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Combat Gallery Sunday: Repin x3

In 1891, Ilya Yefimovich Repin completed his giant 6×11 ft painting “Reply of the Zaporozhian Cossacks to Sultan Mehmed IV of the Ottoman Empire” after an 11-year effort, selling the piece to Tsar Alexander III for a princely sum.

Hung in the Tsar’s Winter Palace in Saint Petersburg.at the time, the painting is still there, although the palace is now the State Russian Museum.

The Zaporozhye Cossacks Writing a Mocking Letter to the Turkish Sultan *oil on canvas*358 × 203 cm *signed b.c.: И.Репин 1880-91

It depicts the popular legend of the 1676 cossack reply to an ultimatum of the Ottoman sultan, Mehmed IV, that these autonomous border people submit to Turkish rule. The reply, as the story goes, was one of insults with each rough steppes horseman striving to outperform his buddy. A lot of references to Mehmed’s mother and at least one goat were mentioned in the reply.

Since then, the painting has been updated a few times with the same Russian patriotic tendency.

Zaporozhian have been swapped out for Red partisans in WWII

Note the M1910 Sokolov machine gun, captured German MP40, and at least one Red Cossack

This most recent example, by Vladimir Nesterenko, is set in Syria with the modern Russian military, complete with 30mm grenade launchers and AK74s.

The next one will probably be set in space.

Combat Gallery Sunday: War and Peace, as seen 76 years ago…

Much as once a week I like to take time off to cover warships (Wednesdays), on Sundays (when I feel like working), I like to cover military art and the painters, illustrators, sculptors, photographers and the like that produced them.

Combat Gallery Sunday: War and Peace

As a diversion to Midway, a fairly strong task force under Japanese Rear Admiral Kakuji Kakuta, comprising the carriers Ryūjō (10,000 tons) and Jun’yō (25,000 tons) as well as their escorts and a naval landing force, attacked the Aleutians in Alaska.

One engagement, where Katutka sent his 80~ strong combined airwing to plaster the only significant American base in the region, socked the base and port facility over the course of two raids on 3-4 June, sinking the barracks ship Northwestern, destroying a few USAAF bombers and USN PBYs, and killing 78 Americans.

The Japanese in turn got a bloody nose from the old school 3-inch M1918s and .50 cal water-cooled Browning of Arkansas National Guard’s 206th Coast Artillery (Anti Aircraft), which splashed a few Japanese planes, a PBY stitched up 19-year-old PO Tadayoshi Koga’s Zero (which crashed and was recovered in remarkable condition– an intelligence coup) and a group of Army Col. John Chennault’s P-40s out of Unamak accounted for a few more.

Below is a great representation of the 206th’s 50cals in action, a bit of martial art by Navy war artist William Draper, done in 1942, entitled “War and Peace”

Painting, Oil on Board; by William F. Draper; 1942; Framed Dimensions 23H X 28W Accession #: 88-189-AS. The peace of an Aleut grave, marked by a Russian Orthodox Cross, is shattered by the staccato barking of a 50-caliber gun as it unleashes a barrage of bullets at attacking Japanese planes.

Thank you for your work, sir.

Combat Gallery Sunday: The intel of Captain C.F. O’Keefe, shutterbug

Much as once a week I like to take time off to cover warships (Wednesdays), on Sundays (when I feel like working), I like to cover military art and the painters, illustrators, sculptors, photographers and the like that produced them.

With that, I give you:

Combat Gallery Sunday: The intel of Captain C.F. O’Keefe, shutterbug

You don’t have to be a Jack White fan to know about the Soldiers of the Eight-Nation Alliance, formed to suppress China’s Boxer Rebellion in 1900. Encompassing sea and land forces from Japan, Russia, Britain, France, the U.S., Germany, Italy and Austria-Hungary, the force was originally named after the 409 soldiers from eight countries that helped defend the Peking legation area when things went sideways in August 1900.

All photos by O’Keefe, via National Archives, U.S. Naval Historical Command, and Library of Congress

Eventually, relief columns landed and marched into Manchuria would account for more than 50,000 Allied troops and set the stage for the Russo-Japanese War that followed in its wake and continuing outside military intervention in China through 1949.

