Australian official war artists are those who have been expressly employed by either the Australian War Memorial (AWM) or the Army Military History Section (or its antecedents). [1] These artist soldiers depicted some aspect of war through art; this might be a pictorial record or it might commemorate how war shapes lives. [2]
War artists have explored a visual and sensory dimension of war which is often absent in written histories or other accounts of warfare. [1] Official war artists have been appointed by governments for information or propaganda purposes and to record events on the battlefield; [3] but there are many other types of war artist.
A war artist creates a visual account of war by showing its impact as men and women are shown waiting, preparing, fighting, suffering, celebrating, [4] The works produced by war artists illustrate and record many aspects of war, and the individual's experience of war, whether allied or enemy, service or civilian, military or political, social or cultural. The rôle of the artist and his work embraces the causes, course and consequences of conflict and it has an essentially educational purpose. [2] For example, C.E.W. Bean's Anzac Book influenced the artists who grew up between the two world wars; and the war art of their childhoods provided a precedent and format for them to follow as war artists of the Second World War. [5]
The AWM have appointed war artists to record the activities of Australian forces in Korea, Vietnam, East Timor and Afghanistan; and both the AWM and the Australian Army have appointed official war artists to depict Australian forces in Iraq.
The Australian tradition of war artists started during First World War, with the collection by Charles Bean of contributions by soldiers at Gallipoli to what became The Anzac Book, published in May 1916.
Will Dyson, an expatriate Australian artist living in London, petitioned the Australian government to allow him to travel to the Western Front where Australian forces were fighting. In 1917 he was finally granted permission to accompany the Australian Imperial Force to record the activities of its soldiers and thus became the first Australian official war artist.
The Australian War Records Section was created in 1917, largely as a result of lobbying by Bean, to implement the Commonwealth's war art scheme, and ten expatriate volunteers already in England were nominated as "official artists". In August 1917 H. C. Smart selected two, Leist and Power, to cover the European theatre. Their contracts ended in November, and Bryant volunteered to work there over winter. Lambert left for Egypt on Christmas Day 1917. [6] This scheme was expanded by appointing artists who were already in uniform, designated "AIF artists". [7]
Artists commissioned as members of the AIF to work officially as artists for Australia with troops in the field, specially appointed to visit the front for periods ranging from three months upwards:
Mainly younger artists who had enlisted in the A.I.F., and fought through with the troops, later being detailed specially for the work upon pictures for war records:
All three worked on dioramas for which Louis McCubbin painted the backdrops.
Special work was also done for A.I.F. publications by David Barker (Gallipoli and Palestine), Leyshon White (Gallipoli and France), [8] and others.
During the Second World War, the Australian War Memorial, continued the scheme and appointed war artists whilst the Australian Army, Royal Australian Navy and Royal Australian Air Force appointed their own official war artists from within their ranks. Other venues have honored Australian participation in the war. [9]
The practice of artists being members of the military services broadly ended after the Korean War. Those artists who as members of the military were tasked to produce artistic works, while being official war artists are also Veteran Artists, as is any current or former member of the military who engages in the arts.