known as The Horn of Plenty is normally the shape of a large horn – hence the name – and often used a symbolism of nourishment, as it is overflowing with produce, flowers and nuts.

The children shown in the painting are thought to be the depiction and portraits of the children that hosted Rubens - Sir Balthasar Gerbier, a painter-diplomat in the service of Charles I. On the left of the painting, shown in a pale white flesh colour tone, two female nymphs or maenads - the female followers of Dionysus, God of Harvest, and the most significant members of the Thiasus, the God's advisors and literally translated as "raving ones" - creep into the picture frame. One holds and brings riches of gold in piles and baskets yet has her back to the audience and reveals on her naked back. However, the other dances in the scene, just behind the first, with a tambourine raised above her head. This makes the atmosphere of the scene seem welcoming and joyous and increases the sense of peace and happiness. It also contrasts with the area of the scene with Mars and Alecto being very dramatic and full of conflict. A putto – small and chubby child - holds an olive wreath, which is another symbol of peace. There is also a Satyr near the children holding up fruit to them to encourage them to eat it and brings in the Mythological side of his Art and makes seem more 'dreamy' and desirable to have.

Bibliography: • https://www.nationalgallery.org.uk/artists/peter-paul-rubens https://en.wikipedia.org/wiki/1629%E2%80%9331_Italian_plague

• https://www.artble.com/artists/peter_paul_rubens/paintings/peace_and_war • https://www.nationalgallery.org.uk/paintings/peter-paul-rubens-minerva-protects-pax-from-mars-peace-and-war

• https://eclecticlight.co/2017/05/13/rubens-peace-and-war-1-fighting-the-peace/ Art Book: The Definitive Visual Guide, by Andrew Graham-Dixon

The Consequences of War by Ruben, 1638

Peter Paul Rubens Rubens was a Flemish Artist and was considered to be the most influential of the Flemish Baroque Art. His work has compositions that cleverly include Classical and Christian History and is very unique. His work soon became very popular in the Baroque style because of the way that the artist emphasized movement, colour and expression. His work has been described as dramatic and immediate which was influenced by the Counter-Reformation. He created a wide variety of Art works but he particularly enjoyed painting Altarpieces, Portraits, Landscapes and Historical Paintings that had links to Mythological and Allegorical topics. The majority of his works, however, were Historical Paintings and in his later life he designed tapestries, prints and even his own house.

Rubens was 'Classically' educated and a humanist scholar as well as being a diplomat that was knighted twice – by Philip IV of Spain and Charles I of England.

He also owned his own studio in Antwerp where he produced some of his most popular paintings for nobility and collectors in Europe. It is said in the catalogue

by Michael Jaffe that he made 1,403 pieces – not including pieces made in his workshops.

The Hippopotamus and Crocodile Hunt, 1616.

Many say that his drawings and paintings are very 'forceful' yet not extremely This is one of Rubens Historical paintings and detailed but always made lots of sketches before his final product. Rubens was also very consistent in using wooden panels for the paintings he made no matter was commissioned in 1615 to decorate Schleißheim Palace Maximillion I, Elector of Bavaria. It use bright what size they were intended to be yet he sometimes used canvas when his works were to be sent long distances. Rubens was very clever in the way that for coloured paint and the figures wear Arabic clothing. most of his Altarpieces he used slate as his 'canvas' to paint on to stop They are also shown on reared horses with lances the reflection issues in the light. aimed to stab – and kill – the hippo and crocodile as Rubens Legacy was not only his Art, however, because he has also been they were considered to be dangerous animals at the remembered by the word Rubenesque, which is a word used when describing a time. However, it shows the conflict between both curvaceous woman. This was the typical way in which Rubens depicted women animal and man of the fight for life and fight for death. within his paintings.

17th Century Context During this century there were many wars happening but the most well know is 'The Thirty Years War.' This is considered to be one of the worst and most devastating wars in our history.

The War began simply between the German Protestants and the German Catholics as a state of conflict between the two Religions. However, as time passed and the War progressed the expansion of those included in the War grew. It slowly started to include the rest of Europe, starting with all the Protestants joining and then finally the Catholics of France. There was a lot of destruction in Germany that in total reduced the population by half.

The fighting started when the election of the new King, Hapsburg, of Bohemia. This was the cause of the War between the two separate Religions because, in 1618, there was a revolt against the Hapsburg rule, which had been caused an election conducted by Archduke Ferdinand of Styria. The Protestants tried to gain power after the Defenestration of Prague and raised an army. Due to this the Emperor created his own army, and engaged in the war against the Bohemians. The two sides of the War were Catholic and Protestant and soon both thrones of rule were left empty meaning the Bohemian chose Frederick V to rule who was a Protestant, where as the Imperial electors chose Ferdinand of Styria, who was a Catholic and soon became Emperor Ferdinand II. In 1620 The Evangelical League was declared created a kind of Treaty between the Religions.

There were many other stages to this war even after the Evangelical League such as the Palatinate phase, the Danish phase, Swedish phase, Quiet phase, and the final section, the French phase. This last phase of this war lost all the religious significance that was carried through out the whole of the previous years. It ended up being a fight between France and Spain located in Germany. This occurred because the Spanish still owned and controlled parts of the Eastern French areas in the Spanish Netherlands (Modern Netherlands). Almost half the 30 years of the war was caused by the final stages which ultimately ended in exhaustion, particularly for Germany. To end the war The Peace of Westphalia had to be signed by all sides which in the end dramatically reduced Hapsburg's power.

The Consequences of War by Rubens, 1638, 206cm x 345cm, Oil on Canvas This is another image by Rubens that I found based on the theme of war but it does not focus on that of the soldiers fighting but that of the innocent victims that get caught up in the middle of the War. You can see all the figures look as though they are running and trying to flee for escape creating a desperate and fearsome atmosphere in the painting. There are many figures in the painting - at least 13 all bundled up together in the rush and moment of trying to escape. However, the most prominent figures in the painting that our eyes are immediately drawn two are the central nude female and clothed armed solider. They symbolize both the purity and the innocence of those being hurt due to the war as well as the direct link to those fighting in it. At the very bottom in the right of the image created, you can see a mother embracing her child, trying to protect her off spring from the carnage commencing around. All victims and figures within this masterpiece created by Rubens have been made with faces that reflect the horrors War causes and the pure terror that they feel. This is emphasized by the woman on the left of the painting who has her arms raised above her head and looking toward the sky as if she is willing God to come and help them. The entirety of the scene depicted in the painting by Rubens was influenced by that of the Thirty years War. It was named 'The Consequences of War' because Rubens felt that it mirrored the disruption and turmoil in Europe and the artist himself would've been included in those who were hugely affected by that of the War and wanted to express this through his art. At this time there was a great famine, armies of hundreds and thousands died.

The first thing that your eyes are drawn to and notice when you look at this painting is the nude female located directly in the centre of the painting. She is shown as beautiful and curvy, an ideal shape for women in the days that this was made, and her skin is pale, soft and very smooth looking making her seem misplaced in the havoc and disturbance going on around her. She is physically untouched and unharmed by the chaos surrounding her but the look and detail Ruben has created in her face and eyes make it seem as though she has been scarred and hurt emotionally.

