Tag Archives: military painting

Combat Gallery Sunday : The Martial Art of Rafael DeSoto

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

Combat Gallery Sunday : The Martial Art of Rafael DeSoto

Born Rafael Maria de Soto y Hernandez on February 18, 1904 in Aguadilla, Puerto Rico, the young man grew up drawing. In the early 1920s his family sent him to live with an uncle in New York’s Lower East Side and he soon found work in advertising without formal art training.

By 1930, DeSoto, eschewing a seminary appointment, was working for the pulp magazine clearing house of Street & Smith’s which he augmented by churning out pulp novel covers. Over the next two decades he produced works for dozens of pulps to include Ace, All Detective, Black Book Detective, Phantom Detective, The Spider, Ten Detective Aces, Terror Tales, Thrilling Detective, Western Aces, and Western Trails.

Rafael DeSoto

Rafael DeSoto

Whats better than a hardhat diver and a box of gold coins? A hardhat diver with a box of gold coins and a .38-- that's what

Whats better than a hardhat diver and a box of gold coins? A hardhat diver with a box of gold coins and a .38– that’s what

GI Joe Cover by Rafael DeSoto

GI Joe Cover by Rafael DeSoto

Is that a 1911 in your hand or are you just happy to see me?

Is that a 1911 in your hand or are you just happy to see me?

Black Mask, September 1944; cover art by Rafael DeSoto

Black Mask, September 1944; cover art by Rafael DeSoto

Settling in Queens, the artist was found 4F in World War II, which left him out of uniform but he nonetheless rose to the occasion and often produced very detailed military art.

Rafael DeSoto

Rafael DeSoto

True Adventures cover, Dec 1963 by Rafael DeSoto

True Adventures cover, Dec 1963 by Rafael DeSoto

Rafael DeSoto

Rafael DeSoto

Rafael DeSoto

Rafael DeSoto

Rafael DeSoto

Rafael DeSoto

Rafael DeSoto

Rafael DeSoto

Rafael DeSoto

Rafael DeSoto

This is my favorite work of his. The Garand is great

This is my favorite work of his. The Garand is great

Battle Cry cover by Rafael DeSoto. Click to very much big up

Battle Cry cover by Rafael DeSoto. Click to very much big up

Those cheeky guerrillas...great detail on the MP by the way

Those cheeky guerrillas…great detail on the MP by the way

Making a dive for that Browning!

Making a dive for that Browning!

Go ahead and find a more determined Navy gunner than this one...

Go ahead and find a more determined Navy gunner than this one…

By the 50s he was producing mainly book covers for Bantam, Dell, Lion, Signet, and Pocket Books and retired at age 60 to teach at State University of New York (SUNY), Farmingdale for a decade.

Book cover by Rafael DeSoto

Book cover by Rafael DeSoto

He died on Christmas Eve 1992 on Long Island at age 88.

His works will be signed invariably with as Raphael De Soto, Rafael M de Soto, and R de Soto. There is an excellent bio of him at Pulp Artists as well as a number of galleries an official website and his son’s site, who incidentally is an incredible artist in his own right.

Thank you for your work, sir.

Warship Wednesday June 3, 2015 Roll Tide, Roll

Here at LSOZI, we are going to take off every Wednesday for a look at the old steam/diesel navies of the 1859-1946 time period and will profile a different ship each week. These ships have a life, a tale all of their own, which sometimes takes them to the strangest places. – Christopher Eger

Warship Wednesday, June 3, 2015 Roll Tide

youcanrunCSS Alabama da caza al clíper Contest, Noviembre 1863, Tom FreemanHere we see “You Can Run” by naval artist Tom Freeman depicting the screw sloop-of-war Confederate States Ship Alabama chasing down the Yankee clipper Contest in November 1863. The Alabama, who captured an amazing 64 ships, of which she burned and sank 45 and paroled another ten, was the most successful surface raider in naval history.

In addition, perhaps no ship saw a greater number of ironies in her brief life (see how many you can spot).

Although the Confederate Navy picked up a few captured U.S. Naval ships (included the burned out frigate Merrimack) and Revenue Service Cutters, as well as a good number of naval officers of Southern heritage, they were short of legitimate combat ships. Further, most of the naval yards worth anything were in New England, which meant that they simply could not be built. With this, Confederate Secretary of the Navy Stephen Russell Mallory sent agents abroad looking for warships. In the end, the best bet turned out to be in Great Britain where Commander James Dunwoody Bulloch, CSN, arranged for at least three commerce raiders and a pair of ironclads to be completed.

Arguably, the most famous and successful of this handful of ships was the CSS Alabama.

Bulloch, whose primary job was turning raw Southern cotton smuggled past the Union blockade into cash for guns, munitions and other supplies for the Confederate government, which in turn would be ran back through the U.S. fleet, managed to contract with John Laird Sons & Company (today’s Cammell Laird) to construct a steamship with a sloop auxiliary rig (and weight and space reserved for naval guns) on August 1, 1861, just months after Bull Run. Constructed in Liverpool as hull number 290, and christened in 1862 with the bogus name Enrica, she ran her trials at sea in June 1862.

She was handy, at 220-feet overall and light with a 17-foot depth of hold and 1,050-ton displacement. On her twin steam engines pushing a single iron screw, she could make 13-ish knots, or hoist her extensive barkentine-rig and make close that amount in the right conditions.

sail plan

Bulloch was originally to be the commander of the ship and assisted in her fitting out, acquiring stores and arms for the new cruiser but not mounting them as he was under watch by Union agents. As U.S. Ambassador Charles Adams (son and grandson respectively of 2 presidents of the same name) pressured the Brits to seize her, Bulloch weighed anchor just ahead of customs officials, claiming to just be taking her out on a brief sunset turn around. Slipping the brand new 9-gun sloop USS Tuscarora, he put to sea.

Instead of sailing under Bulloch, 52-year-old CDR Raphael Semmes (soon to be promoted to Capt.), late of the abandoned and broken-down commerce raider CSS Sumter, was dispatched from Bermuda to Porto Praya, Azores with the former officers of the Sumter, where they met Bulloch on the Enrica, which was crewed by mildly amused British merchantmen. After arming the ship and relieving the Brits, which Bulloch returned to England with, Semmes and his crew commissioned the CSS Alabama on 24 Aug, 1862.

Deck plan of Alabama, note guns

Deck plan of Alabama, note guns

Her armament, fitted above deck, was British. It consisted of a pair of “Royal Navy-style” smoothbore 6 inch 32-pounders, 4 6-inch 32-pound Blakely patent cannon cast specifically for the CSS Alabama by Fawcett, Preston & Company in Liverpool, one 7-inch 110-pounder Blakely rifle forward on a pivoting mount and a single 68-pounder (solid shot) 8-inch smoothbore pivot aft. In all, eight guns. Added to this was a stock of British and French musket rifles, revolvers, pistols, boarding hatchets, and cutlasses. However, as she only had a single gray-coated Marine, Lt Beckett K. Howell, one of only 58 appointed officers in the Confederate States Marine Corps, (and Brother in Law to President of the Confederacy Jefferson Davis), these were to be used by the ship’s bluejackets.