But we are focused on one Capt. Cornelius Francis O’Keefe of the 36th U.S. Volunteer Infantry (formerly a lieutenant in the 1st Colorado Infantry Regiment) who accompanied the U.S. expedition under Maj. Gen Ada Chaffee to China. Attached to Chaffee’s staff, O’Keefe, who before the rebellion was part of the Engineer office in Manila as a photographer, took notes and photographs at the Taku forts and ashore, moving through the Chinese arsenals at Tientsin and points West.

Accompanied by a Sgt. Hurtt and “three privates equipped for sketching,” the hardy volunteer field officer lugged his camera equipment around the front and rear lines of the expedition. As such, he took advantage of close interaction with foreign troops who could be future adversaries to extensively photograph their uniforms and gear from all angles.

You can see his U.S. Army Engineers logo on most and Signal Corps photo numbers as well.

111-SC-74919 French Engineer Packs. (Same equipment was used for Infantry, except for pick and shovel), during the Chinese Relief Expedition, 1900.

111-SC-74974 French Zouaves during the Chinese Relief Expedition (Boxer Rebellion), 1900

111-SC-74920 French Marine Infantry during the Chinese Relief Expedition, 1900

111-SC-75121 French Engineers at Peking, China, during the Chinese Relief Expedition, 1900

11-SC-75033 Boxer Rebellion (Chinese Relief Expedition), 1900. Japanese Engineer Soldiers, 1900

111-SC-74925 Boxer Rebellion (Chinese Relief Expedition), 1900. Japanese Infantryman on duty with the Chinese Relief Expedition, 1900

111-SC-74924 Boxer Rebellion (Chinese Relief Expedition), 1900. Japanese Artillerymen on duty with the Chinese Relief Expedition, 1900. First man on left is an Non-Commissioned Officer.

11-SC-74922 Boxer Rebellion (Chinese Relief Expedition), 1900. Japanese Cavalrymen (dismounted), 1900.

Boxer Rebellion (Chinese Relief Expedition), 1900. Japanese Infantrymen, 1900.

As for O’Keefe in 1901, he returned to the Philippines and presented himself to Maj. Clifton Sears of the Corps of Engineers to resume his role as photographer for the Manila-based outfit for the remainder of his hitch. The 36th Volunteers were mustered out in July 1902 and from what I can tell, O’Keefe hung up his uniform with it.

His photography from the exotic region, including taken in the Forbidden City, graced Harper’s Weekly (especially Harper’s Pictorial History of the War with Spain) and was shown as part of the “Mysterious Asia” exhibition at St. Louis’ Louisiana Purchase Exposition in 1904.

At various times, he maintained private studios in Detriot, Iowa, and Colorado.

He died in 1939, aged 74.

A collection of some 170 O’Keefe images, formerly owned by Capt. Harley B. Ferguson, the Chief Engineer of the China Relief Expedition, appeared at auction in 2015 while hundreds of others, as exhibited above, are in various U.S. institutions to include the National Archives, NHHC and the National Museum of Health and Medicine. Another 85 images from his time in the PI with the 1st Colorado are in the collection of Colorado’s Stephen H. Hart Library & Research Center while the NYPL has its own, smaller, dossier.

Thank you for your work, sir.

Along a jungle trail

“Along a jungle trail found this rugged boy (inf.) – he was Pvt. Art Neuer, machine gunner” – SGT. Howard Brodie “Yank” staff artist:


Description from the Library of Congress: Full-length portrait sketch of infantryman Art Neuer, his hand on his pistol, on a jungle trail during the World War II Battle of Guadalcanal.

Born in 1915, Brodie was a sports artist for the San Francisco Chronicle before his work during the war for Yank during which he was an Army combat artist– earning a bronze star the hard way. He went on to become noted for his courtroom sketches post-war but often returned overseas to draw combat scenes in Korea and Vietnam, passing at age 94.