Her cheeks are lightly roughed emphasizing the beauty that she contains and her shining blonde hair gracefully flows down to her waist. She seems dramatically out of place in the scene Ruben has recreated because of the way that her pale skin stands out to the rest of the darkened background. She is almost an Allegory to represent the defenseless people who have been hurt and harmed. However, this figure is meant to be the representation of Venus, the Roman Goddess of Love. Although she is naked in this painting, the cape of the Roman solider to the right of her covers the lower section of her body, which could suggest and amplify the purity of herself and the innocents of those around her.

Beside the elegant and beautiful Venus is a Roman solider who has been linked by the arm of the Goddess next him. Her glance toward him is pleading like she is begging him to stop. It is hard to see his facial expression though because Rubens has painted him with a very dark, almost shadow like, mist over his face. This could imply the darkness of war has over come him, almost engulfing him and makes him a direct contrast to that of the bright and pure Venus. Yet, we know that he is acknowledging her because of the intense locked looks we can tell that they are engaging in. The sword he holds in his right had has been stained with blood and the male figure is meant to represent the Roman God of War, Mars. The Red cape he wears clearly shows us that he is a Roman, but also gives a sense of danger and blood shed.

Red is often a colour associated with death and danger so by using this as the colour that stands out the most in the painting enhances the sense of unease on the viewer. The helmet he wears as well is gold, showing wealth, opulence and status which again contrasts to that of the naked and pure Venus linked in his left arm.

You can tell by the way that Venus holds on to Mars with a pleading look in her eyes that she is trying to stop him from spilling more blood that does not need to be split. Yet the restraint on him she hopes she holds is misplaced because of the Fury, Elekto, on the right of Mars, pulling and urging him toward more destruction and fighting. The Fury has been shown to look old but muscular implying the hold he has on Mars is strong both from his physical strength and that of the way Mars already has a weakness for War. But also from the way that he is wise from age and strong, ready to fight. He doesn't face the viewer and could've been deliberately made this way to shut people out from the plans he intends to form with Mars and stop people from seeing the mischievous and evil he contains on the inside. He himself also grabs on to Mars, but with what looks like a much more forceful way. He has his left hand hidden under the red cape and holds on to Mars' arm to pull him towards the fight and in his other hand he holds a torch which could be to lead the way. The torch could also be a symbolism of the death caused and yet to come because it is made of fire which brings death and pain but is also associated with Hell.

To the left of the Goddess, Venus, there is a woman captured in the movement of running creating an animated effect on the piece Rubens has created making it seem more real and horrifying at the same time to think that this happened. She wears a petrified and panicked facial expression with her arms raised above her head emphasizing the panic she feels within because of the fighting and war in her close surroundings. The sense of horror in this scene is then amplified by the figures seen at the bottom right corner of the painting with their terrified expressions and pleading looks for help. This traumatic scene seems separate to that of the Goddess of Love, Venus, because although she wants to stop the War she does not look dramatically effected by it, this then creating a very unsettling contrast between the two. There has also been painted a 'playful' looking Cupid just above the head of Venus which adds a strange and other worldly element to the crazy scene depicted. It suggests that the people may be looking to the heavens and God's for help, or is there in support of Venus is trying to stop the fighting and settling 'love' upon everyone.

Within the painting Rubens has included many symbolisms that may, at first glance, go unnoticed because of all the other elements your eyes get drawn to first like Venus and Mars. There are many symbolisms in this painting as well to represent the destruction of civilization and the horrors of war. Rubens even wrote a letter to explain the importance of each figure and object in the painting as they all have a particular meaning and represent different ideas.

The painting is used to symbolize the destruction and damage caused the war to the civilization of the countries involved. There is a book, being an allegory for Literature and knowledge.

However, Mars stamps on this book as he charges off to go fight in the battle implying and symbolizing this discarding of rational thinking and intelligence to be replaced by the human desire and urge to be consumed by blood and war. Not only this but it has also been suggested that it symbolizes that the war and fighting can easily take over the place of love and art/literature.

A woman can be seen holding a broken instrument thought to be a lute which in most cases would show harmony and grace, however, in this painting, the artist has shown it to be a broken lute symbolizing the shattering of hope and civilization between the warring enemies. An olive tree branch has even been used in the painting and has been shoved away and 'cast-aside' implying the futile and pointless attempt in peace as there is no hope.

Now I intend to look for a slightly 'newer' painting with the theme of Conflict and how it's the same and different to the older ones.

Bibliography: Https://en.wikipedia.org/wiki/History_of_Belgium https://en.wikipedia.org/wiki/Peter_Paul_Rubens http://www.historyofwar.org/articles/wars_thirtyyears.html http://www.pahnation.com/an-analysis-of-the-consequences-of-war-painting-by-peter-paul-rubens/ http://umich.edu/~umfandsf/symbolismproject/symbolism.html/F/fire.html http://msloosen.blogspot.co.uk/2012/06/rubenss-allegory.html Art Book: The Definitive Visual Guide, by Andrew Graham-Dixon

The Third of May by Goya, 1814

Francisco de Goya Goya was a Spanish Painter born to a family in Aragon in 1746. He had studied painting and art from the age of 14 by the tutor Jose Lazan y Martinez. Later in life he moved to Madrid to study with Anton Raphael Mengs.

He mainly worked in the genre of Romanticism and Portraiture and was also a Print maker. He was one of the most important artists in the 18th - 19th century and was one of the most successful artists in history. He's often called 'The last of the Old Masters' but also 'The First of the Modern'. In 1786 he became a Painter for the Spanish Crown and made portraits of important figures and created tapestry cartoon designs for the Royal Palace.

Goya hardly expressed himself meaning he was often closed off from other people so not a lot is known about him and his life, however, it is known that he suffered from a severe yet undiagnosed illness which soon led him to being completely deaf. Due the illness he had that was undiagnosed and incurable and the horrible effects of his deafness, his work became increasingly dark and more pessimistic. It has been said that his later works and murals give an atmosphere of "weak outlook on his personal, social and political views and levels which contrast dramatically to his social climbing in reality". He became so well known and respected over his life time that he was made the Director of the Royal Academy in 1795 and then 4 years down the line he was made the highest ranking Spanish Court Painter, 'Primer Pintor de Camara'.

One of the darkest works he made was 'Saturn devouring his Son'. It belongs to a series on the walls of his farm house called the 'Black Paintings'. The walls were originally painted with joyful and 'uplifting' images, however, over time and after he became ill he painted over them with much darker and more disturbing subjects that are suggested to have been caused from his depression and lack of love for life. He did not name this art work but over the years after his death other artists gave it its name based on the image shown. Goya has made a extremely disturbing and uncomfortable scene for the viewer to look at. It follows the Myth of Saturn eating his sons moments after birth to stop the prophecy where gets over thrown from happening, but his wife hides the 6th son, Jupiter, and he then kills Saturn. Saturn is depicted a large male, with wild grey hair and eyes that look as though he has been driven mad and insane. In his hands he holds a body of what is meant to be his son just after birth but looks like a smaller, paler version of his father. Blood has been painted around him in red increasing the danger of the situation and Saturn has a wide mouth increasing the inhumanity of the image.

