Gassed (painting)

Last updated

Gassed
Sargent, John Singer (RA) - Gassed - Google Art Project.jpg
Artist John Singer Sargent
Yearc. March 1919
Type Oil on canvas
Dimensions231 cm× 611 cm(91 in× 240½ in)
Location Imperial War Museum, London

Gassed is a very large oil painting completed in March 1919 by John Singer Sargent. It 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 [1] in July 1918 spending time with the Guards Division near Arras, and then with the American Expeditionary Forces near Ypres. The painting was finished in March 1919 and voted picture of the year by the Royal Academy of Arts in 1919. It is now held by the Imperial War Museum. It visited the US in 1999 for a series of retrospective exhibitions, and then from 2016 to 2018 for exhibitions commemorating the centenary of the First World War.

Contents

Details

Study for Gassed Soldiers, John Singer Sargent, 1918. Yale Centre for British Art Study for Gassed Soldiers by John Singer Sargent 1918.jpg
Study for Gassed Soldiers, John Singer Sargent, 1918. Yale Centre for British Art
A photograph similar to Gassed of British troops blinded by poison gas during the Battle of Estaires, 1918 British 55th Division gas casualties 10 April 1918.jpg
A photograph similar to Gassed of British troops blinded by poison gas during the Battle of Estaires, 1918

The painting measures 231.0 by 611.1 centimetres (7 ft 6.9 in × 20 ft 0.6 in). 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 ropes on 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, blond soldiers forms 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 association football in blue and red shirts, seemingly unconcerned at the suffering all around them. [2] [1]

History

John Singer Sargent. Self Portrait c. 1906. Sargent, John SInger (1856-1925) - Self-Portrait 1907 b.jpg
John Singer Sargent. Self Portrait c. 1906.

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. [3] [1] 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, he travelled to the Western Front in July 1918, accompanied by Henry Tonks. [4] 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. [5]

An American soldier with life-threatening mustard gas burns in 1918. Mustard gas chemical burns on combat soldier of the First World War in France about 1918.jpg
An American soldier with life-threatening mustard gas burns in 1918.

The "harrowing sight" referred to the aftermath of a German barrage that Sargent witnessed on 21 August 1918, at Le Bac-du-Sud, near Bailleulval 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 of 1918. [6] 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. [4] [7]

In his memoirs, General Haldane, the commander of VI Corps, one of Third Army's corps west of Bapaume, states that at 10:40 on 21 August the sun "burst through the mist" and so the German mustard gas was vaporized. One of his divisions, 2nd Division, had been advanced through the gassed area and had paused prior to resuming its successful advance: "without warning a considerable number of officers and men were 'gassed' and temporarily placed hors de combat. As the unfortunate victims were being helped, practically blinded, by their comrades on a field ambulance, John Sergeant happened to arrive on the scene. Shortly before he had told me that he had been commissioned to paint a picture which should be typical of the war, and I suggested 'tanks,' they being the latest military machine and a novel feature of it." However, as he later told Haldane, on seeing the gassed soldiers being led to the ambulance, "he decided that he has before him what he was seeking". [8]

Sargent worked on preparatory sketches for a road scene crowded with soldiers but decided to focus on the dressing station. The War Memorials Committee agreed to change the subject of the commission, and the painting was created at Sargent's studio in Fulham from late 1918 to early 1919. [5]

In 2023 the varnish which had been added during a previous restoration in the 1970s was replaced. It had slowly yellowed, changing the appearance of the painting. [1]

Completion

Pieter Bruegel the Elder. The Parable of the Blind, 1568. The painting is referenced by Sargent's. Pritcha o slepykh.jpeg
Pieter Bruegel the Elder. The Parable of the Blind , 1568. The painting is referenced by Sargent's.

The painting was completed in March 1919, and Sargent was paid his £600 fee. It was first displayed at the Royal Academy in London in 1919. [1] [9] It was voted picture of the year by the Royal Academy of Arts in 1919. [6] [10] The painting was not universally liked: E. M. Forster considered it too heroic. [6] Winston Churchill praised its "brilliant genius and painful significance", but Virginia Woolf attacked its patriotism. [11] It is now held by the Imperial War Museum, along with several charcoal studies for the painting. [12] 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 for £162,050 ($267,869). [5]

The painting provides a powerful testimony of the effects of chemical weapons, vividly described in Wilfred Owen's poem Dulce et Decorum Est (although his poem describes the effects of chlorine gas). [1] Mustard gas is a persistent vesicant gas, with effects that only become apparent several hours after exposure. It attacks the skin, the eyes and the mucous membranes, causing large skin blisters, blindness, choking and vomiting. Death, although rare, can occur within two days, but suffering may be prolonged over several weeks. [13]

Sargent's painting refers to Bruegel's 1568 work The Parable of the Blind , with the blind leading the blind, and it also alludes to Rodin's Burghers of Calais .