A special Combat Gallery Sunday: The original Fighting Irish, on the eve of the Wheatfield, 154 years ago

Absolution Under Fire, By Paul Wood, via the Snite Museum of Art Notre Dame. Note the drummer boys in distinctive Zouave uniforms and the famous green harp flag. Click to bigup

On July 2nd 1863, minutes before the Irish Brigade would charge the Wheatfield at Gettysburg, Father William Corby gave absolution to the men. Corby would later become President of Notre Dame University and the following quote from Col. St. Clair Mulholland comes from their web page on Corby:

Colonel St. Clair Mulholland was attached with the Irish Brigade and later gave this account of Corby’s famous absolution [Originally published in the Philadelphia Times, reprinted in Scholastic, April 3, 1880, pages 470-471]:

There is yet a few minutes to spare before starting, and the time is occupied in one of the most impressive religious ceremonies I have ever witnessed. The Irish Brigade, which had been commanded formerly by General Thomas Francis Meagher, and whose green flag had been unfurled in every battle in which the Army of the Potomac had been engaged from the first Bull Run to Appomattox, was now commanded by Colonel Patrick Kelly, of the Eighty-eighth New York, and formed a part of this division. The brigade stood in columns of regiments closed in mass. As the large majority of its members were Catholics, the Chaplain of the brigade Rev. William Corby, CSC, proposed to give a general absolution to all the men before going into the fight. While this is customary in the armies of Catholic countries of Europe, it was perhaps the first time it was ever witnessed on this continent… Father Corby stood upon a large rock in front of the brigade, addressing the men; he explained what he was about to do, saying that each one would receive the benefit of the absolution by making a sincere Act of Contrition, and firmly resolving to embrace the first opportunity of confessing his sins, urging them to do their duty well, and reminding them of the high and sacred nature of their trust as soldiers and the noble object for which they fought. The brigade was standing at “Order arms,” and as he closed his address, every man fell on his knees, with head bowed down. Then, stretching his right hand towards the brigade, Father Corby pronounced the words of absolution. The scene was more than impressive, it was awe-inspiring. Near by, stood General Hancock, surrounded by a brilliant throng of officers, who had gathered to witness this very unusual occurrence and while there was profound silence in the ranks of the Second Corps, yet over to the left, out by the peach orchard and Little Round Top, where Weed, and Vincent, and Haslett were dying, the roar of the battle rose and swelled and reechoed through the woods. The act seemed to be in harmony with all the surroundings. I do not think there was a man in the brigade who did not offer up a heartfelt prayer. For some it was their last; they knelt there in their grave-clothes — in less than half an hour many of them were numbered with the dead of July 2.

 

Combat Gallery Sunday: The Martial Art of The Met

Much as once a week I like to take time off to cover warships (Wednesdays), on Sundays (when I feel like working), I like to cover military art and the painters, illustrators, sculptors, photographers and the like that produced them.

Combat Gallery Sunday: The Martial Art of the Met

The Metropolitan Museum of Art very graciously just released 375,000 works into the public domain as Creative Commons Zero 1.0 Universal copyright, the broadest possible. While about 200,000 are online, and as a whole, they represent just a fifth of the Met’s huge collection, there are some interesting pieces in the trove with a military background. These include over 70 plates from Goya’s haunting ‘The Disasters of War’ (Los Desastres de la Guerra) and dozens more from Stefano della Bella’s ‘Peace and War’ (Divers desseins tant pour la paix que pour la guerre).

Here are some pieces I found remarkable.

Deck of a Warship Christoffer Wilhelm Eckersberg (Danish, Blåkrog 1783–1853 Copenhagen) 1833

The “Kearsarge” at Boulogne Édouard Manet (French, Paris 1832–1883 Paris) 1864

A Bit of War History: The Recruit Thomas Waterman Wood (American, Montpelier, Vermont 1823–1903 New York) 1866

A Bit of War History The Veteran Thomas Waterman Wood (American, Montpelier, Vermont 1823–1903 New York) 1866

The full collection is here.

Enjoy!

Combat Gallery Sunday: The Martial Art of Paul Sample

Much as once a week I like to take time off to cover warships (Wednesdays), on Sundays (when I feel like working), I like to cover military art and the painters, illustrators, sculptors, photographers and the like that produced them.

Combat Gallery Sunday: The Martial Art of Paul Sample

Paul Sample was born in Lousiville, Kentucky, 14 September 1896. Enrolling at Dartmouth College in New Hampshire in 1916 to pursue art, he put his education on hold when the U.S. rushed into the Great War in 1917, serving in the Naval Reserve.