Saturn devouring his Son, 1636

19th Century Context Napoleon declared himself the First Consul and Leader of the French Republic in November 1799. His need for power increased and in 1804 he crowned himself the Emperor. For Napoleon and the French, Spain was one of their peak interests at this time because they had complete control and access to the Mediterranean. The French Emperor took advantage of King Charles IV as he was seen by both his people, his own court, as a half-wit and 'ineffectual'. He suggested to Charles that they both work together to conquer and divide Portugal so each are getting one third, and the final going to the Spanish Prime Minister, Manuel de Godoy. However, Godoy was unaware of Napoleons actual intention to seize The Spanish Parliament and Throne. The Second of May, another painting by Goya, depicts the uprisings and riots in a painting that commemorates the 2nd of May that then links into the other painting 3rd of May. Under the guise of reinforcing the Spanish armies, 23,000 French troops entered Spain unopposed in November 1807. And although the Spanish people had accepted foreign monarchs in the past, they deeply resented the new French ruler. On May 2, 1808, the Spanish people became aroused and annoyed at the plans to remove the last of the Royal Spanish Family and therefore rebelled in the 'Dos de Mayo Uprising'. One of the leaders made an order that all those who rebelled on the 2nd of May would then be arrested and shot. On the 3rd of May hundreds of Spanish that ad rebelled were rounded up and shot in a number of locations across the capital of Spain, Madrid. The opposition of the Spanish carried on for the next 5-years leading to the Peninsular War. Armies and forces from the Spanish, Portuguese and British helped and aided the Spanish in the war against the French led by Sir Arthur Wellesley. By the time of the painting was made, the public had made the rioters symbolisms of heroism and bravery.

Like other Spanish people, Goya was difficultly position by the French invasion because he had supported the initial aims of the French Revolution, and hoped this would become the same result for the Spanish. He had by nature an instinctive dislike of authority and hated witnessing the pain and death over fellow citizens. Over the following years he hardly painted but in February 1814, after the final expulsion of the French, Goya approached the Government and asked to "perpetuate by means of his brush the most notable and heroic actions of our glorious insurrection against the Tyrant of Europe". It was accepted, and Goya began work on The Third of May.

The Second of May, 1814

by Goya

The Third of May by Goya, 1814, 268cm x 347cm, Oil on Canvas Many artists admired the painting resembling The Third of May and used it for inspiration for their own pieces of art work, such as Manet's 'Execution of Emperor Maximilian' and Picasso’s 'Massacre in Korea'.

The overall atmosphere of this painting is very chilling showing the horrors and atrocities caused because of the war. It creates a extremely powerful anti-war statement because of the way that Goya is not only criticizing the nations that were warring on each other, but to also to reproach those involved and the viewers, for being in the collaboration of acts of violence which happened between both the countries and people standing only a few feet apart. Goya has shown the scene to be during the night to emphasize the effect of trauma and horror on to the viewer even though it event actually took place during the day. He had felt that having a nocturnal setting was more suitable to form a increased sense of nightmare too. He even created a more 'lively' effect on the figures and their surroundings by using free handled brushstrokes instead of using tiny minor details for things such as buttons as many other artists would have done. He also included 'energetic' swirls of colour into his work to replace the minor details and manipulated them with his fingers or knives.

The viewers eye is immediately drawn to the figure in a bright white shirt kneeling on his knees, slightly to the right of the center. He contrasts dramatically to the dark and dingy background and being depicted in white emphasizes the purity and innocence of those being shot and killed. He is shown to be kneeling because if he were to stand he would tower over everyone but also, with the added arms raised above his head, to show his surrender and protest against the French facing him. The composition and body pose has been deliberately formed this way because it echoes the form of the Crucifixion of Jesus, which again, is a symbolism of their innocence and purity and martyrdom.

Below the man in white and corpses of those who have been murdered. It has been proven that fires from such a close range as this would propel the victims backward. However, Goya wanted to emphasize the disturbance of the scene and the bloodshed created and therefore, placed them right in the front of the foreground of the painting, surrounded in a pool of bright red blood. Although the bodies have been deliberately placed this way by Goya, it has also been made to look as though the soldiers have casually tossed them aside as if they don't matter just so they can make more room for the next to be killed. The most prominent body of the dead has his arms spread in a wide 'V' shape almost like he is bent down to prey to God but his facial expression looks in pain, still, even through death.

There is a lantern placed in between the soldiers and the man about to be shot. This creates a kind of barrier between the two sides of the wat and separates them off from each other. It is also the only source of light in the entire painting and creates a dazzlingly illumination on the man in white, which has been suggested as a spiritual light. Furthermore, there have been more links with the man in white to that of Jesus Christ such as on his right hand there appears to be a stigmata which shows a reference to the marks made on Christ’s body during the Crucifixion. Also the way that he is sacrificing himself for the good of his people much like Jesus did.

The soldiers, which are Napoleon's troops, are not facing the viewer and have hidden their profiles. However, the townspeople lined in a cue awaiting their untimely death, clearly show their faces to the viewer and we can see that their gazes settle upon the barrels of the guns that will aim at them. The troops have been bathed both in darkness as well as light, which reveals that their clothing is clean and untouched by the victims' blood.

By making their clothing look to be in 'tip-top' condition with no mark on them what so ever it implies that they hold themselves above dirtiness and place themselves in a higher position than the victims.

It is clear that the troops see the victims as pointless and worthless beings and by the darkness they are surrounded by shows what they are really like. Dark and untrustworthy because they are killing those that are innocent. The darkness of the painting also implies the impending doom brought by the troops on to those who wait in line.

The figures to the left of the figure in white are yet more victims to the The building formed in the background cannot be identified by anybody who has analyzed this painting and so it assumed that Goya may have simply French. Goya has shown with much detail the different reactions the invented them and by creating them with a ghostly silhouette against a men have to their upcoming fate. The male with his head lowered is a starless night sky is adds and increases the nightmarish atmosphere to the monk and he has his hands clasped in a prayer for those about to die event he was commemorating. and for those who have died in hope to give them peace in the after life. The figure who's head is slightly higher than the monks stares straight into the killers eyes with a determination of defiance against them until his last and dying breath.

To the right of the man in white is the line of victims yet to follow. The majority of them can hardly look at the guns and what they will face in the minutes to come and they look away or the cover their faces with their hands grasping at their faces as if in a nightmare. However, one figure, the next to go up, looks out of the corner of his eyes toward the This painting created the path toward more modern art because it excluded soldiers and the horrors about to be unleashed.

the traditional techniques to portray War and wasn't classed as a painting of the Historical genre, the highest and noblest form of art. History genre paintings were intended for the artist to pay attention to the styles, and themes of the past and meant to make those who were 'good' in the historical event to be portrayed as a Hero. However, Contemporary subject matters were hardly dealt with in Historical paintings and Goya centers his painting around a contemporary event. He doesn't even 'heroize' any of the men waiting for their death to come. Furthermore, it is not composed in a traditional Historical painting with its clean lines and clear perspective making it appear powerful. Yet, Goya creates a kind of blunt and raw effect by his free handling paint brush work and manipulation with knives and his hands. There are no clear and defined lines because Goya said "I see no lines or details... There is no reason my brush should see more than I do." It makes the portrayal of this human slaughter all the more unpleasant and realistic.

