Artifact_Reference_List.docx

Days of Their Lives: Our Soldiers in Art Object captions Edited 20 April 2018

Section 1: Training

A.01.01

Tom Lea, Sergeant Bruce Bieber, oil on canvas, Ft. Sam Houston, Texas, 1941 (CCN: 18329)

Tom Lea (1907–2001) was a civilian artist-correspondent for Life magazine during World War II. He is best known for his haunting eyewitness portrayals of Marines during the invasion of Peleliu in the Pacific. This classic portrait of Sgt. Bruce Bieber represents the pre-war Army—the career Soldier—and the importance of non-commissioned officers in the development of young recruits.

A.01.02

Archie Mclean, On the Range, oil on canvas, Fort Custer, Michigan, 1941 (CCN: 18843)

Archie Mclean participated in one of the first locally organized Army art campaigns during World War II. Fort Custer Morale Officer Major Harry E. Cooper recognized that the Soldiers training locally included many talented artists and provided resources for them. The resulting paintings became part of an exhibit at the Museum of Modern Art in New York City and many were later published in Life magazine.

A.01.03

Kenneth Harris, Induction into the Army, oil on canvas, 1943 (CCN: 385588)

Kenneth Harris (1904–1983) captured a Soldier’s entry into the Army in this painting, one of a series of six depicting recruits at Ft. Sam Houston, Texas.

A.01.04

Sp5c. Janet Fitzgerald, Singled Out, Ft. Jackson, conte crayon on paper, Fort Jackson, South Carolina, 1979 (CCN: 24922)

Sp5c. Janet Fitzgerald (b. 1949) was selected for Army Artist Team XVIII in 1979. Traveling to various locations on the East Coast, she documented women’s training and Corps of Engineers activities. This drawing depicts a universal moment for every new recruit—the dread of being “singled out” by the drill sergeant.

A.01.05

Sgt. Adam Glenday, Determination, charcoal on paper, Wildfleken, Germany, 1990 (CCN: 27671)

Sergeant Glenday was a member of Army Artist Team XXV in 1990, observing and recording training experiences of the 1st Armored Division in Ansbach, Germany. Determination marks a Soldier striving for success in a stressful training environment. True to the Army’s recruiting slogan of the time, the Soldier strives to “Be All You Can Be” by struggling to grasp something just out of reach.

A.01.06

Sfc. Elzie Golden, The Audie Murphy ’94, oil on canvas, Fort Lewis, Washington, 1994 (CCN: 516792)

Golden (b. 1953) was a member of Army Artist Team XXV in 1990, which documented Reserve Officer’s Training Corps training at Fort Lewis, Washington. The Audie Murphy ’94 (taking its name from the most decorated American Soldier of World War II) depicts reserve officers working together to achieve a common goal. Golden later served as the Army’s Artist-in-Residence from 2002 to 2005.

A.01.07

Sp5c. Janet Fitzgerald, Pushing for Soldierhood, conte crayon on paper, Fort Jackson, South Carolina, 1979 (CCN: 24920)

Sp5c. Janet Fitzgerald (b. 1949) was selected for Army Artist Team XVIII in 1979. Traveling to various locations on the East Coast, she documented women’s training and Corps of Engineers activities. Achievement and personal drive are emphasized in Pushing for Soldierhood through the look of intense concentration on this exhausted Soldier’s face.

Section 2: Patrols and Combat

A.02.01

James Walker, Convent of Churubusco, oil on board, Mexico, 1848 (CCN: 20828)

James Walker (1818–1889) was living in Mexico City at the onset of the Mexican War. Trapped behind enemy lines for six weeks, he served as an interpreter for General Winfield Scott. In this role, he was present for the concluding Battle of Chapultepec. The only American artist present during the siege, Walker sketched events as they unfolded and later developed them into oil paintings.

A02.02

James Walker, Battle of Lookout Mountain, oil on board, Chattanooga, Tennessee, 1864 (CCN: 20816)

Known as a premier military artist because of his Mexican War paintings, Walker visited the Chattanooga area shortly after the Battle of Lookout Mountain to sketch the landscape and interview the generals who were present during the battle. This is one of several oil paintings that Walker produced based on sketches and research conducted at the battle scene.

A.02.03

Sp4c. Roger Blum, Attack at Twilight, oil on canvas, Vietnam, 1966 (CCN: 21099)

Roger Blum (b. 1941) was a member of the Army’s first Combat Artist Team sent to document the Vietnam War from August to December 1966. In this painting he draws the viewer into the engagement through the placement of the Soldier in the foreground. The figure is turned away from the viewer and gestures towards someone behind him, inviting the viewer into the scene.

A.02.04

Sfc. Elzie Golden, Tracking Bin Laden, oil on canvas, 2002 (CCN: 569559)

Elzie Golden (b. 1953) was a member of an Army Artist team in 1990 and later served as Artist-in-Residence from 2002 to 2005. The artist used a number of photographs as references to create this juxtaposition of U.S. troops in a HUMVEE [High Mobility Multipurpose Wheeled Vehicle] and an Afghan man leading a donkey.

A.02.05

Samuel Johnson Woolf, Battle Scene, oil on canvas, France, 1918 (CCN: 902586)

Woolf (1880–1948) was a civilian correspondent for Collier’s magazine who embedded with American Expeditionary Forces’ troops during World War I. He recalled his first experience in the trenches as a sobering moment—“Over there you become a fatalist. You are either hit or not hit, and that is all.”