Or should we say Jack Tars? You see, Semmes only arrived with a handful of officers and had to shop around among the Brits and other foreign sailors at hand to sign up, of which about 80 did. As her guns alone required that many men to crew them, she was shorthanded.

Although Alabama never saw a southern port, the British-built (and largely crewed) ship with her skipper from Maryland carved a name for herself in the hides of the U.S. Navy and merchant fleets for the next 22 months.

"The Pirate 'Alabama,' Alias '290,' Certified to be correct by Captain Hagar of the 'Brilliant'" Line engraving published in "Harper's Weekly", 1862, depicting CSS Alabama burning a prize in Harper's Weekly.US Naval History and Heritage Command photo # NH 58738

“The Pirate ‘Alabama,’ Alias ‘290,’ Certified to be correct by Captain Hagar of the ‘Brilliant'” Line engraving published in “Harper’s Weekly”, 1862, depicting CSS Alabama burning a prize in Harper’s Weekly.US Naval History and Heritage Command photo # NH 58738

Art from Harper's Weekly image

Art from Harper’s Weekly image

First, she sailed around the North Atlantic, sinking 20 Yankee ships, mainly whalers, and captured and released three others. Then, proceeding to Fort Royal, Martinique, she refueled, recruited more crew members in that colonial port, and gave the 12-gun screw frigate USS San Jacinto the slip and broke into the Gulf of Mexico. It was of note that her crew was often fleshed out by volunteers from ships she captured and sank and included men from Germany, Russia, and France.

Alabama's cruise from SCV Adm Semmes Camp

Alabama’s cruise from SCV Adm Semmes Camp

Off Texas, on 11 January 1863, she engaged the 1,126-ton paddlewheel steamer USS Hatteras off Galveston. As the Hatteras got close enough to Alabama to be sucker punched before Semmes struck her British ensign (masquerading as HMS Petrel) and raised the Confederate Stars and Bars, and the fact that the Union gunboat had less than half the armament, Alabama sent her to the bottom within 20 minutes. Ever the gentleman pirate, Semmes picked up her crew and transported them to Jamaica.

The Fatal Chase by Tom Freeman. The USS Hatteras engages the Confederate raider CSS Alabama. Hatteras was sunk in the ensuing battle

The Fatal Chase by Tom Freeman. The USS Hatteras engages the Confederate raider CSS Alabama. Hatteras was sunk in the ensuing battle

From Semmes’s postwar account:

As Captain Blake of the Hatteras (whom I had known in the old service) came on deck, he remarked upon the speed we were making, and gracefully saluted me with, “Fortune favors the brave, sir!” I wished him a pleasant voyage with us; and I am sure he, with his officers and men, received every attention while on board the Alabama.

With the Gulf too hot, she slipped into the South Atlantic and slaughtered 29 Yankee merchies in those waters, primarily off the coast of Brazil.

CSS Alabama enters Table Bay at 10:00 AM August 5, 1863. She is increasing speed in order to capture the Sea Bride before she can escape to within one league of S.African territorial waters. This painting commissioned by Ken Sheppard of South Africa. Via the CSS Alabama Assoc

CSS Alabama enters Table Bay at 10:00 AM August 5, 1863. She is increasing speed in order to capture the Sea Bride before she can escape to within one league of S.African territorial waters. This painting commissioned by Ken Sheppard of South Africa. Via the CSS Alabama Assoc

Next, she put in at Cape Town, South Africa, where most of the images of her decks were taken. It was there that she added more members to her crew to include naval adventurer and soldier of fortune Baron Maximilian von Meulnier, late of the Imperial Prussian Navy.

Captain Raphael Semmes CSN, CSS Alabama's commanding officer, standing by his ship's 110-pounder rifled gun during her visit to Capetown in August 1863. His executive officer, First Lieutenant John M. Kell CSN, is in the background, standing by the ship's wheel.US Naval History and Heritage Command photo # NH 57256 from the collection of Rear Admiral Ammen C. Farenholt, USN(MC), 1931.

Captain Raphael Semmes CSN, CSS Alabama’s commanding officer, standing by his ship’s 68-pounder smoothbore during her visit to Capetown in August 1863. His executive officer, First Lieutenant John M. Kell CSN, is in the background, standing by the ship’s wheel. US Naval History and Heritage Command photo # NH 57256 from the collection of Rear Admiral Ammen C. Farenholt, USN(MC), 1931. Via Navsource

Two of the CSS Alabama's officers on deck, during her visit to Capetown in August 1863. They are Lieutenant Arthur Sinclair IV, (left) and Lieutenant Richard F. Armstrong (USNA 1861). The gun beside them is a 32-pounder of Lt. Sinclair's Division. Halftone image, copied from Sinclair's book, "Two Years on the Alabama". US Naval History and Heritage Command photo # NH 57255. via Navsource

Two of the CSS Alabama’s officers on deck, during her visit to Capetown in August 1863. They are Lieutenant Arthur Sinclair IV, (left) and Lieutenant Richard F. Armstrong (USNA 1861). The gun beside them is a 32-pounder of Lt. Sinclair’s Division. Halftone image, copied from Sinclair’s book, “Two Years on the Alabama”. US Naval History and Heritage Command photo # NH 57255. via Navsource

Georga native Midshipman Edwin Moffat Anderson. He later went on to serve on the CSS Owl and was the next to last of Alabama’s officers to die when he passed away in 1923 in Savannah, only beaten by Sinclair who passed in 1925.

Georga native Midshipman Edwin Moffat Anderson next to an RN pattern 32 pounder which may be the one on display currently in Mobile. Note the naval cutlass and gray Army type uniform. He later went on to serve on the CSS Owl and was the next to last of Alabama’s officers to die when he passed away in 1923 in Savannah, only beaten by Sinclair who passed in 1925. The unimpressed British Jack behind him is classic.

Kell and a 32. US Naval History and Heritage Command photo # NH 57257

Kell and the 68-pounder. US Naval History and Heritage Command photo # NH 57257

Crewmen on the deck of the Confederate commerce raider CSS Alabama off the coast of Cape Town, South Africa, 1863.

Crewmen on the deck of the Confederate commerce raider CSS Alabama off the coast of Cape Town, South Africa, 1863.

Crossing into the Indian Ocean and into the Pacific, she found her hunting grounds much reduced in those far-flung waters. In Singapore, she had her picture taken (one of just two of her profile known to be in existence) and Englishman Hugh Rowland Beaver of Cumming, Beaver, and Co. who helped whistle up enough supplies to keep Alabama in the war. After coaling and dispatching a letter to Malloy back in Virginia, Semmes was off again.

Alabama in Singapore. Note instead of the Stars and Bars she is flying the Stainless Banner

Alabama in Singapore. Note instead of the Stars and Bars she is flying the Stainless Banner

Heading back to European waters where Semmes thought the pickings would be better (and Alabama could get a much-needed refit) she arrived in Cherbourg on 11 June 1864. There Semmes noted, “Our little ship was now showing signs of the active work she had been doing. Her boilers were burned out, and her machinery was sadly in want of repairs.”