Bibliography: https://en.wikipedia.org/wiki/Fhttps://en.wikipedia.org/wiki/Francisco_Goyarancisco_Goya http://www.visual-arts-cork.com/paintings-analysis/saturn-devouring-his-son.htm

https://smarthistory.org/goya-third-of-may-1808/ https://en.wikipedia.org/wiki/The_Third_of_May_1808 https://www.mtholyoke.edu/~nigro20e/classweb/Third%20of%20May.html https://arthistoryoftheday.wordpress.com/2011/10/16/francisco-goya-third-of-may-1808-1814-1815/ Art Book: The Definitive Visual Guide, by Andrew Graham-Dixon

Liberty leading the People by Delacroix, 1830

17th Century Context In 1830 there was a huge revolution in France and was known as 'The July Revolution', or 'Trois Glorieses'. The event was intended to succeed in over throwing the French Monarch, Charles X. The historical event, in essence was the transition from the House of Bourbon over to the House of Orleans for power and the change of hereditary to the more popular sovereign to rule the Monarchy.

Supporters of the Bourbon House would be called Legitimists, meaning, they believed in the passing down the right to rule through the family line – legitimate to the throne. Whereas, supporters of Louis Philippe were called Orleanists, meaning, the opposed the ideas of the legitimists and wanted those they felt deserved to rule and had a more popular vote rather than those who ruled simply because they were born into the family.

The revolution lasted 3 days. On 1st day crowds started to grow in streets and military were told to 'concentrate' the groups and prepare their guns to stop looters and shoplifters. However, no extreme protection was used against the gunpowder shops or the armory depot. At 7:00pm the fighting had begun and civilians threw flower pots or roof slats at the soldiers patrolling the streets. By the end of the first day at least 21 civilians were killed.

The fighting carried on throughout the night and so on the 2nd day Charles X ordered the MajorGeneral to 'repress the disturbances'. However, many of the protestors had already begun to build barricades for protection. Due to this the Prime Minister tried to form a deal with the King but he refused. On the last day, the Major-General, Marshal Marmont, and his men no longer wanted to protect the King or Government and rioters attacked the Palace. The result of the revolution created the Monarchy those supporting Louis Phillipe wanted – Orleanists. Just a few days after, On the 2nd of August, Charles X abdicated from his role of ruling France and rights to the Throne and soon left for Great Britain. Charles X had wanted his Grandson to be the next ruler, yet, the Government replaced him with a distant cousin, Louis Philippe – soon to be known as the July Monarch.

Battle outside Hotel de Ville by Jean Victor Schnetz, 1830

EugĂŠne Delacroix He was a French painter born as the fourth child to Victoire Oeben, both decedents of the family that made furniture for the French King and Court in both the 17th and 18th century. His father was Charles Delacroix who was an ambassador to Holland in 1798. Delacroix was considered to be one of the most influential Romantic artists of all time and many of his works were inspired by both Historical or Contemporary events in life and his style was also influenced by Impressionistic and Post-Impressionistic painters/art works.

Until the age of 17 he studied classical studies. His artistic family encouraged him to form a passion for music, art and the theatre which had then also enabled him to become the student of the academic painter Pierre-Narcisse Guerin. Only a few years later Delacroix was put in charge of interior decoration for the well-known historian and minister of interiors, Adolphe Thiers.

He also soon became known as 'The Master of Colour' because he used bright a vivid colours to increase the impact of his painting on the audience. However, from the very beginning of his artistic career he studied, copied and developed other painters work such as Michelangelo and Rubens. It took him a few years to form his own, individual style but he was admired for the work he produced thereafter.

The first of his works to be well recognized and appreciated was 'Dante and Virgil in Hell'. It was also known as 'The Barque of Dante' Loosely meaning the sailing of Dante. The painting is intended to depict the events from The Canto Eight of Dante's Inferno, Dante and Virgil in the Underworld. It shows smoky mist blurring the background and a bright orange fire setting a city on fire – the city is meant to be The City of the Dead. The figures in the foreground, however, take up the majority of the picture frame and are shown to be in a Neo-Classical style that had dominated the French art style. They are almost in a triangular positioning leading the viewers eyes to the top, two standing and clothed figures. The figures in the water are naked and the dead. Their facial expressions are pained and horrified. The positioning of this image was also influenced by 'The Raft of Medusa by Gericault in 1819. Dante and Virgil are the only two figures clothed in the painting making them stand out more and letting the viewer know that they are alive.

Danta and Virgil in Hell, 1822 The Raft of Medusa, 1819

Liberty Leading the People by Delacroix, 1830, 260cm X 325cm, Oil on Canvas This painting is a Historical painting even though it was completed in the same year as the event because it marks an important moment within time that changed the French people and Country. The scene shows us the July Revolution from 1830 where people rioted to stop King Charles X from being their Monarch and was instead replaced by Louis Philippe who was also known as the Citizen King. The event has had many paintings created based around it and even the film Les MisĂŠrables was made on the Historic event.

The impact of this image on the viewer is strong because of the way that Delacroix has managed to capture the best and most 'heroic' moment of the people fighting for what they believe in. All the figures are set in a pyramidal composition directing our eye to the semi-nude female in the center of the mid-ground and then our vision to the Tricolour flag of France held in the air as if charging to war. The background of the artwork seems to be misted and blurred by what could be smoke and dust that has risen from the bombs and gun fights occurring from the rioters and military conflicting. You can also see into the distance before becoming totally blurred are figures on the left all behind one another as if they are ready to fight as well and are prepared to follow anyone for what they feel is right for their country.

It may appear chaotic, just like it would've in the actual moment, however, Delacroix has filled the composition with order.

The very first thing anyone will notice is the tall and semi-nude female figure standing in the center of the painting. By showing her as not fully clothes Delacroix has given direct links to the Grecian Art of nudity which was used to show strength and power. She wears a yellow dress, with a slight golden glow of courage and prosperity, and it has fallen off her shoulders whilst she raises the Tricolour Flag of the French in left hand and holds a Bayonetted Musket Gun in her right. She wears a Phrygian cap which had been used by the earlier French Revolution in 1787-99 showing the defiance against the Monarchy and the rebellion within the people of France and symbolic way of showing freedom – it was a hat given to slaves in Ancient Rome once slaves were freed to 'liberate' their new status. Although the female is depicted in the painting it's suggested that Delacroix made her up. He was not directly involved with the riots, but he saw it and painted it. The female is intended to be have an allegorical meaning and is meant to be the symbolic or personification of Liberty for the people, and by being in the front, holding the flag and large weapon, she is leading them to their goal. She looks powerful as she is captured in the moment of leading the group forward and she turns her head over her right shoulder to ensure she is being followed and her head is at such an angle many have suggested that she looks like a classic ruler on the back of a coin

Directly below the female, looking up at her, is young adolescent male lying on the floor, stomach down. He appears to have lost his footing on the barricade made by the rioters and has fallen. He wears blue, white and red clothing which mimics the colours of the French flag and emphasizes the importance of this event in French History to all those who see it. He even wears a 'Bicorne' on his head, which is a twocornered hat often worn by naval Officers, as well as holding a short saber knife readying for the fight ahead.

On the right hand of the painting is a very young boy, showing that all ages of the population were fighting for a different and better France to live in. Many know of this figure more and is therefore seen as the more famous of the two younger boys, and he is also associated with the Hugo, the young boy, in Les MisĂŠrables. He holds two guns in each of his hands, also showing his willingness to fight and do 'good' for his country. He wears a black velvet beret hat on his head, also called a Faluche, which was common for young students. The young boy even seems to carry a satchel over his shoulders which holds what is assumed is his school supplies because of the Crest embroidered on the front of it implying the school that he attends.