A.02.06

Capt. Edward Reep, Bombing of the Abbey, watercolor on paper, Cassino, Italy, 1944 (CCN: 19104)

World War II Soldier-artist Edward Reep (1918–2013) witnessed the bombing of Monte Cassino Abbey, one of the most significant cultural losses of World War II. Reep was very concerned with documenting this historic event, so much so that he initially set up too close to the bombing and had to relocate to a safer location. His loose brushstrokes reflect a frantic need to complete the painting before the bombing ended.

A.02.07

Sgt. Robert N. Blair, Battle of the Bulge, watercolor on paper, Belgium, 1945 (CCN: 27631)

Robert N. Blair (1912–2002) served in the 82d Airborne Division in Berlin and the 17th Airborne in Belgium and Germany. A celebrated watercolor painter before the war, Blair carried his materials with him during his time in the Army. In his portrayals of the Battle of the Bulge, Blair was struck by the contrast between the silent beauty of the snow-covered landscape with the violent action and suffering.

A.02.08

Al Sprague, Moment of Truth, oil on canvas, Panama, 1988 (CCN: 27189)

Al Sprague (b. 1948) was a volunteer civilian artist for the Army Artist Program and spent twelve days in Panama documenting Operation JUST CAUSE in 1989. Moment of Truth is an examination of that quiet moment of introspection prior to action, in which a Soldier must look inward to realize his or her potential.

A.02.09

Sp5c. Burdell Moody, Point Man, oil on canvas, Vietnam, 1967 (CCN: 21841)

Burdell Moody was a member of Combat Artist Team IV in Vietnam from August to October 1967. Of this painting, he later recalled “the point man was, in my view, always the most critical member of a LRRP patrol. . . he was an experienced and exceptionally well trained expert in detecting a variety of booby traps and other explosive devices, many rigged with ‘trip wires’ set to explode when stepped upon.”

A.02.10

M. Sgt. Martin J. Cervantez, Treacherous Corner, oil on canvas, Afghanistan, 2009 (CCN: 832924) Martin Cervantez was the Army’s Artist-in-Residence from 2008 to 2012 and deployed twice to Afghanistan in support of Operation ENDURING FREEDOM. The title of this painting refers to the danger inherent to this type of patrol, leaving the Soldiers with nowhere to go if ambushed by the enemy.

A.02.11

1st Lt. Charles Baskerville, Two World War I Sketchbooks, France, 1918 (CCN: 25280, 25287)

Charles Baskerville meticulously recorded his experiences as an infantryman during World War I, including reserve officer’s training in Plattsburg, New York; events in France as a first lieutenant with the 166th Infantry, 83d Brigade, 42d Division; and depictions of fellow wounded Soldiers completed during his own recovery time in a field hospital. Meticulously annotated for posterity, Baskerville’s sketches cover a wide range of subjects, from the mundane details of life in the trenches, the cost of the war, exhaustion, misery, gallantry, and solitary moments of reflection.

A.02.12

No caption A.02.13

M. Sgt. Martin J. Cervantez, Afghanistan Sketchbook, 2011 (CCN: 844802)

Martin Cervantez was the Army’s Artist-in-Residence from 2008 to 2012. He carried this sketchbook during his second deployment to Afghanistan as an artist in 2011 and used it as a method of quickly capturing details and taking notes as events unfolded.

A.03.14

Soldier-marked armored door from a Model 998P1 High Mobility Multipurpose Wheeled Vehicle (HMMWV), c. 2006 [CCN: 849304]

Part of an Armor Survivability Kit fielded to upgrade the U.S. Army’s HMMWVs in Iraq and Afghanistan, this door bears markings added by a Soldier. These markings may refer to the particular unit to which the Soldier belonged or could be personal in nature.

A.02.15

American Gas Mask Carrier, 1918, hand-decorated by Christian Marius Hansen, Company M, 324th Infantry, 81st Division, American Expeditionary Forces [CCN: 894849]

Hansen served in Company M, 324th Infantry, 81st Division. The carrier chronicles Hansen’s service in France, including his participation in the Meuse-Argonne Offensive, and his feelings about his gas mask—“A nuisance indeed, but a friend in need.” The letters “O C L” on the wildcat insignia of the 81st Division signify obedience, courage, and loyalty.

Section 3: Harsh Conditions

A.03.01

Charles Johnson Post, We Leave the Trenches, watercolor on paper, 1936 (CCN: 24142)

Post was a Soldier in the 71st New York Infantry in the Spanish-American War although he did not execute this drawing until many years later. His portrayal of bedraggled Soldiers, sick from tropical diseases, is a striking example of the challenges Soldiers face from the environment around them.

A.03.02

[Catalog No.: 2014.003.0006]

Samuel Johnson Woolf, A Night March, oil on canvas, France, 1918 (CCN: 902605)

Samuel Johnson Woolf (1880–1948) was a civilian correspondent for Collier’s magazine who embedded with AEF troops during World War I. Reflecting on the miserable conditions in the trenches, the artist later recalled that “the morning I arrived it was cold and raining. I had heard and read of mud, but I am fully convinced that never until that morning did I know what rain and mud meant.” This atmospheric rendering of Soldiers marching through dismal weather conveys the feel of the cold and rain.

A.03.03

Capt. Edward Reep, Dugout in the Snow, ink on paper, Italy, 1945 (CCN: 19602)

Edward Reep (1918–2013) was a Soldier-artist during World War II, covering actions in North Africa and Italy. During the Italian campaign, the weather was so cold that the artist was forced to abandon his watercolors and work in ink because the watercolor paint froze prior to adhering to his paper.