She deserved a rest; after all, she had captured no less than 64 vessels in over 500 days at sea and won a naval engagement against a (weaker) adversary while slipping dozens of stronger ones. In a sign of how dignified warfare was on the high seas in this age, Alabama paroled over 2,000 merchant sailors she captured– landing them in nearby ports rather than leaving them adrift on the waves– and not a single civilian was ever killed by the raider.

But everything has to come to an end…

Just three days after she made France, the Mohican-class screw sloop of war USS Kearsarge, steamed into the harbor, alerted to the wiley raider’s presence there by telegraph while in a Spanish port. Although shorter (201-feet) the Kearsarge was built from the keel-up with combat in mind, weighing half again as much as Alabama and mounting nine guns– including a pair of very dangerous 11-inch Dahlgren smoothbore pivot cannons that fired 130-pounder shells.

Further, where Semmes had a scratch 140 man multinational crew and a ship that was falling apart, Kearsarge’s North Carolina-born Capt. John Ancrum Winslow had a pair of aces up his sleeve. These included the fact that his 160+ man crew was highly trained, and that he had secretly wrapped his ship’s critical engineering spaces in over 700-feet of anchor chain secured to the hull and bolted into place, in effect, giving him crude armor plating. His powder was fresh, his decks were clear, and he wanted to clean Semmes’s clock.

Capt. John A. Winslow (3d from left) and officers on board the U.S.S. Kearsarge after sinking the C.S.S. Alabama, 1864

Capt. John A. Winslow (3d from left) and officers on board the U.S.S. Kearsarge after sinking the C.S.S. Alabama, 1864. Note the badass 11-inch Dahlgren

(Note: The two skippers had served together earlier in their career on the old three-master USS Raritan, Semmes as the ship’s flag lieutenant and Winslow as a division officer, even sharing a cabin).

Semmes slapped Winslow across the face with an open challenge, sending the message:

“My intention is to fight the Kearsarge as soon as I can make the necessary arrangements. I hope they will not detain me more than until tomorrow evening or after the morrow morning at furthest. I beg she will not depart before I am ready to go out.”

While the locals stirred about the coming scrap between the two ships, the French forced Kearsarge out to sea, where she waited for Alabama. One of the most powerful ships in the world, the 6,500-ton 30-gun French ironclad Couronne (“Crown”) stood by as her crew anxiously waited for the bloodletting. On the afternoon of June 19, the fight was on in front of a delighted host of European spectators who were thrilled to watch a pair of American vessels locked in a knife fight–and it was a barroom brawl of naval action.

Semmes fired first, trying to get the same type of fast kill as he had achieved on USS Hatteras the year before, but his shots were ineffective, likely due to poor quality powder and stale fuses as much to Kearsarge’s chainmail.

Winslow waited until the British-built cruiser was within 1,000 yards and clobbered her.

Engineers Department USS Kearsarge 1864: The crew that wrecked the CSS Alabama

The ships locked horns in a series of seven circles, slowing trying to out-maneuver each other without success. After all, their skippers had read the same naval textbooks so why not? In all, reports estimate that while Alabama got off more than 300 shots, Kearsarge was barely damaged; suffering four casualties after just three rounds hit his vessel. Alabama, on the other hand, was a wreck after less than an hour of combat and was shipping water from the big Yankee’s 11-inchers.

7-circle The Chart of the battle off Cherbourg as recorded by American landscape painter and Union Army map-maker Robert Knox Sneden in the Library of Congress. Sneden was in Andersonville at the time of the battle after being captured by Confederate troops under John S. Mosby in 1863, but produced it from logs and charts from Kearsarge after the war. This chart was lost to history for more than a century until it popped up in 1994 in a bank vault in Connecticut and donated to the Virginia Historical Society. Click to big up

7-circle chart of the battle off Cherbourg as recorded by American landscape painter and Union Army map-maker Robert Knox Sneden in the Library of Congress. Sneden was in Andersonville at the time of the battle after being captured by Confederate troops under John S. Mosby in 1863 but produced it from logs and charts from Kearsarge after the war. This chart was lost to history for more than a century until it popped up in 1994 in a bank vault in Connecticut and donated to the Virginia Historical Society. Click to big up

The battle has been a favorite of painters and perhaps the most famous work, “Kearsarge and the Alabama” was created by one of no less skill than Édouard Manet.

The Battle of the USS Kearsarge and the CSS Alabama By Claude Monet hanging today at the Philadelphia Museum of Art.

The Battle of the USS Kearsarge and the CSS Alabama By Claude Monet hanging today at the Philadelphia Museum of Art. Click to big up

painting by Xanthus Smith, 1922, depicts Alabama sinking, at left, after her fight with Kearsarge (seen at right). NHHC Photo K-29827.

Painting by Xanthus Smith, 1922, depicts Alabama sinking by the stern, at left, after her fight with Kearsarge (seen at right). NHHC Photo K-29827.

CSS Alabama Sunday Showdown Archival Print.

CSS Alabama Sunday Showdown Archival Print.

Antonio Jacobsen's " ALABAMA vs KERSARGE" Click to big up

Antonio Jacobsen’s ” ALABAMA vs KEARSARGE” Click to big up

Nine Alabama crewmembers were killed during the battle, 12 drowned when the ship sank and 70 picked up by Kearsarge from the sea, while Semmes and a handful of officers and men managed to make it to the British yacht Deerhound who sped them away to England. There, they were celebrated.

Semmes, who recovered the Stainless Banner of Alabama, ran back into Hugh Beaver (the Singapore connection) and presented the flag to the Englishman with the deep pockets in appreciation.

Her Cherbourg flag.

Her Cherbourg flag.

The 69×34 inch wool bunting ensign still exists and was sold at auction in 2011. As the rest of her flags were lost at sea, this one was unique. Semmes had been given a beautiful and much larger silk battle-flag by English society women after the battle which he took back to the C.S. with him.

Semmes made his way back to Virginia where he was made an admiral and given commanded first the James River Squadron then a unit of infantry (as a Brig. Gen) late in the war. He later moved to Mobile, Alabama where he died of eating bad shrimp in 1877. Nevertheless, he had outlived Winslow who retired in 1872 and died the next year in Boston, buried draped in the Kearsarge ‘s own Cherbourg battle flag.

The National Museum of the U.S. Navy in Washington D.C. has one of her wheels as well as other artifacts to include a very nice toilet bowl.

Ships wheel CSS Alabama Exhibited in the Civil War section of Bldg. 76

English toilet from CSS Alabama Exhibited in the Civil War section of Bldg. 76

The City of Mobile has many Semmes artifacts in their museum, including the admiral’s sword presented to him after the war (he threw his own into the sea rather than let Winslow have it), his wartime 36 cal. Houllier & Blanchard Navy revolver, the silk flag given to him in England after the loss of his ship and Alabama‘s commissioning pennant.

Semme's presentation Admiral's saber in the City of Mobile collection. Chris Eger photo

Semme’s presentation Admiral’s sword, a copy of his book and a scrimshawed whale’s tooth captured from a Yankee whaler in the City of Mobile collection. Chris Eger photo. Click to bigup the scrimshaw work on the tooth.

