Sunday, October 28, 2012

GASSED



'Gassed', 1918
Current Loc Imperial War Museum London
Source jssgallery.org
From en.wikipedia.org


Gassed
From travel.webshots.com


In 1918, the British Ministry of Information commissioned the American painter John Singer Sargent (1856-1925) to contribute a large-scale work to a planned Hall of Remembrance commemorating Anglo-American cooperation. Travelling to the front in July 1918, Sargent witnessed the harrowing aftermath of mustard gas attacks, which became the subject of this new work,
Gassed - a six-metre-long tableau depicting a procession of wounded men stumbling, blindfolded, towards a dressing station. While this painting, completed in 1919, is not representative of the illustrious portraitist's oeuvre, it has become widely recognised as an embodiment of the pain of war in a strangely serene and dignified manner. Virginia Woolf, in her essay The Fleeting Portrait, wrote of Gassed that it "at last pricked some nerve of protest, or perhaps of humanity". It now hangs in the Imperial War Museum in London. (guardian.co.uk)


Six Studies for Gassed

Two Studies of Soldiers for Gassed

Hands Head, and Figure
The Corcoran Gallery of Art, Washington, D.C.
Charcoal Images from jssgallery.org


Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame, all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.

Gas! Gas! Quick, boys! An ecstasy of fumbling,
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And floundering like a man in fire or lime.
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams, you too could pace
Behind the wagon that we flung him in.
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.
-- Wilfred Owen (1917)
(jssgallery.org)

 
Gassed at the Imperial War Museum
By Shiraz Chakera at flickr.com   


Gassed is a very large oil painting and depicts the aftermath of a mustard gas attack during the First World War, with a line of wounded soldiers walking towards a dressing station. Sargent was commissioned by the British War Memorials Committee to document the war and visited the Western Front in July 1918 spending time with the Guards Division near Arras, and then with the American Expeditionary Forces near Ypres.
The painting was voted picture of the year by the Royal Academy of Arts in 1919. It is now held by the Imperial War Museum. The painting measures 231.0 x 611.1 cm (91 x 240½ in; that is, 7½ by 20 feet). The composition includes a central group of eleven soldiers depicted nearly life-size. Nine wounded soldiers walk in a line, in three groups of three, along a duckboard towards a dressing station, suggested by the guy ropes to the right side of the picture. Their eyes are bandaged, blinded by the effect of the gas, so they are assisted by two medical orderlies. The line of tall, blonde soldiers form a naturalist allegorical frieze, with connotations of a religious procession. Many other dead or wounded soldiers lie around the central group, and a similar train of eight wounded, with two orderlies, advances in the background.
Biplanes dogfight in the evening sky above, as a watery setting sun creates a pinkish yellow haze and burnishes the subjects with a golden light. In the background, the moon also rises, and uninjured men play football in blue and red shirts, seemingly unconcerned at the suffering all around them.
In May 1918, Sargent was one of several painters commissioned by the British War Memorials Committee of the British Ministry of Information to create a large painting for a planned Hall of Remembrance.The plan was a complement to the artworks commissioned by the Canadian War Memorials Fund since 1916 at the instigation of Lord Beaverbrook who, by 1918, was serving as the British Minister of Information. Other works were commissioned from Percy Wyndham Lewis, Paul Nash, Henry Lamb, John Nash and Stanley Spencer.
The large scale of the works was inspired by Uccello's triptych The Battle of San Romano. The plan for a Hall of Remembrance decorated by large paintings was abandoned when the project was incorporated with that for Imperial War Museum. As an American painter, Sargent was asked to create a work embodying Anglo-American co-operation. Although he was 62 years old, he travelled to the Western Front in July 1918, accompanied by Henry Tonks. He spent time with the Guards Division near Arras, and then with the American Expeditionary Forces near Ypres. He was determined to paint an epic work with many human figures, but struggled to find a situation with American and British figures in the same scene.
On 11 September 1918, Sargent wrote to Evan Charteris:
"The Ministry of Information expects an epic – and how can one do an epic without masses of men? Excepting at night I have only seen three fine subjects with masses of men – one a harrowing sight, a field full of gassed and blindfolded men – another a train of trucks packed with "chair à cannon" – and another frequent sight a big road encumbered with troops and traffic, I daresay the latter, combining English and Americans, is the best thing to do, if it can be prevented from looking like going to the Derby."
The "harrowing sight" referred to the aftermath of a German barrage that Sargent witnessed on 21 August 1918, at Le Bac-du-Sud, between Arras and Doullens, in which mustard gas had been used against the advancing 99th Brigade of the 2nd Infantry Division and 8th Brigade of the 3rd Infantry Division of the British Army, during the Second Battle of Arras.
Tonks described the experience in a letter from to Alfred Yockney on 19 March 1920:
"After tea we heard that on the Doullens Road at the Corps dressing station at le Bac-du-sud there were a good many gassed cases, so we went there. The dressing station was situated on the road and consisted of a number of huts and a few tents. Gassed cases kept coming in, lead along in parties of about six just as Sargent has depicted them, by an orderly. They sat or lay down on the grass, there must have been several hundred, evidently suffering a great deal, chiefly I fancy from their eyes which were covered up by a piece of lint..."
Sargent was very struck by the scene and immediately made a lot of notes. It was a very fine evening and the sun toward setting. The War Memorials Committee agreed to change the subject of the commission, and the painting was made at Sargeant's studio in Fulham in 1918-9. The painting was completed in March 1919. It was first displayed at the Royal Academy in London in 1919. It was voted picture of the year by the Royal Academy of Arts in 1919. The painting was not universally liked – E. M. Forster considered it too heroic. It is now held by the Imperial War Museum, along with several charcoal studies for the painting. Other charcoal sketches are held by the Corcoran Gallery of Art. A small 10½ x 27¼ in. (26 x 69 cm) oil sketch, originally owned by Evan Charteris, was sold by Christie's in 2003. It sold for £162,050 ($267,869).
The painting provides a powerful testimony of the effects of chemical weapons, vividly described in Wilfred Owen's poem Dulce et Decorum Est. Mustard gas is a persistent vesicant gas, with effects that only become apparent several hours after exposure. It attacks the skin, eyes and mucous membranes, causing large skin blisters, blindness, choking and vomiting. Death can occur within two days, but suffering may be prolonged over several weeks. Sargent's painting refers to Bruegel's 1568 work The Parable of the Blind, with the blind leading the blind, It also alludes to Rodin's Burghers of Calais.
(en.wikipedia.org)
 

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