A.03.04

Capt. George Matthews Harding, Going Thru Gas, charcoal on paper, Argonne, France, 1918 (CCN: 25883)

George Harding (1892–1959) was one of eight illustrators selected to document the American Expeditionary Forces during World War I. Harding was a tenacious observer of the war, striving to stay as close to the action as possible. He later wrote that “One crosses terrain held by the enemy for years . . . places you have contemplated through powerful glasses and that are still smoking and burning, pounded to a shapeless mass by the barrage you gloried in at midnight.”

A.03.05

Pfc. Samuel E. Alexander, Jungle Column, watercolor on paper, Vietnam, 1967 (CCN: 21798)

Samuel E. Alexander (b. 1943) served as a member of Combat Artist Team IV in Vietnam from August to December 1967. Jungle Column depicts the misery of a patrol in the heat and humidity of Vietnam. The artist uses his medium of watercolor to add to the hazy atmosphere of the piece, obscuring clear boundaries between objects in the background and foreground.

A.03.06

Sp4c. Roger Blum, Patrol in the Jungle, oil on canvas, Vietnam, 1966 (CCN: 21100)

Roger Blum (b. 1941) was a member of the Army’s first Combat Artist Team sent to document the Vietnam War from August to December 1966. Concerning this image he wrote, “This day required traversing numerous terrains in order to reach our mountain top destination. Before heading out, we were advised to: ‘Be very observant to our surroundings, don’t pick up anything on or off the trails, and be extremely quiet in conversation and movement.’” A.03.07

M. Sgt. Martin J. Cervantez, Piss Tubes, oil on canvas, Afghanistan, 2012 (CCN: 850845)

Of the day during his 2012 deployment to Afghanistan that inspired this painting, the artist wrote: “On my way into the compound I see a soldier walking toward the latrine area making s-turns to avoid the deep puddles and pools now occupying 50% of the combat out post. His poncho drifts slightly in the wind as he stands in front of a 4" diameter PVC tube sticking out of the ground to urinate. Too much fun in the box with an endless supply of ‘suck’.”

Section 4: Going Places

A.04.01

James Walker, March from Pueblo, oil on board, Mexico, 1848 (CCN: 20824)

Serving as an interpreter for General Winfield Scott, Walker spent considerable time with U.S. troops during the Mexican War. In addition to recording his impressions of the battles themselves, Walker witnessed and sketched troop movements. His paintings of troops on the move are important historical sources and among the first visual renderings of the U.S. Army moving from one place to another.

A.04.02

Kerr Eby, An Artillery Train, etching on paper, France, 1919 (CCN: 20696)

Kerr Eby (1889–1946) was a Soldier in the 40th Engineers, Artillery Brigade, Camouflage Division, during World War I and he created etchings based on his experiences. This piece has a symbolic meaning as the artillery train marches resolutely from a clear sky in the background towards a dark sly and muddy road in the foreground. Eby uses the medium of etching to masterful effect, his effortless lines clearly indicating a dark atmosphere of cold, wet misery.

A.04.03

Sgt. Howard Brodie, On the Road to Kokumbona, pencil on paper, 1943 (CCN: 19498)

Howard Brodie (1915–2010) was a sketch artist for Yank, the Army Weekly during World War II, covering Guadalcanal and the European Theater. The censor stamp is visible in the upper left-hand corner of this sketch. Artworks produced in theater were required to be reviewed by the Bureau of Public Relations to ensure that they did not reveal sensitive information. The stamp on this sketch indicates that it was reviewed and passed on Feb. 16, 1943.

A.04.04

Robert H. Bizinsky, Queen Mary Crossing #3, charcoal on paper, 1942 (CCN: 26150)

Robert Bizinsky (1915–1982) was an artist for the First Armored Division in North Africa during World War II. These sketches are among nearly one hundred scenes of everyday life aboard the converted ocean liner Queen Mary that the artist drafted while crossing the Atlantic in 1944.

A.04.05

Sp4c. Michael R. Crook, C’s and Siesta, acrylic on canvas, South Vietnam, 1967 (CCN: 21494)

Michael Crook (b. 1941) was a member of Combat Artist Team III in Vietnam. C’s and Siesta depicts a helicopter crew catching a nap during a period of downtime.

A.04.06

Sp4c. Roger Blum, Convoy, watercolor on paper, Vietnam, 1966 (CCN: 21101)

Roger Blum (b. 1941) was a member of the Army’s first Combat Artist Team sent to document the Vietnam War from August to December 1966. His watercolor portrayal of a medical convoy highlights the danger to medical personnel serving “behind the big red target of the cross.”

A.04.07

Sgt. Bill Mauldin, Joe and the General, ink wash on paper, World War II (CCN: 28499)

William Henry “Bill” Mauldin (1921–2003) is best known for his “Willie and Joe” cartoons during World War II. Widely published in Stars and Stripes, his characters became the voice of the World War II infantryman.

A.04.08

Al Sprague, Cruising the Panama Canal, oil on canvas, Panama, 1990 (CCN: 27707)

As a volunteer civilian artist, Al Sprague (b. 1948) spent twelve days in Panama documenting Operation JUST CAUSE in 1989. Of this painting depicting the view out of the back of a Chinook, he said, “The troops picked me up at Albrook Air Force Base on the Pacific side of the Isthmus, and we flew to Fort Gulick on the Atlantic side so that they could show me some of the battle sites. They used the Panama Canal as their route, patrolling the waters below.”