This U.S. Navy 27-star commissioning pennant was used above CSS Alabama to bring her into service. Her 4th Lt. John Low had it in his possession from his father's term in the old Republic's fleet and offered it up. Low would later leave Alabama with it when he took command of the CSS Tuscaloosa (formerly the bark Conrad captured by the raider in 21 June 1863). The pennant along with Low’s dolphin-handled British pattern naval officer’s sword is in the City of Mobile collection. Chris Eger photo

This U.S. Navy 27-star commissioning pennant was used above CSS Alabama to bring her into service next to a model of the ship. Her 4th Lt., John Low had it in his possession from his father’s term in the old Republic’s fleet and offered it up. Low would later leave Alabama with it when he took command of the CSS Tuscaloosa (formerly the bark Conrad captured by the raider on 21 June 1863). The pennant along with Low’s dolphin-handled British pattern naval officer’s sword is in the City of Mobile collection. Chris Eger photo

Semmes LeMat grapeshot revolver at the City of Mobile Museum. Chris Eger photo. Click to big up.

Semmes rare 1862-issued 36 cal. Houllier & Blanchard Navy revolver at the City of Mobile Museum. Chris Eger photo. Click to big up. And YES, I will be covering this amazing weapon in more detail in a later article

Alabama’s wreck was discovered by the 152-foot French Navy mine hunter (chasseur de mines) Circé in November 1984 in 190-feet of water some 6 miles off the coast of Cherbourg. Between 1988 and 2008, with agreements of the U.S. government (who own the wreck as a war grave) and the French Republic (as its inside territorial waters) she has been extensively salvaged.

One of her RN-style 32 pounders, scrimshaw from ship’s Engineer William Param Brooks and other artifacts recovered from her wreck are in Mobile at the City Museum. The U.S. Navy has over 500 Alabama artifacts in its collection and many are spread over the world on loan, including her 7-inch gun, which is in France. In all, her wheel, seven out of eight guns, her bell, china, shells, small arms, and other items have been brought to the surface.

One of her RN pattern 32s. click to big up. Eger image

One of her RN pattern 32s. click to big up. Eger image

A better view. Note the recovered mast collar.

A better view. Note the recovered mast collar.

A statue to the Admiral, erected in 1900, stands in downtown Mobile on Government Street, within a block or so of the Federal Building, gazing towards the Bay that holds the battleship USS Alabama (BB-60), who was a much luckier lady than Semmes’s own warship.

semmesIn the artifacts recovered from Alabama were at least one set of human remains to include a jawbone. An exam of the teeth at the Smithsonian Institution revealed the jaw’s owner was likely between 25-40 and in good health, other than an apparent habit of chomping on a pipe stem. A ceremonial burial was held for the crewmember’s remains in Mobile, where the lost sailor was interred at Magnolia Cemetery accompanied by members of the Sons of Confederate Veterans of the Admiral Semmes Camp, who maintain a reference to the lost ship and the Admiral.

Internment at Magnolia Cemetery, Mobile. Via AL.com

Interment at Magnolia Cemetery, Mobile. Via AL.com

There is also a CSS Alabama Association and both the University of Alabama and Marshall University maintain special collections referencing the ship.

As for her adversary, 17 of Kearsarge ‘s crew received the Medal of Honor and the ship remained in hard service until wrecked on a reef off Roncador Cay on 2 February 1894 while her officers and crew made it safely ashore. A damaged section of her stern post, still with an intact 110-pound Blakely shell in it from Alabama, is also on display at the Navy Museum in Washington.

CSS Alabama fired this shell from its 110-pound rifle early in the action against USS Kearsarge, landing a critical blow into Kearsarge’ s stern post. However, it didn’t explode due to a faulty fuse, allowing Kearsarge to continue the battle, eventually defeating Alabama. U.S. Navy photo by Mass Communication Specialist 1st Class Tim Comerford/Released

CSS Alabama fired this shell from its 110-pound rifle early in the action against USS Kearsarge, landing a critical blow into Kearsarge’ s sternpost. However, it didn’t explode due to a faulty fuse, allowing Kearsarge to continue the battle, eventually defeating Alabama. U.S. Navy photo by Mass Communication Specialist 1st Class Tim Comerford/Released

The only USN battleship not named for a state, USS Kearsarge (BB-5), was christened 24 March 1898 in her honor and went on to serve the Navy in one form or another for 57 years.

Currently, the Navy maintains both an Alabama (SSBN-731) and a Kearsarge (LHD-3) on the Naval List. In a twist of fate, the ‘Bama was built in the North (Electric Boat, Groton) and the Mighty Kay in the South (Ingalls, Pascagoula), but it’s not likely that they will ever get in a scrap moving forward.

We’re better than that these days.

Specs:

2dbcd70744194b91b391226a65445c3aDisplacement 1,050 t.
Length 220′
Beam 31′ 8″
Depth of Hold 17′ 8″
Draft 14′
Installed power: 2 × 300 HP horizontal steam engines, auxiliary sails, bark rig
Propulsion: Single screw propeller, retractable
Speed 13 knots
Complement 145
Armament:
6 32-pdrs
1 110-pdr rifle
1 68-pdr

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Combat Gallery Sunday : The Martial Art of Eugene Voishvillo

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

Combat Gallery Sunday : The Martial Art of Eugene Voishvillo

Eugene Valerianovich Voishvillo was born in Libau (now Liepāja, Latvia) in the Holy Russian Empire in 1907. The son of a naval engineer in the Tsar’s Navy, he had a love of the sea and saw the fleet everyday as a child. In 1927 he obtained entrance to the highly competitive Academy of Fine Arts (which accepted only 40 candidates out of hundreds of applicants each year) but after just a year there, he left to join the Soviet Navy. Training as a seaplane mechanic, he left the fleet in 1930 and took a job at a child’s toy factory in Leningrad, where he created concept drawings and toy illustrations.

When war came in 1941, he was recalled to the Navy as a Marine in a coastal artillery unit, even though he was a 34-year-old father. However he soon was given a job at the fleet newspaper Za Sovetskuyu Rodinu (For the Soviet Motherland), commonly just referred to as ZSR, after his skills with a pencil were noticed.

Za Sovetskuyu Rodinu

As the war progressed, he was a senior draftsman and helped illustrate maps and charts as well as texts for the Voroshilov Naval Academy.

Demobilized in 1948, he transitioned into drawing and painting for a number of Warsaw Pact nautical and shipbuilding publications as a member of the Union of Artists, producing more than 150 circulated prints of various warships and sailing vessels.

The Santa Maria

The Santa Maria

The German Navy Schulschiff Deutschland

The German Navy Schulschiff Deutschland

The Donald McKay shipyard, East Boston built clipper Lightning. She made the New York to Liverpool run in 13 days, 19½ hours, all under sail and was known to break 19 knots, outrunning many steamships of the time.

The Donald McKay shipyard, East Boston built clipper Lightning. She made the New York to Liverpool run in 13 days, 19½ hours, all under sail and was known to break 19 knots, outrunning many steamships of the time.