See also

Notes

  1. 1 2 3 4 5 6 Addley, Esther (12 October 2023). "'It glows': restorer removes queasy look from first world war painting Gassed". The Guardian. Retrieved 13 October 2023.
  2. Tolson, Roger (2010). "Art from Different Fronts of World War One". BBC . Retrieved 21 May 2010.
  3. "'Gassed', by John Singer Sargent". The Guardian . 13 November 2008. Retrieved 21 May 2010.
  4. 1 2 Imperial War Museum. "Gassed [Art.IWM ART 1460]". IWM Collections Search. Retrieved 21 April 2013.
  5. 1 2 3 "John Singer Sargent (1856–1925) Gassed, an oil study". Christie's. 11 June 2003. Retrieved 21 May 2010.
  6. 1 2 3 Harris 2005
  7. R. Ormond, John Singer Sargent Paintings drawings watercolours, London, 1970, p. 258, quoted in the lot notes at Christies
  8. Aylmer Haldane, A Soldier's Saga: The Autobiography of General Sir Aylmer Haldane, (Edinburgh: Blackwood, 1948) p. 357. Quotations from that source.
  9. Cox, Brian M. (2010). "Torald Sollmann's Studies of Mustard Gas" (PDF). Reflections. pp. 124–128. Retrieved 21 May 2010.
  10. Willsdon 2000 , p. 123
  11. A Deadly Weapon, A Solemn Memorial, Wall Street Journal, 9 November 2012
  12. Imperial War Museum. "Collections Search for "gassed" [by Sargent, John Singer]". IWM Collections Search. Retrieved 21 April 2013.
  13. "The Pathological Action of War Gasses - General Considerations". The Medical Front WWI. Retrieved 24 October 2011.

Related Research Articles

<span class="mw-page-title-main">John Singer Sargent</span> American painter (1856–1925)

John Singer Sargent was an American expatriate artist, considered the "leading portrait painter of his generation" for his evocations of Edwardian-era luxury. He created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, Spain, the Middle East, Montana, Maine, and Florida.

<span class="mw-page-title-main">Imperial War Museum</span> British national military museums organization

The Imperial War Museum (IWM), currently branded "Imperial War Museums", is a British national museum. It is headquartered in London, with five branches in England. Founded as the Imperial War Museum in 1917, it was intended to record the civil and military war effort and sacrifice of the United Kingdom and its Empire during the First World War. The museum's remit has since expanded to include all conflicts in which British or Commonwealth forces have been involved since 1914. As of 2012, the museum aims "to provide for, and to encourage, the study and understanding of the history of modern war and 'wartime experience'."

<span class="mw-page-title-main">C. R. W. Nevinson</span> English painter (1889–1946)

Christopher Richard Wynne Nevinson was an English figure and landscape painter, etcher and lithographer, who was one of the most famous war artists of World War I. He is often referred to by his initials C. R. W. Nevinson, and was also known as Richard.

<span class="mw-page-title-main">War artist</span> Artist who records their experience of war

A war artist is an artist either commissioned by a government or publication, or self-motivated, to document first-hand experience of war in any form of illustrative or depictive record. War artists explore the visual and sensory dimensions of war, often absent in written histories or other accounts of warfare.

<span class="mw-page-title-main">John Francis Young</span> Recipient of the Victoria Cross

John Francis Young was a Canadian soldier who served in the First World War. Young was a recipient of the Victoria Cross, the highest award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces. Young was one of the seven Canadians who were awarded the Victoria Cross for their actions on one single day, 2 September 1918, for actions across the 30 km long Drocourt-Quéant Line near Arras, France. The other six were Bellenden Hutcheson, Arthur George Knight, William Metcalf, Claude Joseph Patrick Nunney, Cyrus Wesley Peck and Walter Leigh Rayfield.

<span class="mw-page-title-main">William Orpen</span> Irish artist (1878–1931)

Major Sir William Newenham Montague Orpen, was an Irish artist who mainly worked in London. Orpen was a fine draughtsman and a popular, commercially successful painter of portraits for the well-to-do in Edwardian society, though many of his most striking paintings are self-portraits.