A.04.09

Sgt. Jeffrey T. Manuszak, Unloading Supplies, watercolor on paper, 1993 (CCN: 432186)

Jeffrey Manuszak (b. 1968) was selected by artist Peter Varisano to be part of the first full-time Army Art Program. His assignments included documenting Army activities in Haiti, training at Fort Polk, Louisiana, and activities of the air assault school, Fort Campbell, Kentucky. Unloading Supplies is a representation of the vital, yet often underrepresented role of support staff.

A.04.10

1st Lt. John O. Wehrle, Landing Zone, oil on canvas, Vietnam, 1966 (CCN: 21286)

John Wehrle (b.1941) was the officer in charge of Combat Artist Team I in Vietnam from August to December 1966. “The chopper rotors are blurred, still in motion giving a sense of immediacy to the scene . . . it is the unspoken mystery of what lies outside the frame that gives this dramatic composition its appeal.”

A.04.11

Graffiti-inscribed Bunk Canvas, 1966–1967 [CCN: 857995]

This bunk canvas is from the Vietnam era troopship USNS General Nelson M. Walker and was decorated by a Soldier en route with his unit to the Republic of Vietnam. The humorous drawing illustrates the Soldier’s outlook on his impending combat tour of duty.

Section 5: Camp Life

A.05.01

Sfc. Elzie Golden, Fallujah, watercolor on paper, Fallujah, Iraq, 2005 (CCN: 649815)

Elzie Golden (b. 1953) was a member of an Army Artist team in 1990 and later served as Artist-in-Residence from 2002 to 2005. His painting of a 3d Infantry Soldier sleeping in living quarters on the outskirts of Fallujah recalls similar paintings throughout the Army’s history

A.05.02

Sgt. George Baker, Snack, ink on paper, World War II (CCN: 20640)

George Baker (1915–1975) was a cartoonist for Yank, the Army Weekly during World War II. His comic strip The Sad Sack, based on the misadventures of a lowly Army recruit, became one of the magazine’s most popular features and was praised by General George C. Marshall as a morale-booster for World War II Soldiers.

A.05.03

Civil War Winter Cabin Model [CCN 899749]

This model of a Civil War winter camp cabin was created by Sgt. Henry Slack of the 169th New York Infantry. He made it while recovering at Ira Harris General Hospital in Albany, New York, from a bullet wound received near Petersburg, Virginia, in 1864. The detail included in the model and its components provides important insight into the winter living conditions of Civil War Soldiers.

A.05.04

Tech. Sgt. Manuel Bromberg, Washing in a Foxhole, gouache on paper, France, 1944 (CCN: 20135)

Manuel Bromberg (b. 1917) was selected by the War Department Art Advisory Board as an official war artist during World War II. Assigned to the European Theater of Operations, he landed on Omaha Beach in Normandy, France, in June 1944. Washing in a Foxhole depicts a small moment of comfort in an otherwise bleak environment.

A.05.05

2d Lt. Augustine G. Acuña, Morning Ritual, oil on canvas, South Vietnam, 1966 (CCN: 21343)

Augustine Acuña (b. 1941) was the team leader of Combat Artist Team II in Vietnam from October 1966 to February 1967. According to the artist, “the basis for this painting was that things we take for granted in everyday civilian life are different in a combat area. The simple act of shaving needs individual actions to create a comfortable situation.”

A.05.06

Sgt. William Keane, Rank Latrine, ink wash on paper, c. 1942 (CCN: 29441)

William A. Keane (1922–2011) is best known as the cartoonist of the newspaper comic strip The Family Circus. Keane served in the Army during World War II and drew for Yank and Stars and Stripes. This cartoon appeared in Yank the Army Weekly, a magazine written and produced by Soldiers of enlisted rank.

A.05.07

Edward A. Sallenbach, Mail Call, lithograph on paper, Okinawa, Japan, 1945 (CCN: 517566)

Edward Sallenbach (1919–2002) was selected by Headquarters, U.S. Army Forces, Middle Pacific, to serve as a documentary Soldier-artist during World War II. This lithograph depicts a universal moment in which Soldiers await coveted letters from home.

A.05.08

Unidentified Artist, Philippine Insurrection Sketchbook, Philippines, c. 1900 (CCN: 649907) This sketchbook by an unidentified artist depicts scenes of Soldier life during the Philippine Insurrection that followed U.S. annexation of the Philippines after the Spanish-American War. The artist was likely a member of Company F or G, 30th Infantry.

A.05.09

Unidentified Artist, Civil War sketchbook, Fortress Monroe, Virginia, 1861 (CCN: 142470-142478)

This sketchbook by an unknown artist depicts camp scenes and Civil War fortifications of Fortress Monroe and Camp Butler on Virginia’s coast. The artist was likely a Soldier in the Third Massachusetts Infantry, which was stationed at Fortress Monroe in May and June of 1861.

A.05.10

Sfc. Elzie Golden, Sleeping Mechanic, watercolor on paper, Iraq, 2005 (CCN: 649820)

Elzie Golden (b. 1953) was a member of an Army Artist team in 1990 and later served as Artist-in-Residence from 2002 to 2005. While the artist “averaged about one hour or less of sleep each night for nearly a month,” with a similar sleeping arrangement, he noted that the mechanic seemed soundly asleep in his sidewalk “bedroom.”

A.05.11

Capt. George Matthews Harding, Army Camp, charcoal on paper, France, 1918 (CCN: 25881)

George Harding (1892–1959) was one of eight illustrators selected to document the American Expeditionary Forces during World War I. He was in the field for the entirety of the Meuse-Argonne Offensive and wrote in his monthly report “I devoted considerable time to making notes of the way our troops lived in the open, a new phase of American campaigning in France.”