He gained an unofficial fan club as across the Soviet Union people cut out his drawings and decorated their walls and after a time most nautical schools, club and ship-modeling groups soon had his art as standard decor. He had a flavor for ships involved in polar exploration and I have used his paintings in several Warship Wednesdays (such as on the St. Anne and the Yermak)

The 1,500 ton training barque Tovarish (formerly Kreigsmarine's Gorch Fock)

The 1,500 ton training barque Tovarish (formerly Kreigsmarine’s Gorch Fock)

Steamship Savannah

Steamship Savannah

Nuclear icebreaker Lenin meets the elderly Yermak

Nuclear icebreaker Lenin meets the elderly Yermak

Peter The Great's first Russian Naval ship

Peter The Great’s first Russian Naval ship

His magnum opus was a series of 60 paintings of historical oceanography ships (primarily Russian) for the World Ocean Museum in Kaliningrad during the 1980s and early 1990s many of which were used for stamps, seals, and posters not only in Soviet Bloc countries but worldwide.

Baron Toll's ill-fated 450-ton steam- and sail-powered brig Zarya on the 1900-1902 Russian Polar Expedition

Baron Toll’s ill-fated 450-ton steam- and sail-powered brig Zarya on the 1900-1902 Russian Polar Expedition

Fridtjof Nansen's Fram

Fridtjof Nansen’s Fram

The 92-foot 1,450-ton Swedish motor schooner Albatross circumnavigated the globe on a research trip  in the late 1940s http://en.wikipedia.org/wiki/Albatross_expedition

The 92-foot 1,450-ton Swedish motor schooner Albatross circumnavigated the globe on a research trip in the late 1940s

The Danish-built ice strengthened steamship SS Chelyuskin, built in 1933 for an attempt by the Soviets to run through the Northeast passage from Europe to Asia, she had to be abandoned in the ice in 1934.

The Danish-built ice strengthened steamship SS Chelyuskin, built in 1933 for an attempt by the Soviets to run through the Northeast passage from Europe to Asia, she had to be abandoned in the ice in 1934.

Lt. Georgy Sedov on his doomed ship the St Foka

Lt. Georgy Sedov on his doomed ship the St Foka

HMS Beagle

HMS Beagle of Darwin fame

The 1,500-ton German Reichsmarine colonial gunboat turned survey ship Meteor, who survived both World Wars only to end up in the Soviet Navy until 1968

The 1,500-ton German Reichsmarine colonial gunboat turned survey ship Meteor, who survived both World Wars only to end up in the Soviet Navy until 1968

The German Imperial corvette Gazelle on China Station

The German Imperial corvette Gazelle on China Station

Capt.Cook's HMS Endeavor

Capt.Cook’s HMS Endeavor

HMS Discovery on the British Arctic Expedition of 1875–1876

HMS Discovery on the British Arctic Expedition of 1875–1876

115678028_1024px1971_Parohodofregat_Vladimir 115678027_1024px1971_Botik_Petra_I

He died in 1993 in Latvia after living through the Tsar, Lenin, Stalin, Khrushchev, Brezhnev, two world wars, a revolution, civil war and the like, all with an upbeat outlook on life. As long as he had a canvas or piece of paper and a ship to draw or paint, he was satisfied.

When speaking about his paintings, he said, “”And yet I have lived a happy life. I painted what I loved.”

In 2009, the immense 376-foot long Russian training bark Kruzenshtern took 15 of his paintings on a world-wide cruise. The World Ocean Museum has 83 paintings and 74 other illustrations by Voishvillo on display.

Thank you for your work, sir.

Combat Gallery Sunday: The Martial Art of Tom Lea

Much as once a week I like to take time off to cover warships (Wednesdays), on Sunday, I like to cover military art and the painters, illustrators, sculptors, and the like that produced them. As always, remember to click to embiggen.

Combat Gallery Sunday: The Martial Art of Tom Lea

With this edition coming on Memorial Day weekend, I felt it best to highlight one of the most somber artists to ever cover a military subject. Further, this incredibly skilled painter did so not from photographs or through dry research, but from his own first-hand experience garnered at sea both frozen and aflame and on the bloody sand.

Thomas Calloway “Tom” Lea, III was born in El Paso, Texas on 11 July 1907. Growing up in that rough and tumble border town during the era of Poncho Villa, he had to have an armed escort to school over remarks his father, the mayor, made during that time. Leaving home in the 1920s, Lea studied at the Art Institute of Chicago and under noted muralists (remember this later).

In the 1930s, he got his first steady work as a WPA artist, painting murals in federal buildings across the state as well as in such far off places as Washington D.C., New Mexico, Illinois, and Missouri.

Mural on North Wall, West Texas Room, 1936. Oil on canvas, 7 X 13 feet. Hall of State, Dallas

Mural on North Wall, West Texas Room, 1936. Oil on canvas, 7 X 13 feet. Hall of State, Dallas

In 1941, LIFE Magazine asked him to sketch troopers of the El Paso-based 8th Cavalry Regiment (1CAV DIV), which he did and in turn evolved into other requests to supply images of aviators and cannoncockers at nearby bases.

Corporal Butler, 8th Cavalry and his mount, 1941, by Tom Lea. It shows the striker of Maj. Gen. Innis P. Swift's aide, who was a friend of Lea's family.   Swift, http://en.wikipedia.org/wiki/Innis_P._Swift later went on to command I Corps in the Pacific. A colorful character who rode with Pershing chasing Villa in 1916, Swift ordered the depicted horse soldier to ride from Fort Bliss direct to Lea's house so that he could be sketched.

Corporal Butler, 8th Cavalry and his mount, 1941, by Tom Lea. It shows the striker of Maj. Gen. Innis P. Swift‘s aide, who was a friend of Lea’s family. Swift later went on to command I Corps in the Pacific. A colorful character who rode with Pershing chasing Villa in 1916, Swift ordered the depicted horse soldier to ride from Fort Bliss direct to Lea’s house so that he could be sketched while standing dismounted in his studio. Image via the Lea Institute.

By the fall, he was afloat on a U.S. Navy destroyer bobbing along the Atlantic Ocean on the very active Neutrality Patrol in which the man from West Texas saw the world from the heaving decks of Uncle’s tincans.

A Time and a Place, Argentina Bay, Newfoundland, 1941. This ship, the tender USS Prairie with three destroyers moored with her, was his first view of the fleet. Published in LIFE in May 1942, he captioned it "Like a fierce mother with three children sits the big supply ship, blinking a message to the newcomers with her high starboard light ..." Oil on canvas, 25 x 40 Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia

A Time and a Place, Argentina Bay, Newfoundland, 1941. This ship, the tender USS Prairie (AD-15) with three destroyers moored with her, was his first view of the fleet. Published in LIFE in May 1942, he captioned it “Like a fierce mother with three children sits the big supply ship, blinking a message to the newcomers with her high starboard light …” Oil on canvas, 25 x 40 Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia

Tossing the cans, by Tom Lea, depicting the firing of a K gun depth charge thrower

Tossing the cans, by Tom Lea, depicting the firing of a Y gun depth charge thrower

Next, he shipped out on one of the “original 8” carriers of the U.S. Navy, USS Hornet (CV-8) for a 66-day run across the Pacific. There, in fierce service off Guadalcanal in late summer 1942, he spent more than two months on a front line carrier in the thick of the war and sketched as he found.

