Art History - Narratives of War
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Transcript of Art History - Narratives of War
Art History Research Paper: Narratives of War
Select and fully identify four works of art that include images of war. Discuss how each work conveys the narrative and how it describes attitudes towards war.
Throughout history, works of art have depicted narratives of war. These
images describe not only the events of warfare, but also the general attitudes
towards war. Prehistoric warfare prior to the 3rd millennium B.C. was nearly
nonexistent, as evidenced by Paleolithic, Mesolithic, and Neolithic Art. Such works
focused on fertility, hunting, and animals. Not until the rise of city-states did art
depicting war become common. Attitudes towards war have also changed
significantly in the last five millennia: from the power of kings, to the importance of
armies, to the focus on individuals, and finally, to a dominant anti-war view in art.
Many of these changes took place because of individualist philosophies, sometimes
embedded in art. Four images that portray narratives of war are Ashurnasirpal II at
war (875 B.C.), The Burning of the Sanjō Palace (13th century A.D.), Death of General
Wolfe (1770), and Guernica (1937).
Ashurnasirpal II at war is an early example of historical narrative in relief.
The 39” high Limestone relief is dated to c. 875 B.C. and shows the Assyrian king
leading one of his military campaigns. Ashurnasirpal II was known as both a great
general and effective administrator, who often resorted to brutal means to expand
the Assyrian empire. He conquered Mesopotamia and what is now Lebanon,
violently ended a rebellion in the city of Suru, and forced enslaved captives to build
a new Assyrian capital at Kalhu (Nimrud). This relief was located in his palace in
Nimrud, which provided a partial biography of the king.
In the relief, Ashurnasirpal II is standing in his chariot, leading one of his
campaigns to expand his empire. He is drawing a bow at a safe distance, while his
officers stab and trample the enemy. The winged god of Assyria, Aššur, hovers above
him, wielding another bow. To the Assyrians, Aššur was the highest god and
protector of the Assyrian empire. Stylistically, the relief is somewhat primitive, but
successfully uses overlapping perspective and spatial separation to convey the
narrative. For example, the king overlaps his officers to highlight his importance. He
is also on the very left side of the block, alluding to the fact that he is the initiator of
these events. The artist portrays Ashurnasirpal II as a ruthless and powerful king.
The narrative itself is fairly simple: the enemy is being crushed; and so is the
attitude: the king is all-powerful and great. The imagery is very clear, and the relief
is one of the most uncomplicated depictions of war.
The Burning of the Sanjō Palace is part of the scrolls depicting the Heiji
Monogatari Emaki (Tale of the Heiji Rebellion). The image in Gardner’s Art Through
the Ages is only the leftmost part of the scroll, while the crescendo of the work is
actually in the middle. The scroll is horizontal, ink and color on paper, and measures
16 ¼” × 23’. It was written during the Kamakura period in Japan and depicts the
1159 A.D. Siege of the Sanjō Palace, a brief armed skirmish in the capital.
The scroll is an epic story, and the action unfolds from right to left. During
the Heiji disturbance, a faction (led by the allied Fujiwara no Nobuyori and
Minamoto no Yoritomo) staged a coup, surrounded the Sanjō Palace at night,
captured the sovereign, and set fire to the buildings. The cart carrying the sovereign
is shown multiple times in the scroll, along with Nobuyori and Yoritomo, who are
also duplicated. The attackers’ primary motives were to bring changes in
government. Although the 500-man army succeeded in battle and helped Yoritomo
temporarily gain power, they were soon defeated and killed by their rival Kiyomori.
The Heiji scroll extends the Chinese landscape scroll style to include action;
specifically, this style is called Yamato-e. The action is a very hurried and confusing
flow of warriors marching through the scene, crushing the opposition. The leftmost
side of the scroll shows the restoration of peace, as the lone archer brings a close to
the turbulent narrative. The approach the artist takes emphasizes the importance of
the actual warriors and the necessity of the combat, as they were simply “restoring
order.”
The Death of General Wolfe is the famous 1770 neoclassical painting by
Benjamin West, depicting the last moments of James Wolfe. General Wolfe was the
British commander in the battle (part of the Seven Years’ war) and although
victorious, he was shot to death by the French. Wolfe’s death aroused considerable
feeling in London, and West decided to paint his death just eleven years later. James
Wolfe is shown as a modern hero who gave his life for British victory. The scene
resembles the theme in Lamentation over the Dead Christ, as Wolfe’s friends
surround him and stare solemnly. The clothing West painted was controversial at
the time, as he depicted nearly-accurate military uniforms, rather than classical
attire. The contemporary clothing was so unusual that King George III refused to
purchase the painting, even though West was the official painter to the King. Despite
this stroke of historical accuracy, West’s realism is blended with a staged Baroque
composition. West’s painting places importance on the consequences of war and its
human elements, creating a much more personal picture of war.
Picasso’s Guernica (1937) not only described the consequences of war, but
was a historic event in itself. Picasso painted his overwhelming emotional reaction
to the bombing of Gernika, Spain during the Spanish Civil War. In his own words:
“The Spanish struggle is the fight of reaction against the people, against
freedom. […]In the panel on which I am working, which I shall call Guernica,
and in all my recent works of art, I clearly express my abhorrence of the
military caste which has sunk Spain in an ocean of pain and death.”
Guernica is a highly abstracted mural painting, mixing cubism and surrealism. Yet it
stays very emotional, as it depicts the death, suffering, and helplessness of civilians.
Although Picasso did not paint the immediate causes of this pain, it is almost self-
evident: it could only be war. The painting is both a narrative in the sense that it
depicts an inevitable stage of war (death), but also because the reaction was a
narrative in itself: it remains one of the most successful anti-war images created; a
tapestry copy is even displayed at the entrance to the UN Security Council.
From the unquestionable actions of kings in Ashurnasirpal II at war to the
anti-war imagery in Guernica, art has provided historical and social insights on war.
Artists have even been successful in swaying the minds of the public, as Benjamin
West created a shift towards historical realism in Death of General Wolfe and Picasso
created an anti-war sentiment with Guernica. Attitudes towards war have changed
from unquestionable obedience (mostly by necessity) to general open-mindedness
and anti-war philosophies (though this still varies by the level of strife). Art has both
documented war and changed peoples’ attitudes towards the violence it depicts.
Bibliography
Kleiner, Fred. Gardner's Art Through the Ages. 10th ed. New York: Harcourt, 1996.
“Guernica.” Art: A World History. 1st American ed. New York: DK Publishing, 1997.
“The Death of General Wolfe.” History of Art. 13th printing. New York: Harry N.
Abrams, 1968.
“Heiji Scroll – Introduction.” Bowdoin College. 2006. 22 Jan 2007.
<http://learn.bowdoin.edu/heijiscroll/>
"Guernica (painting)." Wikipedia. 16 Jan 2007. 22 Jan 2007.
<http://en.wikipedia.org/w/index.php?title=Guernica_%28painting%29&oldid=101042933>
“The Death of General Wolfe.” Wikipedia. 22 Jan 2007. 22 Jan 2007.
<http://en.wikipedia.org/w/index.php?title=The_Death_of_General_Wolfe>
“Prehistoric warfare.” Wikipedia. 13 Jan 2007. 22 Jan 2007.
<http://en.wikipedia.org/w/index.php?title=Prehistoric_warfare&oldid=100364089>
“Ashur-nasir-pal II.” Wikipedia. 18 Jan 2007. 22 Jan 2007.
<http://en.wikipedia.org/w/index.php?title=Ashur-nasir-pal_II&oldid=101597593>