A.05.12

Sgt. Ann B. Tilson, WAC’s in Camp, watercolor on paper, France, 1944 (CCN: 19838)

Women’s Army Corps Sgt. Ann Tilson (1912–1980) painted scenes of Women’s Army Corps (WAC) camp life and assisted the Corps of Engineers by recording details of building and restoration projects in the European Theater. Her works are among the only World War II eyewitness portrayals of WAC camps.

A.05.13

Pvt. Charles Johnson Post, Florida Camp Scene, oil on canvas, Florida, 1898 (CCN: 24144)

Charles Johnson Post (1873-1956) was a Soldier in the 71st New York Infantry in the Spanish American War. Florida was a staging area for the attack on Spanish-held Cuba.This painting depicts Army camp followers providing everything from food and souvenirs to alcohol, gambling, and other activities.

A.05.14

Sfc. Sieger Hartgers, Soldier Doing the Laundry, watercolor on paper, Saudi Arabia, 1991 (CCN: 27848)

Sieger Hartgers (b. 1949) was an Army Artist sent to document Operation DESERT SHIELD. Of this watercolor, he wrote, “it symbolizes for me the holding on to humanity. Living in a tent city is very different; you see soldiers adopting pets or creating furniture or having elaborate road signs to create a homey feeling. The light going thru the tent reminded me of old stain [sic] glass windows.”

A.05.15

Sgt. George Baker, Planning, ink on paper, 1944 (CCN: 25263)

George Baker (1915–1975) was a cartoonist for Yank, the Army Weekly during World War II. His comic strip The Sad Sack, based on the misadventures of a lowly Army recruit, became one of the magazine’s most popular features and was praised by General George C. Marshall as a morale-booster for World War II Soldiers.

A.05.16

Capt. Edward Reep, Soldier Bathing, watercolor on paper, Anzio, Italy, 1944 (CCN: 19126)

World War II Army artist Edward Reep (1918–2013) witnessed this extreme example of Soldier ingenuity near his own foxhole at Anzio, Italy. He later recalled “The bathtub painting was nutty. That's all there was to it. How in the world could this man be smiling on a beachhead where shell fire would come all the time, constantly. There he was smiling, taking a hot bath.”

NOTE: The underling of last word is NOT deliberate and should be eliminated. It’s the software spotting a grammatical issue, but it’s a quotation.

Section 6: Chow

A.06.01

Ogden Pleissner, Chow Line, oil on canvas board, Aleutian Islands, Alaska, 1943 (CCN: 18651)

Ogden Pleissner (1905–1983) was initially stationed in the Aleutian Islands as a civilian war artist for the Army Air Corps. He later accepted a commission as a war correspondent for Life magazine and was assigned to document the European theater of operations. Chow Line depicts Soldiers eating in the cold, muddy conditions of the Aleutians.

A.06.02

Joe Jones, Chow Line, gouache on paper, Alaska, 1943 (CCN: 18211)

Joe Jones (1909–1963) was initially selected as a civilian artist for the World War II War Art Unit. Despite Jones’ status as a member of the Communist Party, committee chairman George Biddle fought for his selection. When the funding for the War Art Unit was cut, Jones accepted a commission from Life magazine to continue his work documenting Soldier life in Alaska.

A.06.03

2d Lieutenant Rudolph Von Ripper, Soldiers’ Breakfast, watercolor on paper, Italy, 1944 (CCN: 19950)

Prior to his service with the U.S. Army, Austrian-born Rudolph Von Ripper (1905–1960) had been prosecuted by the Nazis for drawing satirical cartoons, enduring several months in Oranienburg, one of the earliest concentration camps. After his release and several years spent in Spain, Von Ripper moved to an artist’s colony in New York. Following the attack on Pearl Harbor, he volunteered and was assigned to the War Art Unit. Preferring to remain near the action, he would disappear for months, rarely checking in with superiors. He was recruited by the Office of Strategic Services and was assigned to organize anti-Nazi resistance in his native Austria.

A.06.04

Pvt. Ed Bowen, Camp in American Division, oil on canvas, Vietnam, 1969 (CCN: 22794)

Edward Bowen was a member of Combat Artist Team VIII in Vietnam. Camp in the American Division depicts Vietnam War Soldiers chatting informally while waiting in a line in their camp.

A.06.05

Sgt. William Keane, I Like Bully Beef, My Meals Taste Good, and Everything I Eat Agrees With Me, ink on paper, World War II (CCN: 29448)

William A. Keane (1922–2011) is best known as the cartoonist of the newspaper comic strip The Family Circus. Keane served in the Army during World War II and drew for Yank and Stars and Stripes. This cartoon appeared in Yank, the Army Weekly, a magazine written and produced by enlisted Soldiers.

A.06.06

Pvt. Art Bimrose, I’m Getting a Little Tired of Spam, Aren’t You? Ink on paper, 1945 (CCN: 30043)

Art Bimrose (1912–1998) was an American cartoonist who contributed cartoons to Yank, the Army Weekly during his World War II service. This cartoon was published in Yank on 23 March 1945.

A.06.07

Sgt. William Keane, Hot Dogs Again, ink on paper, c. 1945 (CCN: 29438)

William A. Keane (1922–2011) is best known as the cartoonist of the newspaper comic strip The Family Circus. Keane served in the Army during World War II and drew for Yank and Stars and Stripes. This cartoon appeared in Yank, the Army Weekly, a magazine written and produced by Soldiers of enlisted rank.