USS Hornet by Tom Lea

USS Hornet by Tom Lea

navy plane captian

He observed the sinking of the Wasp on Sept. 15, 1942

He observed the sinking of the Wasp on Sept. 15, 1942.

Carrier ace Silver Somers, by Tom Lea

Carrier ace Silver Somers, by Tom Lea

in blue gleam of a battle light tom lea an american dies in battle tom lea a bomb explodes below deck tom lea

On 21 October, he left the Hornet, pulling away on a fleet oiler that would land him back at Pearl Harbor. The cleared sketches would appear in LIFE in March and April 1943, sadly, after the carrier had been sunk. You see, the ship in which Lea had spent those hectic two months was sent to the bottom, sunk in the Battle of the Santa Cruz Islands, 26 October 1942– just five days after he left.

As told by Lex

Back at Pearl Harbor, Lea showed Admiral Nimitz some of his drawings. One of them was the one above. Underneath the drawing, he inscribed a quotation from Deuteronomy: “Moreover the Lord thy God shall send the hornet among them, until they that are left, and hide themselves from thee, be destroyed.”

Admiral Nimitz looked at the drawing for a long time, then turned his head to Lea, and said: “Something has happened to the Hornet.”

That was how Lea found out that the aircraft carrier he had been on, together with his friends, perished.

This he immortalized in a painting ran by LIFE of how he pictured the ship going out– fighting.

“An aircraft carrier is by her very nature a very peculiar warship, for she belongs not wholly to the sea nor sufficiently to the sky.” “Without heavy deck guns or stout armor, she is physically the most vulnerable of warships, carrying within her the seeds of her own destruction. Whenever she goes to sea she is loaded with bombs, shells and high-octane gasoline, all concealed behind her thin steel plates. ” “Such a ship was the Hornet. She feared bombs, but also know that probably only torpedoes would sink her.” “There is no way to describe how terrible a torpedo seems as it heads for a carrier. It leaves a strange wake, a rather thin, white, bubbly line like fluid ice, cold as the death is presages. Against the ship’s side, it explodes with an appalling concussion and a wild flash of pink flame. Within the ship, there is a terrible wrenching. Decks and bulkheads are twisted like tissue paper, and all things not secured by iron bolts are smashed.” “The Hornet died under a moonlit sky on a shining tropical sea. She had been hit by two waves of Jap planes, the first in the morning, the second in the afternoon… Then came the last order: ‘Abandon ship.’ The men went over the side on knotted lines, down to life rafts, to floating debris, or simply to the water.” “Behind them their ship died a smoking death.” “The great carrier was not alone. She had destroyers and cruisers with her, and they aided in the work of hauling the Hornet’s crew from the sea. In a few hours, it was all over. Those whose fate it was to live were alive, and those who had to die were dead.” “A tropical sunset colored the hulk of the carrier and the stars came out faintly. After dark she went down.” -LIFE Magazine, “HORNET’S LAST DAY: Tom Lea paints death of a great carrier”

“An aircraft carrier is by her very nature a very peculiar warship, for she belongs not wholly to the sea nor sufficiently to the sky.” “Without heavy deck guns or stout armor, she is physically the most vulnerable of warships, carrying within her the seeds of her own destruction. Whenever she goes to sea she is loaded with bombs, shells and high-octane gasoline, all concealed behind her thin steel plates. ”
“Such a ship was the Hornet. She feared bombs, but also know that probably only torpedoes would sink her.”
“There is no way to describe how terrible a torpedo seems as it heads for a carrier. It leaves a strange wake, a rather thin, white, bubbly line like fluid ice, cold as the death is presages. Against the ship’s side, it explodes with an appalling concussion and a wild flash of pink flame. Within the ship, there is a terrible wrenching. Decks and bulkheads are twisted like tissue paper, and all things not secured by iron bolts are smashed.”
“The Hornet died under a moonlit sky on a shining tropical sea. She had been hit by two waves of Jap planes, the first in the morning, the second in the afternoon… Then came the last order: ‘Abandon ship.’ The men went over the side on knotted lines, down to life rafts, to floating debris, or simply to the water.”
“Behind them their ship died a smoking death.”
“The great carrier was not alone. She had destroyers and cruisers with her, and they aided in the work of hauling the Hornet’s crew from the sea. In a few hours, it was all over. Those whose fate it was to live were alive, and those who had to die were dead.”
“A tropical sunset colored the hulk of the carrier and the stars came out faintly. After dark she went down.”
-LIFE Magazine, “HORNET’S LAST DAY: Tom Lea paints death of a great carrier”

 

Next, fate found him landing with the 7th Marines at the green hell that was Peleliu. The 11 paintings he produced from that front line horror are some of the most haunting military art of all time and should be viewed by any politician who claims there is no alternative to starting a war.

"GOING IN - FIRST WAVE" "For an hour we plowed toward the beach, the sun above us coming down through the overcast like a silver burning ball....Over the gunwale of the craft abreast of us I saw a Marine, his face painted for the jungle, his eyes set for the beach, his mouth set for murder, his big hands quiet now in the last moments before the tough tendons drew up to kill." Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

“GOING IN – FIRST WAVE” “For an hour we plowed toward the beach, the sun above us coming down through the overcast like a silver burning ball….Over the gunwale of the craft abreast of us I saw a Marine, his face painted for the jungle, his eyes set for the beach, his mouth set for murder, his big hands quiet now in the last moments before the tough tendons drew up to kill.” Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

"2000 YARD STARE" "Down from Bloody Ridge Too Late. He's Finished - Washed Up - Gone" "As we passed sick bay, still in the shell hole, it was crowded with wounded, and somehow hushed in the evening light. I noticed a tattered Marine standing quietly by a corpsman, staring stiffly at nothing. His mind had crumbled in battle, his jaw hung, and his eyes were like two black empty holes in his head. Down by the beach again, we walked silently as we passed the long line of dead Marines under the tarpaulins. He left the States 31 months ago. He was wounded in his first campaign. He has had tropical diseases. He half-sleeps at night and gouges Japs out of holes all day. Two-thirds of his company has been killed or wounded. He will return to attack this morning. How much can a human being endure?”  Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

“2000 YARD STARE” “Down from Bloody Ridge Too Late. He’s Finished – Washed Up – Gone”
“As we passed sick bay, still in the shell hole, it was crowded with wounded, and somehow hushed in the evening light. I noticed a tattered Marine standing quietly by a corpsman, staring stiffly at nothing. His mind had crumbled in battle, his jaw hung, and his eyes were like two black empty holes in his head. Down by the beach again, we walked silently as we passed the long line of dead Marines under the tarpaulins. He left the States 31 months ago. He was wounded in his first campaign. He has had tropical diseases. He half-sleeps at night and gouges Japs out of holes all day. Two-thirds of his company has been killed or wounded. He will return to attack this morning. How much can a human being endure?” Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