<span class="mw-page-title-main">Anna Airy</span> English painter and etcher

Anna Airy was an English oil painter, pastel artist and etcher. She was one of the first women officially commissioned as a war artist and was recognised as one of the leading women artists of her generation.

<span class="mw-page-title-main">Henry Tonks</span> English painter

Henry Tonks, FRCS was a British surgeon and later draughtsman and painter of figure subjects, chiefly interiors, and a caricaturist. He became an influential art teacher.

<span class="mw-page-title-main">Eric Kennington</span> English painter

Eric Henri Kennington was an English sculptor, artist and illustrator, and an official war artist in both of the world wars.

<span class="mw-page-title-main">World War I in popular culture</span> World War I depicted in popular culture

The First World War, which was fought between 1914 and 1918, had an immediate impact on popular culture. In the over a hundred years since the war ended, the war has resulted in many artistic and cultural works from all sides and nations that participated in the war. This included artworks, books, poems, films, television, music, and more recently, video games. Many of these pieces were created by soldiers who took part in the war.

<span class="mw-page-title-main">VI Corps (United Kingdom)</span> WW1 British Army formation

VI Corps was an army corps of the British Army in the First World War. It was first organised in June 1915 and fought throughout on the Western Front. It was briefly reformed during the Second World War to command forces based in Northern Ireland, but was reorganized as British Forces in Ireland one month later.

British official war artists were a select group of artists who were employed on contract, or commissioned to produce specific works during the First World War, the Second World War and select military actions in the post-war period. Official war artists have been appointed by governments for information or propaganda purposes and to record events on the battlefield; but there are many other types of war artist.

<i>General Officers of World War I</i> Painting by John Singer Sargent

General Officers of World War I is an oil painting by John Singer Sargent, completed in 1922. It was commissioned by South African financier Sir Abraham Bailey, 1st Baronet to commemorate the generals who commanded British and British Empire armies in the First World War.

<span class="mw-page-title-main">Sydney Carline</span> British artist

Sydney William Carline was a British artist and teacher known for his depictions of aerial combat painted during World War One.

The Hall of Remembrance was a series of paintings and sculptures commissioned, in 1918, by the British War Memorials Committee of the British Ministry of Information in commemoration of the dead of World War I.

<i>The Signing of Peace in the Hall of Mirrors</i> Painting by William Orpen

The Signing of Peace in the Hall of Mirrors, Versailles, 28 June 1919 is an oil-on-canvas painting by Irish artist William Orpen, completed in 1919. It was one of the paintings commissioned from Orpen to commemorate the Peace Conference at Versailles in 1919. The work is held by the Imperial War Museum in London.

The British War Memorials Committee was a British Government body that throughout 1918 was responsible for the commissioning of artworks to create a memorial to the First World War. The Committee was formed in February 1918 when the Department of Information, which had been responsible for war-time propaganda and also operated a war artists scheme, became the Ministry of Information with Lord Beaverbrook as its Minister. Beaverbrook had been running, from London, the Canadian Government's scheme to commission contemporary art during the First World War and believed Britain would benefit from a similar project. Beaverbrook wanted the British War Memorials Committee to change the direction of Government-sponsored art away from propaganda of short-term value only during the conflict to a collection with a much longer lasting national value. Arnold Bennett, alongside Beaverbrook, was the driving force behind the BWMC and was instrumental in ensuring young artists, including those seen as modernist or avant-garde, were commissioned by the Committee over older British artists, many of whom were associated with the Royal Academy.

<i>A Battery Shelled</i> Painting by Wyndham Lewis

A Battery Shelled is a 1919 painting by the English artist Wyndham Lewis. It depicts a scene from the Western Front of World War I. It was commissioned for the proposed Hall of Remembrance.

<i>Tommies Bathing</i> (John Singer Sargent) Painting by John Singer Sargent

Tommies Bathing is a 1918 watercolor painting by John Singer Sargent. It is in the collection of the Metropolitan Museum of Art, in New York.

<span class="mw-page-title-main">Grove Road Cemetery, Harrogate</span> Cemetery in North Yorkshire, England

Grove Road Cemetery, Harrogate, North Yorkshire, England, was formerly known as Harrogate Cemetery. It was established in 1864 after the spa town expanded and the graveyard at Christ Church became full. The cemetery once had a pair of chapels with spires, designed by Thomas Charles Sorby. Although they were admired by local residents who felt it enhanced the town view, they were demolished in 1958. However the lodge and gates, also designed by Sorby, remain.

References

Further reading

Commons-logo.svg Media related to Gassed (painting) at Wikimedia Commons