A.06.08

Decorated Model 1910 Meat Can, 1918 [CCN: 494814]

The lid of this meat can or “mess kit” was hand engraved with military and patriotic designs by a Soldier of the American Expeditionary Forces in France. The flat aluminum surface of the U.S. Army issue meat can was a popular place for “Doughboys” to show off artistic skills and document their military service.

A.06.09

“K” Ration Supper Meal Box, World War II [CCN: 685862]

The K-type combat ration was standardized in 1942. A Soldier’s daily ration consisted of three boxes: breakfast, dinner, and supper. Each totaled about 3,000 calories. Contents of a typical supper meal were a canned meat product, biscuits, bouillon powder, confections and gum, soluble coffee, granulated sugar, cigarettes, a can opener, and spoon.

A.06.10

Manuel Tolegian, Necessary Evil, oil on Masonite, Camp White, Oregon, 1944 (CCN: 19322) Manuel Tolegian (1911–1983) was a civilian artist correspondent for a World War II art program co-sponsored by Abbott Laboratories and the Office of the Surgeon General. He traveled to Camp White, Oregon, to document Army nurse training. Necessary Evil depicts nurses lined up to sanitize their mess kits.

A.06.11

Sfc. Peter Varisano, MREs and a Cot, ink on paper, Saudi Arabia, 1990 (CCN: 27753)

Peter Varisano (b. 1956) served as a member of two Army Artist teams in 1989 and 1990, deploying for the second team to document Operation DESERT SHIELD. In 1991, he was selected by Army Chief of Staff General Gordon S. Sullivan to be the Army’s first Artist-in-Residence.

A.06.12

Edwin Forbes, Christmas Dinner, oil on canvas, 1876 (CCN: 28628)

Edwin A. Forbes (1839–1895) was an American landscape painter and etcher who served as a special artist for Frank Leslie’s Magazine during the Civil War. He was among the most prolific artists recording scenes of that conflict. This painting was produced later, based on Forbes’ wartime observations.

Section 7: Leisure

A.07.01

Floyd Davis, Bob Hope Entertaining the Troops Somewhere in England, oil on canvas, England, 1943 (CCN: 18076)

Floyd M. Davis (1896–1966) was a civilian artist-correspondent for Life magazine during World War II. He covered preparations for war in Bermuda in 1942, documented the war from England in 1943 and, along with his wife Gladys Rockmore Davis, he painted liberated Paris for Life in 1944 and 1945. This painting of Bob Hope entertaining troops is one of his most famous works.

A.07.02

Paul Sample, Movies, oil on canvas, Canton Island, 1943 (CCN: 18777)

Paul S. Sample (1896–1974) was a civilian artist correspondent for Life magazine during World War II. Movies depicts a moment of leisure for troops on Canton (or Kanton) Island in the South Pacific. While the Soldiers are relaxed, the atmosphere remains charged—the movie screen is shielded at the top to prevent it from being seen from the air, a lookout stands guard, and the movie-watchers carry weapons.

A.07.03

Tech. Sgt. Olin Dows, Negro Soldiers Talking on Deck, watercolor on paper, 1943 (CCN: 18963)

Olin Dows (1904–1981) was waiting to attend Officer’s training school when he was selected as a member of the War Artist Unit. Choosing to become a war artist rather than an officer, Dows was appointed the head of a group of three artists selected to cover the European Theater. This watercolor is one of a series of sketches that Dows completed on a troop transport to England in 1943.

A.07.04

Pfc. William H. Steel, Poker Game (Beats My Pair), acrylic on canvas, Korea, 1970 (CCN: 23147)

William Steel was a member of Combat Artist Team X, which documented Army activities in Korea in 1970. This monochromatic acrylic painting of Soldiers playing poker continues a genre with a long history—images of card-playing Soldiers.

A.07.05

Gary Sheahan, Word from Home, oil on canvas, 1944 (CCN: 25146)

Joseph Gary Sheahan (1893–1978) was an artist-reporter for the Chicago Tribune and volunteered as an artist correspondent during World War II. The artist observed that "no matter what the subject of the card or letter, it has seemed to me that the Soldiers have always had a puzzled look on their faces, as if it can't be true that this is really my wife, my baby, my home. They take the card closer to the light and study it."

A.07.06

Sgt. Foster Arnold Bernard, Dayroom, St. Elizabeth, watercolor on paper, Algeria, 1944 (CCN: 832981)

Foster Arnold Bernard was a staff artist for Morale Services Section, North African Theater of Operation in World War II. This watercolor depicts WACs [Women’s Army Corps] relaxing in the dayroom at St. Elizabeth’s Convent in Algiers, Algeria.

A.07.07

Reginald Marsh, Army Nurses, watercolor on paper, 1943 (CCN: 18464)

Reginald Marsh (1898–1954) was an American painter known for his portrayals of life in New York City. During World War II, he became a civilian artist-correspondent for Life magazine. This watercolor depicting Army nurses relaxing is one of a series of works documenting life on a troop transport to Brazil.

A.07.08

Sfc. Sieger Hartgers, Playing Baseball, watercolor on paper, Saudi Arabia, 1991 (CCN: 27847)

Sieger Hartgers (b. 1949) was an Army Artist sent to document Operation DESERT SHIELD. The artist later reflected that “I was always interested in the soldier and the fact that people make the military what it is. The human element is much more important to me than all the equipment…my works really deal with a soldier’s daily life in combat or training.”