There is a man on the left of the painting that holds a Saber blade that was often used in the Napoleon Wars. He is clothed in an apron, work shirt and sailors trousers which ultimately shows him to be a low ranking, factory worker. He looks as though he is charging forward and eager to fight for France. He has a handkerchief tied around his waist that allows him to secure his extra weapon, a gun, without losing it and giving an easy access to it when needed. The pattern on the handkerchief he wears is very similar to the one of Cholet, a symbolism of François Athannase de Charette de la Contrie – a royal solider who soon died from a poor fate in the First Republic Uprising in France. The white cockade and red ribbon secured to his beret also identify his revolutionary sensibilities.

The factory worker is very contrasting to the figure to the right of him.

He clearly has a very different social status due to the clothing that he wears, this also shows us that people of all ages and status rankings had the same ideas and interests and joined together to make them come true. It represents a joining of society. He wears a black top hat making him appear taller and slightly more imposing but a little out of place compared to his companion to the left. He also wears an open collared white shirt with a cravat – a posh tie – and a very posh and elegant black suit coat that has been specifically tailored to him. He doesn’t hold a military weapon like those surrounding him but a hunting shotgun. This could be to show his different status to those surrounding him, possibly an already owned weapon, but also to show the difference between each and every figure in the painting created.

The two figures make it clear to the audience that the revolution was not only for the poor and the 'economically downtrodden', but also for those who have a lot of money, high status and of affluence, too.

I again intend to look at more modern paintings based around my theme, however, I will also look at the outcomes of war and how it leaves land rather than the peak moment of the war.

Bibliography: https://en.wikipedia.org/wiki/July_Revolution http://www.softschools.com/timelines/french_revolution_of_1830_timeline/368/ https://www.britannica.com/biography/Eugene-Delacroix https://www.artble.com/artists/eugene_delacroix https://www.britannica.com/art/Phrygian-cap Art Book: The Definitive Visual Guide, by Andrew Graham-Dixon

We are making a New World

by Paul Nash, 1918

Paul Nash Londoner Paul Nash grew up in Buckinghamshire and was mainly a Surrealist and War artist but was also a writer, designer and photographer. He entered the 'Slade School Of Art' and concentrated on Landscape paintings with inspiration from burial mounds, 'Iron Age' hills and forts like the Wittenham Clumps and the stones in Avebury. He was also inspired by the different phases of the moon which he then used to influence his works. Nash has been considered one of the most important figures for landscape paintings form the first half of the 20th Century. Many of his paintings were based on the First World War which lead to a very important development in the Modern Art Genre to this day and in English Art. The artworks that he produced during the period of the First World War are said to be some of the 'most iconic of Conflict.' After the war ended he carried on focusing on landscaping but as time passed they became less formal and much more abstract and surreal and often included normal and everyday objects to give his pieces a new symbolism to them. During the Second World War, Nash became very ill with Asthma, so ill that it could have killed him, yet he was still able to create two paintings of aircrafts and then a number of landscapes said to be 'rich with symbolism and an intense mystical quality'. He didn't only create paintings that were widely appreciated and awed over but he also made illustrations for books and stage designs, scenery, fabrics and posters. Paul Nash also had a younger sibling, John Nash, who was also a painter, illustrator and engraver.

One of Nash's most famous paintings, however, is 'The Menin Road'. It is a very large painting that was deliberately made to the same scale of Uccello's 'Battle of San Romano' so it would have a huge impact on the viewer. The image depicted shows us a landscape torn up by war and conflict and Nash creates a devastated and post-apocalyptic look which is emphasized by the piles of concrete blocks, metal trash, muddy water, and destroyed, lifeless plants. There are trees in the mid-ground, however, they have been shown as dead and broken, likely damaged and broken by the bombs. Nash also shows two soldiers trying to cross the landscape but they are hard to define because they're dwarfed by the surrounding destruction in the field. The two beams of light though are very disconcerting because they come from unseen airplanes that shining through the clouds. They also are created in such a way that they copy the rays of 'divine light' that disperse through the clouds in religious paintings when God is present and creates a juxtapose in this image as it is completely devoid of 'grace and divinity' or divinity.

The Menin Road, 1918

‘I am no longer an artist, I am a messenger to those who want the war to go on for ever‌ and may it burn their lousy souls’ A quote from Nash about his paintings.

20th Century Context At the start of the 1900's Queen Victoria dies and Edward VII takes role as monarch. In 1914 The First World War had started on June 28th.

Serbian Nationalist Gavrilo Princip assassinated Franz Ferdinand who was the Archduke of Austria in Sarajevo. One month after the assassination Austria-Hungary declared war on Serbia. The war divided Europe into two sides – The Germans with their Allies of Austria-Hungary and Italy against France, Russia, Italy and Great Britain.

More and more countries began to join the opposing side to Germany, such as Italy who ended their alliance with the Germans, and they soon became known as the Allied Forces: A group formed for the defense and protection of their countries against the warring ones against them.

A lot of the fighting actually took place in the deep dug trenches that were made in a complicated zigzagging pattern to stop enemies from advancing in them. Disease, bombs, snipers and shellfire was a constant threat as well as Trench Foot which lead to Fungal Foot infection which lead to amputations.

Machine Guns and Artillery were used as well as Tanks and Air Forces which increased the efficiency of the war and fight from the soldiers. The fighting started in three areas of Europe – Western Front in France, Eastern Front in Russia and then the Southern Front in Serbia. Within WW1 many smaller battles occurred but they were also some of the worst and deadliest where thousands and thousands died like the Vimy Ridge.

These smaller battles, however, were also very important points for the Allied Forces to then win the entirety of the World War. October 3rd 1918 Germany begged for a cease-fire as there was an extremely small chance that they would win the war. The war ended at 11 O'clock on the 11th on the 11th month. This was also when the two sided signed and agreed to the Armistice and both stopped fighting.

Gavrilo Princip

We are making a New World by Paul Nash, 1918, 71.1cm x 91.4cm, oil on canvas Nash has depicted a landscape that looks bleak and desolated. It shows the viewer the Woodland area in Ypres Salient in 1917. The once rich and beautiful trees have been reduced and destroyed into harsh and sharp looking stumps to show the remains of the woods that once stood there. Nash has shown there to be no figures which increases and eerie and haunting atmosphere on the viewer and gives a small peak as to how the war has affected people on the front lines in the fight. The lack of figures in the painting makes it feel like Nash has created a very powerful image as it shows the devastation left by humans.

Some say: 'It asks questions without providing answers, leaving the audience to ponder the experiences of those who fought in such places and questioned the nature of war itself.'

The title dedicated to the painting is very contrasting and almost misleading to what is actually shown. The land is scarred as damaged because of WW1 with bomb ditches, tree trunk stumps and uneven earth where as the title implies that the image would show harmony and civilization between the countries to start making a new and better world in which to live. However, this is not what it shows at all. Many have also described it as 'One of the best British paintings of the 20th century' and it has also been compared to that of Picasso's Guernica.

Nash was a solider in the war and to start, created landscapes that were colourful and looked almost untouched by war, yet, he soon was sent home to England after a serious injury from falling in a Trench. Only a week later his Division was annihilated and he was exposed to the true horrors of war which influenced the outcome of this painting.

