THE ART OF WARs - ALLEN BOYNTON

This helmet of war is known as a Corinthian type helmet. This piece of war was so effective, the first designs were used from the 8th century BC up until the Classical Period (about 450 BC). This more advanced design was used, and dates, to circa 550 BC. The vertical lines of the nose guard and interior cheek guards are a distinct formal element of this particular design. Other eras were known to have more effective, larger nose guards and the circular roundness of the helmet itself changed over time to make a better, more comfortable fit for its warrior. The embellishments were kept to a minimum by shown in the symmetrical balance.

This bronze statuette is a representation of a 2nd century AD (created circa 100 AD – 199 AD) Roman soldier. By the design of the uniform, he is known to be a foot soldier, also known as a legionary. The uniform depicted is a cultural design of the Romans. This includes sandals, a tunic along with a traditional skirt with vertical leather straps, for protection and ease of movement. The elemental lines of his lorica segmentata (laminated, segmented armor) were formed by use of circular metal strips surrounding the torso. The strips were fastened together usually with bronze rivets or hinges and small hooks. The circular strips are a familiar design of this area of the armor. The most recognizable piece of this uniform is the helmet featuring the crest that covers it from the top front to the back neck arch.

The vase seen here is from the Moche period dated between 100-700 AD. The vase, Moche warrior pot, was found in what is now modern day Peru. It is made of pottery that is painted. It stands about 22.5 centimeters tall. The figure is a period warrior that appears to fit the description of a guard. These guards carried a small shield and a club and during his watch remained in a kneeling position. An important visual element of this figure is the shapes of the swirls, dots and the shapes on his belt and wrist-guards. The swirls seem to accentuate the warrior’s physical build. While the other shapes depict a probable uniform of these warriors. The warrior also shows principles of patterns among these shapes by way of repetition of lines and dots. (The British Museum, n.d.). Reference: The British Museum. (n.d.). Retrieved January 24, 2016, from http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=480501&partId=1

The Bishamonten, Guardian of the North figure is from circa 1250-1300 AD. This time was within a Buddhist, amongst other cultures in the Later Asian Art period between the 7th and the 16th century. The Bishamonten originates from Indian mythology as the king of the fertility gods that controlled wealth and bounty of the north. It appears they were of importance to the one buried here to help in the afterlife. The figure, standing at a height of 185 centimeters, is one of a set of four guardians standing on the corners of the main alter, within a Buddhist temple. The medium is of Hinoki wood and has several artistic attributes. The formal element of shape gives the figure a look of movement. The movement seen here is seen by the swaying sleeves of this warrior’s armor. The armor, or uniform, is done in great detail from top to bottom.

This steel and iron war helmet named the, Visoreal Sallet, is dated between 1480-1490 in the Renaissance period. The helmet itself is a German war helmet that shows new innovation within this time period. It is considered light in weight at 4 lbs. 12 oz. and measures at 10 1/16th x 8 7/8 x 15 9/16 inches overall. The element of color is a near mirror like finished steel. The shape of the back tail, or neck defense, gives the piece a sense of movement. The innovative part of this helmet is the visor itself. It was designed and created to be raised at times the warrior needed to breath and see better. In the down position was a great defense to withstand the strongest of blows.

Jacob Halder, a master armorer, directed the creation of this Cumberland armor at the royal workshops at Greenwich, England in 1586 AD. The armor titled, Armor Garniture of George Clifford, was made for Earl George Clifford, Third Earl of Cumberland. He was made the Queen’s Champion in 1590 and is well known for his capture of a Spanish fort in San Juan, Puerto Rico. This elaborate armor is constructed from steel, gold, leather and textile. This champion chose the design of the suit of armor the Tudor rose, the French fleur-de-lis and, being the favorite of Queen Elizabeth I, it also included her cipher, two E’s back to back. This piece of art of war is the best-preserved suit of armor from this workshop at Greenwich. The elaborate elegance of these patterns is made even bolder by the colors chosen to create this fully functional art of armor.

This early 16th century art piece is from the Thailand area, Sukothai, Sukothai province is named, War elephant, riders and soldiers. The ceramic stoneware depicts a scene of war at the times in this Asian Art period of Ayutthaya, 1350-1767. It stands 46 centimeters in height and is colored with the use of brown and white glaze. The piece depicts two warriors with swords up top a decorated elephant of war. Standing at each leg of the elephant appears to be guards of the animal holding a sort of shield as they protect it with most likely, higher ranking warriors riding the elephant. The elephant looks to be decorated with war paint in the formal element of lines and rectangles. This piece gives us today an idea of how war in Asia in the 16th century was fought.

The printed-paper made from mezzotint and etching of a plate is etched in green and black. Elisha Kirkall of England created the work, Shipping Scene with Man-of-War, after the Dutch Williem van de Velde the Younger in the 1720’s between the periods of the Seventeenth-Century Art In Europe and the European and American Art of 1715-1840. This nautical piece depicts a scene of war ships of England and the Dutch during a period of the Anglo-Dutch Wars. This war was fought for control of trade routes. This green and black print shows intricate detail in the war vessels as well as a near stormy sky. The flags, sails, cannon smoke, waves and tilted ships give movement to the piece of art. (Anglo-Dutch Wars, 2016). Reference: Anglo-Dutch Wars. (2016). In Encyclopædia Britannica. Retrieved from http://www.britannica.com/topic/Anglo-Dutch-Wars

William B. T. Trego, well known for his American Civil War depictions. This painting named, Battery, Forward!, was created in 1887 as an oil painting on canvas. This art is from the European and American Art period, 1840-1910. The painting depicts horse-drawn artillery in action in the American Civil War. The story of the scene shows how the leader of this army had been shot and fallen from his horse. Having no lead, the line behind gets chaotic until a soldier rides forth and reaches for the reigns of the lead horse to attempt gain of control. The man grabbing the reigns is a main focus here. The viewer’s eye is drawn to him due to his horse charging is coming directly at us. This piece shows many techniques and principles in the design of the scene. Two examples would be the element of shapes and a principle of proportion. The overlapping of figures and horses shows movement to the scene. The use of proportion gives depth and realism by giving a feeling of unity of sized objects within the painting. The scene appears to move on the canvas as it takes place. (William T. Trego Catalogue Raisonné (n.d.). Reference: William T. Trego Catalogue Raisonné (n.d.), Battery, Forward! (painting), 1887. Retrieved January 22, 2016, from http://www.michenermuseum.org/catalogue/trego/?article=53

Ivor Hele created this oil on board painting called, Centurion tank, in 1953. Hele was an official war artist for the Korean War. He was an Australian artist depicting this scene of Squadron No. 77 of the Royal Australian Air Force against the Koreans. The scene depicts Australian soldiers with their centurion tank on a hillside. It displays the hard times they had and with intricate detail yet a blending of men, earth and machine in a triangular shape. It appears that the soldiers struggling the most are those towards the bottom. Looking at the near horrific portrayal of modern war shows the strength that these men had as they struggled by seeing them worn down and hunched over or in weary positions and shirts off. This is one of the best works of Hele and his principles of proportion and element of shapes used to depict the graphic nature of war. (Centurion tank n.d.). Reference: Centurion tank. (n.d.). Retrieved January 23, 2016, from https://www.awm.gov.au/collection/ART40305/