A.07.09

T/3 Henry P. Gorski, Kiss, Kiss, Kiss, pencil on V-Mail paper, 1945 (CCN: 588948)

T/3 Henry P. Gorski, On Route, pencil on V-Mail paper, 1945 (CCN: 588949)

Henry P. Gorski (1918–2010) was a cartographer during World War II. His war sketches include several drawings on V-mail paper that he sent home to his wife.

A.07.10

A.07.11

Milton Goldstein, One of Our Men Writing Home, ink on V-Mail paper, Melbourne, Australia, 1944 (CCN: 569469)

Milton Goldstein (1914–2004) served in the Pacific as a mapmaker during World War II and meticulously sketched his experiences. His war sketches include several drawings on V-mail paper such as this one.

Section 8: Faith and Fellowship

A.08.01

John Potter Wheat, The Chaplain, acrylic on canvas, Vietnam, 1968 (CCN: 22915)

John Potter Wheat (1920–1980) was a volunteer civilian artist for the Army’s Vietnam art program, during which time he traveled in Vietnam for thirty days, observing Soldier life and the Army’s activities. This dramatic painting depicts Chaplain Kenneth J. Gilley performing religious services near Phu Giao, Vietnam.

A.08.02

Sgt. Harry A. Davis, Sunday Service in the Field, ink on paper, Italy, 1944 (CCN: 19046)

Harry A. Davis (1914–2006) was a Soldier-artist for the Fifth Army Historical Unit in Italy from 1944 to 1946. Silhouetted against a dramatic sky, the chaplain depicted in this drawing performs a religious service for Soldiers in the field.

A.08.03

Robert Benney, Men with God, oil on canvas, Pacific, 1944 (CCN: 19310)

Robert Benney (1904–2001) was a civilian artist-correspondent for Abbott Laboratories during World War II, documenting the activities of medical personnel in the Pacific. Of this painting, the artist noted “at the request of this badly wounded man the chaplain gently reads a psalm while the soldier slowly goes to sleep under the anesthetic."

A.08.04

Pfc. Ronald E. Pepin, Church Services in the Jungle, watercolor on paper, An Khe, Vietnam, 1966 (CCN: 21203)

Ronald E. Pepin (b. 1943) was a member of Combat Artist Team I in Vietnam. The artist wrote a poem about his Vietnam experience, including the words “From Viet Nam, I heard a psalm, of the days when there’ll be no more war . . . I look forward to that day when men will no longer be asked to pay.”

A.08.05

Sp4c. Paul Rickert, Buddies on a Break, pencil on paper, Vietnam, 1966 (CCN: 21267)

Paul Rickert (b. 1947) was a member of Combat Artist Team I in Vietnam. His sketch Buddies on a Break depicts two fellow Soldiers sharing a moment of comfort together, as one lights a cigarette for the other.

A.08.06

Howard Cook, Army Chapel in a Banyon Grove, gouache on paper, South Pacific, 1944 (CCN: 19755)

Howard Norton Cook (1901–1980) was the leader of a War Art Unit in World War II, covering the Pacific theater as a correspondent for Collier’s magazine. This painting captures the beauty of religious services held in a dramatic, natural landscape.

A.08.07

Capt. Edward Reep, The Morning After, gouache on paper, Anzio, Italy, 1944 (CCN: 478881) Edward Reep (1918–2013) was a Soldier-artist during World War II, covering actions in North Africa and Italy. This watercolor painting depicts three dazed Soldiers picking up debris after a movie theater in their camp was shelled and numerous fellow Soldiers were killed or wounded. The three subjects are united, as Soldiers often are in combat, by a shared traumatic experience.

A.08.08

Sfc. Sieger Hartgers, Religious Ceremony II, oil on canvas, Saudi Arabia, 1991 (CCN: 27853)

Sieger Hartgers (b. 1949) was an Army Artist sent to document Operation DESERT SHIELD. This painting of a female chaplain’s assistant performing a Jewish ceremony highlights increasing diversity in the all-volunteer Army.

A.08.09

Sgt. Howard Brodie, Under Fire, pencil on paper, Hottorf, Germany, 1945 (CCN: 19557)

Howard Brodie (1915–2010) was a sketch artist for Yank magazine during World War II, covering Guadalcanal and the European Theater. Of this sketch, the artist later recalled: "I remember the young soldier well, he screamed, he was just out of control and he screamed and so forth, and there was another soldier next to him who consoled him and embraced him. That was a moving moment for me, to see that compassion in combat. And these are the things that a person feels when he's in proximity to death, his buddy, that next human being, that person in the foxhole is the most important person in your life."

A.08.10

Sp4c. Paul Rickert, Thy Rod and Thy Staff, They Comfort Me, acrylic on illustration board, An Khe, Vietnam, 1966 (CCN: 21242)

Paul Rickert (b. 1947) was a member of Combat Artist Team I in Vietnam. Of this painting, he later reflected “The religious service in the middle of the week, in the middle of nowhere, was a special event . . . the soldier turning away symbolizes the controversial quality of the war, myself being a conscientious objector.”

A.08.11

[Catalog No.: 2014.003.0018]

Samuel Johnson Woolf, A Trench Ambulance on the Firing Line, oil on canvas, France, 1918 (CCN: 902589)

Samuel Johnson Woolf (1880–1948) was a civilian correspondent for Collier’s magazine who embedded with AEF troops during World War I. This impressionistic rendering of a medic carrying a wounded Soldier to safety is one of Woolf’s most moving World War I images.