"THE BLOCKHOUSE" "There were dead Japs on the ground were they had been hit. We walked carefully up the side of this trail littered with Jap pushcarts, smashed ammunition boxes, rusty wire, old clothes, and tattered gear. Booby traps kept us from handling any of it. Looking up at the head of the trail, I could see the big Jap blockhouse that commanded the height. The thing was now a great, jagged lump of concrete, smoking." Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

“THE BLOCKHOUSE” “There were dead Japs on the ground were they had been hit. We walked carefully up the side of this trail littered with Jap pushcarts, smashed ammunition boxes, rusty wire, old clothes, and tattered gear. Booby traps kept us from handling any of it. Looking up at the head of the trail, I could see the big Jap blockhouse that commanded the height. The thing was now a great, jagged lump of concrete, smoking.” Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

The Peleliu Invasion by Tom Lea

The Peleliu Invasion by Tom Lea

"THIS IS SAD SACK CALLING CHARLIE BLUE" "We found the battalion commander [Lt Col Edward H. Hurst, CO, 3/7]. By him sat his radioman, trying to make contact with company commands. There was an infinitely tired and plaintive patience in the radioman's voice as he called code names, repeating time and time again, 'This is Sad Sack calling Charlie Blue. This is Sad Sack calling Charlie Blue.' “Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

“THIS IS SAD SACK CALLING CHARLIE BLUE” “We found the battalion commander [Lt Col Edward H. Hurst, CO, 3/7]. By him sat his radioman, trying to make contact with company commands. There was an infinitely tired and plaintive patience in the radioman’s voice as he called code names, repeating time and time again, ‘This is Sad Sack calling Charlie Blue. This is Sad Sack calling Charlie Blue.’ “Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

"SUNDOWN AT PELELIU" "Sick Bay in a Shellhole. The Padre Read, 'I am the resurrection and the Light' " "The padre stood by with two canteens and a Bible, helping. He was deeply moved by the patient suffering and death. He looked very lonely, very close to God, as he bent over the shattered men so far from home. Corpsmen put a poncho, a shirt, a rag, anything handy, over the grey faces of the dead and carried them to a line on the beach to await the digging of graves." Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

“SUNDOWN AT PELELIU” “Sick Bay in a Shellhole. The Padre Read, ‘I am the resurrection and the Light’ “The padre stood by with two canteens and a Bible, helping. He was deeply moved by the patient suffering and death. He looked very lonely, very close to God, as he bent over the shattered men so far from home. Corpsmen put a poncho, a shirt, a rag, anything handy, over the grey faces of the dead and carried them to a line on the beach to await the digging of graves.” Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

"COUNTER-ATTACK" “I do not know what time it was when the counterattack came. I heard, in pauses between bursts of fire, the high-pitched; screaming yells of the Japs as they charged, somewhere out ahead. The firing would grow to crescendo, drowning out the yells, then the sound would fall dying like the recession of a wave. Looking up, I saw the earth, the splintered trees, the men on their bellies all edged against the sky by the light of the star shells like moonlight from a moon dying of jaundice. The phone rang. A battalion CO reported the Jap's infiltration and the beginning of the counter attack. He asked what reserves were available and was told there were none. Small arms fire ahead of us became a continuous rattle. Abruptly three star shells burst in the sky. As soon as they died floating down, others flared to take their place. Then the howitzers just behind us opened up, hurling their charges over our heads, shaking the ground with their blasts." Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

“COUNTER-ATTACK” “I do not know what time it was when the counterattack came. I heard, in pauses between bursts of fire, the high-pitched; screaming yells of the Japs as they charged, somewhere out ahead. The firing would grow to crescendo, drowning out the yells, then the sound would fall dying like the recession of a wave. Looking up, I saw the earth, the splintered trees, the men on their bellies all edged against the sky by the light of the star shells like moonlight from a moon dying of jaundice. The phone rang. A battalion CO reported the Jap’s infiltration and the beginning of the counter attack. He asked what reserves were available and was told there were none. Small arms fire ahead of us became a continuous rattle. Abruptly three star shells burst in the sky. As soon as they died floating down, others flared to take their place. Then the howitzers just behind us opened up, hurling their charges over our heads, shaking the ground with their blasts.” Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

"THE PRICE" "Lying in terror looking longingly up the slope to better cover, I saw a wounded man near me, staggering in the direction of the LVTs. His face was half-bloody pulp and the mangled shreds of what was left of an arm hung down like a stick, as he bent over in the stumbling, shock-crazy walk. The half of his face that was still human had the most terrifying look of abject patiences I have ever seen. He fell behind me, in a red puddle on the white sand." Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

“THE PRICE” “Lying in terror looking longingly up the slope to better cover, I saw a wounded man near me, staggering in the direction of the LVTs. His face was half-bloody pulp and the mangled shreds of what was left of an arm hung down like a stick, as he bent over in the stumbling, shock-crazy walk. The half of his face that was still human had the most terrifying look of abject patiences I have ever seen. He fell behind me, in a red puddle on the white sand.” Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

"We saw a Jap running along an inner ring of the reef, from the stony eastern point of the peninsula below us. Our patrol cut down on him and shot very badly, for he did not fall until he had run 100 yards along the coral. Another Jap popped out running and the marines had sharpened their sites. The Jap ran less than 20 steps when a volley cut him in two and his disjointed body splattered into the surf." Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

“We saw a Jap running along an inner ring of the reef, from the stony eastern point of the peninsula below us. Our patrol cut down on him and shot very badly, for he did not fall until he had run 100 yards along the coral. Another Jap popped out running and the marines had sharpened their sites. The Jap ran less than 20 steps when a volley cut him in two and his disjointed body splattered into the surf.” Life Collection of Art WWII, U.S. Army Center of Military History, Fort Belvoir, Virginia.

Base sketch for the above, from the UTSA Libraries Special Collections.

Base sketch for the above, from the UTSA Libraries Special Collections.

From the El Paso Times:

After taking his paintings to Life headquarters in New York, Tom heard what happened: The paintings were lined up so the managing editor Daniel Longwell could review them. Longwell entered, looked, and said: “Print every damn one of them in color, and I never want to see them again.”

It was also his last wartime assignment.

After the war he remained active and produced art for books and novels, while trying his hand as an author and historian.

Marrakech Tom Lea 1947

Marrakech Tom Lea 1947

Muster at Bore 60  1973 tom lea

Muster at Bore 60 1973 tom lea

And There He Was by Tom Lea

And There He Was by Tom Lea

Tom Lea following his last wartime tour as a LIFE artist correspondent - landing on the island of Peleliu with the 1st battalion 7th Marines. On the easel is The Price, 1944.

Tom Lea following his last wartime tour as a LIFE artist correspondent – landing on the island of Peleliu with the 1st battalion 7th Marines. On the easel is The Price, 1944.

Much as he was born in El Paso and lived most of his life there, he also passed away there in 2001 at age 93. He is buried in the city next to his wife, whose portrait reportedly took him the longest of all paintings to complete.

tom-lea

Today, his trail of murals are celebrated across the Lone Star State while the Tom Lea Institute is located in El Paso  which produces the annual Tom Lea Month celebration in the city.

