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Trench art is the evocative name given to a dazzling array of objects made from the waste of industrialized war. This long overdue study offers an original and informative look at one of the most arresting forms of art. Spanning from 1800 to the present day, its analysis of art, human experience, and warfare will pave the way for new research.
Trench art is the evocative name given to a dazzling array of objects made from the waste of industrialized war. This long overdue study offers an original and informative look at one of the most arresting forms of art. Spanning from 1800 to the present day, its analysis of art, human experience, and warfare will pave the way for new research.
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Nicholas J. Saunders is Lecturer in Material Culture at University College London, and a Senior Research Fellow at the British Academy.
Inhaltsangabe
Chapter 1 Materiality, Conflict and the Great WarThe Great War of 1914 1918Configurations of Matter and MeaningChapter 2 What is Trench Art?Chapter 3 Trench Art before TrenchesShapes from the PastNineteenth century Wars in ObjectsChapter 4 Classifying First World War Trench ArtFragments as CategoriesCategory 1 Soldiers, 1914 1930Sub category 1a Active Service, 1914 1918Sub category 1b Prisoners of War, 1914 1918Sub category 1c The Wounded, 1914 1919Sub category 1d Post war Service Personnel, 1918 1930CommentsCategory 2 Civilians, 1914 1939Sub category 2a 1914 1918Sub category 2b 1919 1939Sub category 2c 1914 1919 CommentsCategory 3 Commercial Production, c.1918 1939Final CommentsChapter 5 Ironic ShellsThe Life of the ShellIronies of ProductionThe MakersThe TechniquesStyle, Stories and DecorationCommentsChapter 6 A World of MetalsWriting EquipmentPhotograph FramesSmoking EquipmentJewelleryMiniatures, Models and TalismansChapter 7 Wood, Textiles, Stone and BoneWoodworkTextilesAnimal and Human BoneChalk and StoneCommentsChapter 8 Objects and Landscape in Conflict, 1914 1918The Landscape of WarBetween Landscape and ObjectChapter 9 Objects and Landscape in Memory, 1919 2002Landscapes of Contested MemoryObjects, Landscapes and MemoryLandscapes on ObjectsLandscape, Object and HomeObjects and Landscapes, 1940 2002Chapter 10 Art, Museums and RecycliaWar into ArtExhibition, Art and MuseumTrench Art as RecycliaChapter 11 Trading FuturesThe Second World War, 1939 1945Case Study 1: Finland : Trench Art from the Karelian TrenchesCase Study 2: The United Kingdom and the 'Italian Chapel' :The Post War Era, 1945 2002Case Study 3: Afghanistan and the Carpets of WarCase Study 4: Mozambique and 'Swords in Ploughshares'Case Study 5: Bosnia: Fighting with Style Changing ShapesCommentsChapter 12 ConclusionMaking MemoriesRetailing MemoriesCommentsBibliographyIndex
Chapter 1 Materiality, Conflict and the Great WarThe Great War of 1914 1918Configurations of Matter and MeaningChapter 2 What is Trench Art?Chapter 3 Trench Art before TrenchesShapes from the PastNineteenth century Wars in ObjectsChapter 4 Classifying First World War Trench ArtFragments as CategoriesCategory 1 Soldiers, 1914 1930Sub category 1a Active Service, 1914 1918Sub category 1b Prisoners of War, 1914 1918Sub category 1c The Wounded, 1914 1919Sub category 1d Post war Service Personnel, 1918 1930CommentsCategory 2 Civilians, 1914 1939Sub category 2a 1914 1918Sub category 2b 1919 1939Sub category 2c 1914 1919 CommentsCategory 3 Commercial Production, c.1918 1939Final CommentsChapter 5 Ironic ShellsThe Life of the ShellIronies of ProductionThe MakersThe TechniquesStyle, Stories and DecorationCommentsChapter 6 A World of MetalsWriting EquipmentPhotograph FramesSmoking EquipmentJewelleryMiniatures, Models and TalismansChapter 7 Wood, Textiles, Stone and BoneWoodworkTextilesAnimal and Human BoneChalk and StoneCommentsChapter 8 Objects and Landscape in Conflict, 1914 1918The Landscape of WarBetween Landscape and ObjectChapter 9 Objects and Landscape in Memory, 1919 2002Landscapes of Contested MemoryObjects, Landscapes and MemoryLandscapes on ObjectsLandscape, Object and HomeObjects and Landscapes, 1940 2002Chapter 10 Art, Museums and RecycliaWar into ArtExhibition, Art and MuseumTrench Art as RecycliaChapter 11 Trading FuturesThe Second World War, 1939 1945Case Study 1: Finland : Trench Art from the Karelian TrenchesCase Study 2: The United Kingdom and the 'Italian Chapel' :The Post War Era, 1945 2002Case Study 3: Afghanistan and the Carpets of WarCase Study 4: Mozambique and 'Swords in Ploughshares'Case Study 5: Bosnia: Fighting with Style Changing ShapesCommentsChapter 12 ConclusionMaking MemoriesRetailing MemoriesCommentsBibliographyIndex
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