In the far distant background, Nash creates a extremely bright white sun that goes above all the horror shown below. The brightness of the sun both almost insults the viewers senses and creates a dramatic contrast of colour in the background and foreground. As it is a white sun rather than a yellow, which is the typical colour used, it deprives the painting of warmth and comfort which is implied by the title of the painting. Nash has also created very distinct beams of light that comes out from the sun in all angles below the circle, but never above. I feel that this creates a more, almost stylized, appearance as they solid and not dispersed and shaded on. The style is that of Vorticism which was a post-Cubism Art Style. Furthermore, the way that the beams of light have been depicted is very similar to that of the suns in much older and religious paintings when God is meant to be present. It has been suggested that it has been mad this way to make the viewer ask the question 'Why would a God so powerful allow something so horrible and destructive happen?'. However, it has also been suggested that it is to show that God is there to help and to re-create our world, making it a new and restarting for a fresh start.

This is also emphasized by the use of white for the light because it looks fresh, and is a symbolisms of purity – contrasting, again, to the actual image shown.

The way that the trees have been made to twist into odd shapes provokes a lot of different thoughts and images in the mind. The way that the closer to the top of the trunks you look the darker the paint becomes which shows the changes and remnants of the nature once standing there but now destroyed after all the conflict and bombs being set off amongst the fighting. Furthermore, the tops of the trunk, although showing where branches once were, also appear to look like out stretched hands and arms rising up from the ground. It makes me think of all the people who fought and died during the warring conflict between the two opposing sides and are reaching up above the ground to ensure that they're not forgotten but also, possibly, because of the lighting implying God is there, to beg him for forgiveness and possibly to be excepted into the 'after life', The trunks are all wobbly and lumpy when looked at in closer detail creating a more realistic perception of the trees and the view in which Nash was creating.

The colour palette used within the painting is very limited. It consists of mainly earth tones, such as browns, greens and neutrals, and are used in such a way that it emphasizes the 'importance' of the Earth and how we have destroyed it over fighting and war. By using these colours in dark shades it makes it seem as though all the nature and landscape formed has died, which then compared with the bright and white lighting,– like 'God' is present – makes it seem as if maybe there will be a new start and things can or will be resurrected.

The whole of the painting appears to be set our into layer or three horizontal sections.

The second layer has a completely different colour scheme of ochres and rust making a contrast to that of the green on the layer below but also giving a sense of all the metallic chemicals in the air cause by the war. It almost looks like a chemical cloud rising up above the earth ground. However, the colour of it is also similar to that of blood and again emphasizes the lives given and lost during the war of WW1 The bottom layer is a bumpy, textured, grassland that has been shown in a variety of different shades of green – dark and sometimes lighter to highlight certain areas which shows and forms the over run and used ground during the war. The colouring and the texture of the ground then show the viewer how the fighting has then caused the ground to become uneven and discoloured from fire and explosions. On the top of this and protruding out of it are the dark tree trunks which look twisted and distorted from the conflict of man.

The very top layer shows the bright white sun shining down on the entirety of the Earth shown below it. It illuminates the whole scene causing chiaroscuro on certain and important elements within the piece such as the grooves and bends in the flooring but also textures of the trees and their trunks. Not only this but it helps to create a more defining definition between each layer as the brightness of the sun help to light up the scene and also causes more contrast as the top starts brighter but then the further down the image you go the darker it gets – like heaven to hell.

Bibliography: http://www.tate.org.uk/whats-on/tate-britain/exhibition/paul-nash https://en.wikipedia.org/wiki/Paul_Nash_(artist) http://www.worldatlas.com/r/w728-h425-c728x425/upload/b9/55/c2/battle-of-the-somme.jpg https://www.everypicture.org/we-are-making-a-new-world-by-paul-nash http://www.tate.org.uk/whats-on/tate-liverpool/exhibition/paul-nash/paul-nash-modern-artist-ancient-landscape-roomguide-0 https://books.google.co.uk/books?id=Q2jiCgAAQBAJ&pg=PA74&lpg=PA74&dq=nash+we+are+making+a+new+world+analysis& source=bl&ots=TJYoZ96CNM&sig=VPYEhJ4wABjSBscYZW8SeVKtWs0&hl=en&sa=X&ved=0ahUKEwj48c_4tPrWAhVLJcAKHaM qAUE4FBDoAQgnMAA#v=onepage&q=nash%20we%20are%20making%20a%20new%20world%20analysis&f=false Art Book: The Definitive Visual Guide, by Andrew Graham-Dixon

Stormtroops Advancing Under Gas by Otto Dix, 1924

18th Century Context Before the outbreak of World War One Kaiser Wilhelm II, along with his Government, formed policies for within his country and countries outside of Germany that contributed to the tension that built up within Europe. The German Military, Nation Principles, and need to extend their Power. Not only this but the Kaiser's own personal and diplomatic aggression all enhanced the need, feel and mood for war between neighboring countries. Every single element and part of the German Social and Political Factors howled the hunger and need for war.

Industrialists provided Kaiser Wilhelm II with a new and large load of deadly weapons such as Artillery, Machine Guns, Chemical Weapons, and Flamethrowers. Admirals in the German Army had even bought and taken in new Battleships, Cruisers and Submarines for more way to go and attack their enemies. Strategists had also produced and pioneered aspiring and ambitious plans for the upcoming War they had promised to aim at France in just a few weeks' time.

The Kaiser of Germany was an extremely ambitious man with no patients what so ever and had a huge desire for confrontation.

In June 1914 Franz Ferdinand, who was the Archduke of Austria was heir to the Austro-Hungarian throne, however, he was shot and murdered by Gavrilo Princip a Serbian Civilian/Radical. Willhelm encouraged the Austrians to conduct an invasion on the Serbians and if the Russians became involved too, then the Kaiser would involve too. When the war did start in late July they first invade France through Belgium which allowed them to avoid heavy gunned French forces. It worked for a while but then soon they failed after travelling through Northern France. The Eastern German troops were also enabled so they could defend themselves from the Russia forces from Prussia. They were successful in pushing the Russians out of their Countries territory.

Otto Dix He was a German painter as well as a Printmaker who was well recognized for his 'ruthless and harsh' depictions of the Weimar Republic and Society during the War and how the brutality of the War affected the German Society massively. Otto has also been named one of the world's most important artists that was part of the Neuve Sachlichkeit, translated means New Objectivity, and meant that Artists had a reaction against Expressionism in paintings and Art work.

Otto grew up with Art surrounding him because his Mother, Louise Dix, was a seamstress and poet, and his father, Franz Dix, was a Iron worker. To enhance his passion for Art, he was often found in a studio with his cousin, Fritz Amann, who was also a painter.

From 1906 he became the apprentice of the painter Carl Seniff and was in his service until 1910 which was the year that he started to paint his own landscapes. In the same year of 1910 he applied to join The Kunstgewerbeschule in Dresden, which was The Academy of Applied Arts, which is also where Richard Guhr was also one of his many great teachers. The majority of Otto's early work was based around landscapes and portraits which were formed and created in realism style that later changed over to the expressionism style.

He volunteered to work under the Army during in the First World War and was given the role of Artillert Regiment and a year later was made a NonCommissioned Officer of the Machine Gun Unit on the Western Front. He even took part in the Battle of Somme. He was transferred to different areas many times and he also earned the Iron Cross for supporting and fighting for his country. He was severely wounded in the neck during August 1918 and was sent to hospital. He survived but ultimately e was extremely affected by the War and everything he had seen and experienced. He had constant reoccurring nightmares where he would find himself crawling through destroyed houses and to express and try to overcome his trauma he showed it through his pieces of Art work. He increasingly developed his style of realism to show what life is really like and allow the viewer to fully experience the horrors of War and to make them feel an array of emotions from the impact of his Art. One of his most famous paintings is the Triptych Metropolis from 1928. Many have described it as "a scornful portrayal of depraved actions of Germany's Weimar Republic, where nonstop revelry was a way to deal with the wartime defeat and financial catastrophe,"

Stormtroops Advancing Under Gas by Dix, 1924, 19.3cm X 28.8cm, Ink on Paper.