Once the war was over, he returned to Dartmouth, graduating in the class of 1920. After a stint with tuberculosis, Sample studied drawing and painting from artist Jonas Lie, then, using his Veteran’s Bonus, studied in New York and at the Otis Art Institute in Los Angeles. By 1926 at age 30, he was on the faculty at USC.

By 1934, he was one of the most influential artists in the country, adept at Social Realism and American Regionalist painting styles with his work shown at the Met and appearing in Fortune, Esquire, Country Gentlemen, and American Artist.

Maple Sugaring, Paul Sample

In 1936, his old alma mater at Dartmouth made him an artist in residence– becoming their longest serving, making it through 1962.

In 1941 he was elected academician by the National Academy of Design.

When WWII came, the former Navy man served as a Life Correspondent attached to the sea service, embarking on the carrier USS Ranger (CV-4) and heavy cruiser USS Portland (CA-33) among others, covering the war in both the Atlantic and Pacific in watercolors that capture the feeling of the moment.

Fighter disaster on USS Ranger (CV 4), which depicts the crash of an F4F-4 “Wildcat” fighter on board USS Ranger on 25 August 1942 after an off center landing attempt. Artwork by Paul Sample. Photo # NH 89617-KN (Color)

Fighter disaster on USS Ranger (CV 4), which depicts the crash of an F4F-4 “Wildcat” fighter on board USS Ranger on 25 August 1942 after an off-center landing attempt. Artwork by Paul Sample. Photo # NH 89617-KN (Color). It should be noted that Ranger sailed to support the Torch Landings just days after this incident, where her aircraft were influencial in silencing the French.

Ship's band, USS RANGER (CV-4) Caption: Artist: Paul Sample, 1942. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89619-KN

Ship’s band, USS RANGER (CV-4) Caption: Artist: Paul Sample, 1942. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89619-KN

Seaplane base, Naval Air Station, Norfolk, Virginia Caption: Artist: Paul Sample, 1942. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89615-KN

Seaplane base, Naval Air Station, Norfolk, Virginia Caption: Artist: Paul Sample, 1942. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89615-KN

Field carrier landings, Naval Air Station, Norfolk, Virginia Caption: Artist: Paul Sample, 1942. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89616-KN

Field carrier landings, Naval Air Station, Norfolk, Virginia Caption: Artist: Paul Sample, 1942. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89616-KN. Note the distinctive gear of the F4F Wildcat.

"Chinese overside, submarine base, Pearl Harbor"Caption: Artist: Paul Sample, 1943. 28"x 44". Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89621-KN

“Chinese overside, submarine base, Pearl Harbor” Caption: Artist: Paul Sample, 1943. 28″x 44″. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89621-KN

Crew's quarters aboard a Pacific submarine Caption: Artist: Paul Sample, 1943. 17"x 24". Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89620-KN

Crew’s quarters aboard a Pacific submarine Caption: Artist: Paul Sample, 1943. 17″x 24″. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89620-KN. Note the crew sleeping on the torpedos. The foot front and to the left is great as is the “Shipwreck” GI Joe character.

Skipper on the bridge, Pacific submarine Caption: Artist: Paul Sample, 1943. 24"x 30". Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89622-KN

Skipper on the bridge, Pacific submarine Caption: Artist: Paul Sample, 1943. 24″x 30″. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89622-KN

Red beach, Leyte, Pacific Caption: Artist: Paul Sample, 1944. 14"x 38". Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89623-KN

Red beach, Leyte, Pacific Caption: Artist: Paul Sample, 1944. 14″x 38″. Description: Time-Life Collection Courtesy of Chief of Military History Catalog #: NH 89623-KN

After the war, Sample did mural work, painted the Saturn rocket launch for NASA in 1964.

He died in 1974, after working in his Vermont studio that morning, age 80.

Works by Sample may be found at the Arkell Museum, Addison Gallery of American Art at Phillips Academy, Art Institute of Chicago, Brooklyn Museum of Art, Currier Gallery of Art, Hood Museum of Art, Metropolitan Museum of Art, Smithsonian American Art Museum, Springfield Museum of Art in Utah, and the D’Amour Museum of Fine Art.

Thank you for your work, sir.

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