This gallery depicts paintings involving war. War has been a major part of history since the beginning of time.  Even though war has been through out history, it is also in present day as well. These paintings represent war within the last 80 years. 

Alan Moore was the only Australian official war artist to directly capture the horrendous scenes of the Holocaust. Moore used his sketches to paint what he had witnessed, and is now records or horror.
James Gleeson was born during the first World War and started painting during World War II. Gleeson hoped that his paintings would influence the way people thought about war. Maybe alert people of its nightmarish terror with hopes of preventing it from ever happening again. War was always a lurking terror for Gleeson, from a small child, throughout his adult life.
This is a painting by Doris Clare Zinkeisen, who was one of the few women war artists to be sent overseas. Zinkeisen arrived at Bergen-Belsen concentration camp to find a bloody mess. Ten thousand bodies lay unburied, and around 60,000 starving, sick people were packed into the camp without food or water.
Being one of Australia's first Surrealists, James Gleeson leaves us with another painting expressing his aversion at the inhumanity and horror's of war. The "citadel" is a devouring monster with sharp teeth with no escape.
Paul Nash describes this painting as "The painting is an attempt to give the sense of an aerial battle in operation over a wide area and thus summaries England's great aerial victory over Germany". During the Battle of Britain there were certain elements that were consistent. For instance, the river winding from the town across country, down to the sea, above the mountains, falling plains, and smoke tracks. Even though the painting represents violence and destruction, it's also a rendering of art and the victory of Nazim.
Paul Nash, an official War Artist in World War I fascinated by the mysteries of landscape and man's involvement. As an official War Artist, Nash had witnessed the near annihilation of both landscape and man. This was one of Nash's final painting before diving from pneumonia.
In this painting, we see a women feeding her child with blood cunning down her face. Both the woman and the child are naked in their natural state. The woman is covering her eyes as if the terror in the world is to horrific for her to bare. Her innocence is gone but yet she wants to protect her child.
Ethel Leontine Gabaink paints A Child Bomb-Victim Receiving Penicillin Treatment. Even though she is a child and a bomb victim in a very hateful period, the focus of this painting is the key factor that penicillin can save many many lives. The painting was never finished because the child was moved to the country and the equipment was dismantled.
Again, we have James Gleeson with another surrealist piece called We Inhabit The Corrosive Littoral of Habit." The disintegrating face presents an emotionally charged metaphor for the corrosion of the world and the human mind as a result of war. Gleeson has said, during war times he believed Surrealism as a revolutionary weapon.
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This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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