The piece of Art work expresses to the viewer the experience Dix had felt during the Warfare between the fighting countries in World War 1. The way in which he had depicted the conflict and war is very unusual to the common and 'proper' way of showing war. Many have called it 'unorthodox', meaning it is a contrast to tradition. He doesn't show war in the glory and honor usually associated with the theme, but rather a cruel, and gross atmosphere is created making the viewer, including me, feel uneasy looking at it.

The painting is devoid of colour allowing no distraction from the figures and topic that Dix is trying to address, however, it also shows the darkness of war easier because of the colour palette being limited to black and white – two opposite colours that contrast with each other, similarly like the two countries fighting each other are opposite and contrasting in war. It increases the sense of Hell within the war and the nightmares it brings afterward.

The complete and utter focus of the painting is the soldiers and what their movements are. Their animated appearance implies that they are killing machines, like their guns and weapons, and that their whole life's purpose is to kill, kill, kill, yet keep themselves alive as well. They are devoted to the murder of other humans considered as their enemy.

5 clear figures can be seen within the picture frame and then shrink in size the further into the background they go showing Dix's skill of using Recessional Perspective. However, 3 of the figures toward the foreground take up the majority of the scene taking place. Two have an arm raised high above their heads with a weapon in their hand making it seem and feel like they are charging toward the viewer to kill them because even though they were masks hiding their faces it feels like they are staring straight at you. The figure closest to the viewer has their hands out stretched as if they want to come and strangle something not seen with in the picture frame or to strangle the viewer.

The gas masks worn by the soldiers make them appear all the more menacing. The way that the masks have been portrayed in this painting look almost like the skull of our skeleton making them appear to be already dead and making us, as the viewers, feel all the more uneasy looking at the art work. By removing the faces of the soldiers it removes any positive emotion and allows us to focus on the horrors of the war and brutality of those who were involved with it. It conveys to the viewer the savagery of the battlefield – that although the soldiers were physically alive, they were pretty much dead men walking. The absence of color further emphasizes the hellish nature of war.

He manipulated the etching and mediums to increase and enhance the atmosphere and mood of war and horror on to the viewer. He left areas showing the canvas which produced a bright white that contrasted to the dark blank ink and paint he used for the figures and details. Furthermore, by leaving areas a white colour it bring to mind the colour of bones and decayed skeletons as well as possibly trying to imply that these men now covered in masks were once innocent and pure.

The scene looks as though it had been conjured up from a nightmare, which in this case is true. Dix was hugely affected after the war and constantly had nightmares and flashbacks of all the death and hatred within the war. He tried to deal with his trauma by painting and drawing the scenes he saw. This was his way to try and drive out the evil and horrid past he could not forget.

The surrounding environment of the figures almost blending in with them. Their hands are shaped like claws whilst throwing hand grenades. This blends in with the sharp and pointed barbed wire from no man land and the roots that protrude upward in harsh and angry angles. The roots from the ground that aim toward the sky, are similar to that of Paul Nash's by the way that the stump of once living nature now are dead and look as though they are trying to grab the soldiers to take them to their grave as well. The scene is so full of figures, and branches and weapons it is almost suffocating just to look at because of all the objects surrounding the soldiers, which to me, makes it harder to look at and find it more impossible to imagine the horrors and devastation the war brought – even to those who have been considered inhumane.

Although two thirds of the art work is taken up by the 3 large figures facing the viewer, it is still very clear the land behind and surrounding them is scarred and damaged from all the fighting from WW1. Dix depicts a grey sky behind them, sticking to his monochromatic colour palette, making it feel like there is a low mist or cloud of dust and smoke, which gives a sense of the conditions people had to live in with the war. It obscures all other objects that could've been there creating this kind of blank screen and allows us to focus solely on the details and 'people' in the foreground of the painting without any distraction. The main focus of the image is the gas masked figures, but the other, smaller, details give us a glimpse into the diabolical outcomes of human actions.

As this painting was a little more obscure than the previous I have looked at I now will look at more abstract artists interpretations of war and conflict.

Bibliography: http://alphahistory.com/weimarrepublic/world-war-i/

https://en.wikipedia.org/wiki/Otto_Dix

http://darkdarkdreams.blogspot.co.uk/2011/05/stormtroops-advancing-under-gas.html

https://www.moma.org/s/ge/collection_ge/object/object_objid-63260.html

http://www.memorial-caen.fr/10EVENT/EXPO1418/d/texte/021text.html

Guernica

by Picasso, 1937

Context 20th Century On the 26th of April in 1937 there was an aerial bombing caused by the Spanish Civil War in the small town of Guernica in Spain. It was an ordered attack by Franciso Franco Government, The Nazi German Lufywaffe and the Italian Aviazione Legionaria: Code names, Operation Rügen. Guernica was being used as a communications center for behind the frontlines in the war and it had opened up a way for Franciso Franco to capture Bilbao, another City in Spain, leading to the Victory in Northern Spain. The continuing attack gained a lot of disagreements in the public because it constantly consisted of bombing civilians with military air force. It had been reported that 1,654 people were killed at the time. However, since then many historians have many different ideas as to how many actually died... Local Historians say 126 153, whereas others say, 400 had died and then later changed to 800.

Yet, these numbers may not include those who died of injuries in the hospitals or the bodies that had been later found amongst the rubble cause by the bombings.

A few artists have decided to create Anti-War paintings to depict and how the horrors of this Historic event, such as Pablo Picasso with his Guernica but also the German artist Heinz Kiwitz, later killed by fighting in the International Brigades – a paramilitary unit (similar to professional military) to assist in the Spanish Civil War. The bombing was extremely shocking and inspired many other artists such as the sculpture, 'Guernica', by René Iché, but also poems by Paul Eluard, 'Victory of Guernica', and Uys Krige, 'Nag Van Die Fasictiese Bomwerpers', translating to 'Night of the Fascist Bombers'.

Guernica by Rene Iche in 1937

Pablo Picasso Picasso is considered to be one of the most important figures in the 20th century Art and Art Movement. He was a Spanish artist born in Magala and before he was 50 he had become the most well-known artist in Modern art with the most distinct style and creation. He was the most unique artist of the time because there had been no other artist who formed and created art quite like he had and nobody else could create such an impact on the audience and world as he could with art.

He was raised in Spain but then spent most of his adult life living in France and created more then 20,000 paintings, drawings, sculptures, ceramics and many other forms of art work such as theatre costumes and theatre sets.

The way in which he created his works with a new and unusual style soon made him a very well-respected artist during his life time and to this day. He was also a pioneer of the Art style Cubism. 1907-1917, he lead the Cubist Movement along with Georges Braque, creating a new style of art that challenged the 'conventional' forms of representation and perspective which had been the 'correct' way to produce art since the Italian Renaissance. Those who produced Cubist art aimed to produce a new and exciting form of art that reflected the new and modern age and rapidly changing world. Cubism broke up the image being depicted into separate pieces and re-arranged into abstract forms making there be no fixedone point perspective. Picasso believed that this was a much 'truer' way of showing the world we live in because we are always moving and never stop. After his death in 1973 his value as an artist and inspiration to other artists has only grown. He is without a doubt destined to permanently etch himself into the fabric of humanity as one of the greatest artists of all time.