Section 9: The Cost

A.09.01

[Cat No.: 2014.003.0007]

Samuel Johnson Woolf, Hospital Scene, oil on canvas, France, 1918 (CCN: 902598)

Samuel Johnson Woolf (1880–1948) was a civilian correspondent for Collier’s magazine who embedded with AEF troops during World War I. Woolf was wounded himself while observing action in France. Recalling the event, he said “There was still intermittent firing, and suddenly I heard a shell whistle over me. Involuntarily, I threw my hand above my head. Then I felt a stinging sensation. ‘Well,’ I thought, ‘there goes my hand.’ But it was only a wounded from a fragment of spent shell.”

A.09.02

Lawrence Beall Smith, The Man Without a Gun, oil on Masonite, Normandy, France, 1944 (CCN: 19404)

Lawrence Beall Smith (1909–1995) was a civilian artist war correspondent for Abbott Laboratories, responsible for documenting the Medical Corps in the European Theater. Initially assigned to England to gather material for paintings on medical activities at air bases, he was scheduled to finish his tour prior to the Normandy invasion, but volunteered to stay. Smith described the medic as being the “paradox of war, for his mission is to save life, not to destroy it.”

A.09.03

Capt. Edward Reep, Fatigue Casualty, ink on paper, Italy, 1944 (CCN: 19631)

Edward Reep (1918–2013) was a Soldier-artist during World War II, covering actions in North Africa and Italy. The subject of this portrait, Pfc. Anthony J. Kohlrus, had hurt his shoulder and been sent to the aid station for treatment. Upon seeing a pile of severed limbs, he sat down to compose himself, which was when Reep sketched his picture.

A.09.04

Franklin Boggs, Night Duty, oil on canvas board, South Pacific, 1944 (CCN: 19396)

Franklin Boggs (1914–2009) was a civilian correspondent for Abbott Laboratories during World War II, assigned to the Southwest Pacific Theater. The artist was assigned to sleep in the ward with the patients and later recalled, "So they put me in the ward where everybody's sleeping under mosquito netting. During the night the nurses would come in periodically and I'd be looking through these nettings and see them taking care of the patients.”

A.09.05

Joseph Hirsch, After the Fascist Fair, oil on canvas, Naples, Italy, 1944 (CCN: 19384)

Joseph Hirsch (1910–1981) was a civilian war correspondent for Abbott Laboratories during World War II. Of this painting depicting a hospital set up at a site with Italian Fascist propaganda murals, Hirsch stated “I thought the juxtaposition of the cracking walls and the broken bones in the boys being mended made a striking picture. On top of these murals—as another example of GI impudence and disdain—were pin-up girls. The incongruity was wonderful!"

A.09.06

Sp4c. Roger Blum, The Cost of War, oil on canvas, Vietnam, 1966 (CCN: 21098)

Roger Blum (b.1941) was a member of the Army’s first Combat Artist Team sent to document the Vietnam War from August to December 1966. The artist later reflected “on a search and destroy mission, this scene compelled me to use symbolism that went beyond reality in order to invade the heart of emotion of war’s inevitable loss.”

A.09.07

Temporary Grave Marker of Pvt. Wyman D. Jacobs, Company F, 50th Massachusetts Infantry [CCN: 900061]

U.S. Army Private Wyman Jacobs participated in the 27 May and 14 June 1863 assaults on Port Hudson, Louisiana. Surviving these, he died soon afterward in Baton Rouge, Louisiana, from disease.

A.09.08

Joseph Hirsch, High Visibility Wrap, watercolor on paper, Italy, 1944 (CCN: 19382)

Joseph Hirsch (1910–1981) was a civilian war correspondent for Abbott Laboratories during World War II, assigned to cover medical operations in North Africa and Italy. According to the artist, “the Army doctor left two very important openings on this head bandage. The neat triangular window gives the soldier good vision, and there is plenty of room for the all-important cigarette.”

A.09.09

Col. Gary N. “Butch” Cassidy, Plan Accordingly, oil on canvas, 2002 (CCN: 569550)

Gary N. Cassidy served in Vietnam, the Persian Gulf, and peacekeeping efforts in Bosnia. He deployed to Bosnia as an Army Artist and produced a number of paintings and sketches. He produced this painting of the damaged Pentagon shortly after the attack of 11 September 2001.

A.09.10

Samuel Johnson Woolf, Battle Scene with Barbed Wire, oil on canvas, France, 1918 (CCN: 902587)

Civilian World War I artist-correspondent Samuel Johnson Woolf (1880–1948) described his first venture into no man’s land as an emotional experience: “A vast feeling of desolation came over me . . . it was oppressing, terrible. I made a few sketches and went back. Everyone seemed to think me insane to have gone out, but it wasn’t fear that had interfered with my work.”

A.09.11

John Potter Wheat, Wounded Men, acrylic on Masonite, Vietnam, 1968 (CCN: 22919)

John Potter Wheat (1920–1980) was a volunteer civilian artist for the Army’s Vietnam art program, during which time he traveled in Vietnam for thirty days, observing Soldier life and the Army’s activities. Of this painting, he wrote, “The men I have painted were casualties due to mines. Those in the background were those who died of wounds in transit. There were both ARVN [South Vietnamese Army] and American casualties. No words can describe it.”

A.09.12

Pfc. Clayton M. Rollins, Bataan Death March, carved wood, c. 1942 (CCN: 26114-26115)

Clayton M. Rollins (1924–1981) was an artist, Soldier, and survivor of the Bataan Death March. Rollins was taken a prisoner of war at the battle of Corregidor and subjected to the march in April 1942. He escaped during the march and hid with Filipino guerilla fighters near Manila. Rollins remained in the Army for twenty-seven years, also serving in Korea and Vietnam.

A.09.13

NOTE: Use the same label for both figurines.

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