This painting is a small scale and has a very limited colour palette consisting of monochromatic colours such as browns, blacks and ochre –these were all typical colour choices for cubism as it allowed the viewer to not get ‘distracted’ many different colours. There are many geometric shapes and straight, rigid lines repeated throughout the whole piece creating no fixed viewpoint but multiple ones that dissects the canvas into complex sections. In the painting there are clear Still Life with shapes in areas, letter and numbers. This is meant to show what still life is like and Picasso a bottle of believes that his painting shows a truer image of life because of the way that nothing is clear and Rum, 1911 by appears and if it is always on the move – “We have two eyes, not one, meaning things change and Picasso aren't fixed." This is another feature of Cubism because of the way that it abandons all the traditional methods of creating paintings and art work due to the way that he creates dynamic and echoing forms to produces a piece of work that looks a little less real.

Guernica by Picasso, 1937, 349cm x 777cm, Oil Mural Guernica is painted out of oil and is a huge scale to form the size of a mural. Picasso has used very limited colours and a monochromatic palette of black, grey and white. By using these colours for the paintings, it uses the typical colours of Cubist art work which gives an emphasis on the image and scene being depicted and stops the viewers from being distracted by the many different colours and hues. Furthermore, as it shows the horrifying scene occurring in Guernica during the Spanish Civil War it also emphasizes the dark and disturbing moment in history. The picture is full of symbols yet its overall theme is the suffering of innocent people and animals alike. The shapes of the figures being shown are all distorted which could have been done, not only for the style of Cubism, but also to show the distorted views of humans because they felt the need to fight and participate in a war.

The canvas for the mural was so large that Picasso had to have it slanted in is studio and he had to attach his paintbrushes on to long sticks and climb on to ladders to reach the top!! This masterpiece is an allegory for history and horror that the Spanish War brought. Yet, Picasso has also been extremely cleaver in the way that he constructs the positioning of the figures and objects in the image in a triangular composition, which ultimately leads the viewers eye to the screaming horse located just under the lamp –top of the triangular point.

Picasso depicted the bull with a dark body and stark white head that contrasts with its lower body. The facial features of the animal appear to stunned or shocked at the devastation and horror that surrounds it. The significance of the Bull was clearly stated by the artist himself too: "It was to signify brutality and darkness." With a closer look at the head of the Bull as well you can see the visible presence of a faded third eye. It is said that the Bull utterly obsessed Picasso and was constantly changed until it was made right.

Although the third eye is not intended to be there, I feel that it adds an eerie and unsettling atmosphere to the painting because it makes me feel as a viewer that I am always being 'watched' even if the main eyes aren't on me but also, third eyes symbolize wisdom and enlightenment – possibly enlightenment of the disruption that occurred within Guernica?... Either way the Bull has been shown with a pair of human eyes and looks helplessly out at the viewer whilst he stands among all the carnage and chaos.

Just under the bull a screaming woman is shown holding a dead child. Many say that she is being protected by the bull because of the fighting going on around them, however, her head is thrown back to face the sky whilst crying and what looks like screaming. Her eyes are formed in the shapes of tear drops and the composition of the figure is intended to symbolize and resemble the traditional Catholic image of the Deposition of Christ on his mother The Virgin Mary, however, both tainted by war.

The forms of the figures shout out the pose of the famous sculpture by Michelangelo, 'Pieta' . Picasso distorts the mother to have finger splayed in all directions, an arched neck and a wide gaping mouth to release a silent scream left for the viewer to imagine and be haunted by. This heightens the emotional impact on the audience and viewers looking at the piece.

The child being held by the mother is floppy and lifeless with black white eyes that still feel as if they're staring out at the viewer making the painting have an even more disturbing feel to it which also echoes the wrong how wrong the fighting and war was that caused the havoc shown.

Originally in this place, Picasso had depicted a raised arm with a clenched fist (similar to the salute of Spanish Republicans) to be the main focus of the painting. Yet he was unhappy with the choice for symbolism so instead he replaced it with a twisted form of a horse with a spiked tongue showing the screams of pain and emphasizing the innocence of the victims undesiring of the war. The horse is also a direct symbolism of the pain that the people of Guernica had to deal with and the dotted lines on the body of the horse represent the news and how the attack flooded the papers of everything they experienced and everything that had happened.

Picasso also hid many other symbolisms in the painting too. For example, in the nose of the horse he has used a small skull to show the impending and inevitable death the people of Guernica will succumb to. Also within the horse is a hidden head of a second bull formed by the front right leg of the horse and although it appears calm, it could also be piercing it with the horns from underneath, also explaining the pain showed on the horses face.

The woman holding up the candle lights up the entire scene creating darkened areas of shadows and lighter areas that have been illuminated. The use of torches in Art are often allegorical symbolisms of enlightenment – which has also been famously used in the New York Statue of Liberty. She is also shown in a strange shape making her appear like a ghost which could represent the Spanish Republic leaving their mark and haunting the City of Guernica.

Throughout the process of making this piece Picasso was constantly changing what figures and objects were going to be. Another example of his ever-changing mind is the eye and the light bulb. It was going to represent a sun but was soon changed to show the shape of an eye with a bulb as the iris. It is meant to show the source of the evil as it sees and lights up the cruel reality of what happened in Guernica.

It puts a spotlight on the Bombers, Machine guns but also creates a dramatic contrast between the brightness of the light and the soft, warm glow from the torch being held by the woman.

The Spanish word for light is 'Bombia' which is also similar to the Spanish word 'Bomba' meaning Bomb.

The bulb not only shows the evils of the event taking place but also shows the technological advancements occurring during the time and how the new technologies were tested in the Guernica Bombings

This section of the mural has also been replicated on to the Actress, Kristen Stewarts arm because she loved the piece so much. She said "This is part of ‘Guernica', it’s a Picasso painting that I saw when I was 18 and in Madrid. It floored me and it’s the first time I responded to a piece of art like that. It is just perfect for me. I love what it makes me think of. It’s like ‘keep going, and keep the f***ing light on'"

Between the bull and the horse there is a flash of white, intending to be a pigeon which has been used to show the broken peace between the two conflicting sides.

There is also a dead solider at the bottom of the scene and is shown as an incomplete body. His head, an arm and left forearm are clearly visible and in one of his hands the soldier is holding a broken sword showing the discord between the warring parties but also the hope to stop the fighting in the future. He also holds a flower symbolizing a slither of hope for a better future amongst all of the destruction and death within the entire scene.

Bibliography: • https://en.wikipedia.org/wiki/Bombing_of_Guernica • https://www.pablopicasso.org/ • https://news.masterworksfineart.com/2017/06/12/pablo-picasso-and-cubism • http://www.spanish-art.org/spanish-painting-guernica.html • https://www.slideshare.net/laurajanefriend/theory-11-va-guernica-symbolism • http://www.indiewire.com/2015/04/kristen-stewart-on-feeling-misunderstood-and-dealing-with-her-fame-63353/ Art Book: The Definitive Visual Guide, by Andrew Graham-Dixon