His work is on public display a numerous U.S. Army museums and bases, the Smithsonian, the White House, as well as galleries and museums across the Southwest.

Thank you for your work, sir.

Combat Gallery Sunday: Vale, Orbik

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

Combat Gallery Sunday: Vale, Orbik

In this installment of CGS, we are bidding farewell to one of the modern masters of the noir comic and pulp covers, Mr. Glen Orbik, who passed this week of cancer at the untimely age of 51.

Orbik, who taught at the California Art Institute studied under Fred Fixler. Taking his ques from such other greats as past CGS-alumni Robert McGinnis and Gil Elvgren, Orbik has in the past three decades done prolific work for DC Comics, Vertigo, Marvel Comics, Warner Bros., Clampett Studios, Universal Pictures, Sony, Avon Books, Berkley Books, cRandom House, Del Rey, Hard Case Crime, and TSR / Dungeons and Dragons.

Comic Base 9 cover, showing great detail on the incoming German fighters and British tommy,

Comic Base 9 cover, showing great detail on the incoming German fighters and British tommy,

Femme by Glen Orbik

Femme by Glen Orbik

orbik

orbik

orbik

orbik

orbik

orbik

Mad Max, Orbik

Mad Max, Orbik

Silver Fox by Glen Orbik

Silver Fox by Glen Orbik

Glen Orbik, Fifty-to-One

Glen Orbik, Fifty-to-One

The Punisher by Orbik-- great UZI

The Punisher by Orbik– great UZI

Green Hornet and Kato, by Orbik

Green Hornet and Kato, by Orbik

orbik

orbik

Orbik

Orbik

Several galleries of his work are online and please visit his official site.

Glen_Orbik

Thank you for your work, sir, you will be missed.

Combat Gallery Sunday : And we have more Mort!

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

Combat Gallery Sunday : And we have yet more Mort!

As you are probably aware, I am a huge pulp art and military art fan. One of the best there ever was in the business is the famous Mort Kunstler (official site) — America’s Artist.

In the past I’ve posted several of the Master’s works in the pulp art category from the 1950-60s and have found enough (new to me) ones to make a fifth extensive post. As always with this blog, “click to big up” and feel free to save for posterity.

Without further “adoo”…bring on the Mort!

Mort Kunstler

Mort Kunstler. Not sure the cover, but this looks like the best possible outcome for this lost British paratrooper

Mort Kunstler, Strange Suicide Crate, Male cover, September, 1961, Via Heritage Auctions http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-strange-suicide-crate-male-cover-september-1961-gouache-on-board/a/7001-87018.s

Mort Kunstler, Strange Suicide Crate, Male cover, September, 1961, Via Heritage Auctions The image is one excellent depiction of a German Ju-88 “mistle” (mistletoe) bomber slaved to a Me-109 fighter, likely seen attacking the Oder bridges in 1945

Mort Kunstler

Mort Kunstler

Mort Kunstler, Saigon Sally's Sin Barracks, For Men Only magazine cover, May 1965. Via Heritage Auctions http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-saigon-sally-s-sin-barracks-for-men-only-magazine-cover-may-1965-gouache-on-boar-total-2-items-/a/5213-71019.s

Mort Kunstler, Saigon Sally’s Sin Barracks, For Men Only magazine cover, May 1965. Via Heritage Auctions. Mort did very little Vietnam work, so this one is rare– and you have to love the AKMS by the bed, although the use of the Tommy gun is largely an anachronism. 

Mort Kunstler

Mort Kunstler, another Vietnam installment

Mort Kunstler, The Stubborn Leatherneck Who Took China Wall, Men cover, March, 1960. Via Heritage Auctions http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-the-stubborn-leatherneck-who-took-china-wall-men-cover-march-1960/a/7001-87015.s

Mort Kunstler, The Stubborn Leatherneck Who Took China Wall, Men cover, March, 1960. Via Heritage Auctions. A great depiction of the Boxer Rebellion relief expedition in 1900 that saw unlikely allies of the U.S., Japan, France, Germany, Imperial Russia (note the Tsarist dragoon being helped out by the Marine) and Austria unite for a common purpose– screwing China. 

Mort Kunstler

Mort Kunstler

Mort Kunstler, The Bedford Incident, Male cover, September, 1964 (HMS Troubridge),

Mort Kunstler. Art for the movie poster of  “The Bedford Incident,” later used for Male cover, September, 1964. The funny thing was that a British destroyer, HMS Troubridge, actually filled in for the fictional USS Bedford in the movie

Mort Kunstler

Mort Kunstler

Mort Kunstler, The G. I. s Who Took Over Germany's Castle, Stag cover, January, 1968. Via Heritage Auction http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-the-g-i-s-who-took-over-germany-s-castle-stag-cover-january-1968andlt-/a/7001-87055.s

Mort Kunstler, The G. I. s Who Took Over Germany’s Castle, Stag cover, January, 1968. Via Heritage Auction

Mort Kunstler

Mort Kunstler showing U.S. Army Air Force B-25 Mitchell gunships coming in low and slow over a Japanese port in WWII. The B-25H, with as many as 18 x .50 caliber machine guns as well as a 75mm cannon were the premier ship-busters of the Pacific.

Mort Kunstler, Only 17 Survived the Atrocity Sub, Stag cover, October, 1963. Via Heritage Auctions. http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-only-17-survived-the-atrocity-sub-stag-cover-october-1963-gouach/a/7001-87033.s

Mort Kunstler, Only 17 Survived the Atrocity Sub, Stag cover, October, 1963. Via Heritage Auctions.

Mort Kunstler

Mort Kunstler aka Emmett Kaye. Cold War art showing a SH-3 Sea King overhead of the Polaris ‘Boomer” USS Ethan Allen (SSBN-608) and an undisclosed Soviet sub

Mort Kunstler, America's Worst Naval Defeat, Stag cover, May, 1963. Via Heritage Auctions. http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-america-s-worst-naval-defeat-stag-cover-may-1962-gouache-on-boar/a/7001-87028.s

Mort Kunstler, America’s Worst Naval Defeat, Stag cover, May, 1963. Via Heritage Auctions. Depicting what is likely the 1942 Battle of Salvo Island– although the central ship, the Gearing-class destroyer USS William Rush (DD-714) wasn’t actually commissioned until 1946 and, with the exception of some brief naval gunfire support in Korea, led a charmed and peaceful  life.

Mort Kunstler

Mort Kunstler. Showing USAF HH-3 Jolly Greens fighting it out with persons unknown on the Empire State building

Mort Kunstler. Men in Combat cover. Via Heritage Auctions http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-men-in-combat-cover-oil-on-board-22-x-165-in-not-signed/a/7010-87019.s

Mort Kunstler. Men in Combat cover. Via Heritage Auctions

Mort Kunstler

Mort Kunstler. More Cold War art showing a RAF Avro Vulcan in 1960s scheme coming in low over Moscow, with the Kremlin just ahead.

Mort Kunstler, 1,000 to 1 Shot of Guy Gibson's Dam Busters,, February 1962. Via Heritage Auctions http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-as-emmett-kaye-1-000-to-1-shot-of-guy-gibson-s-dam-busters-andlt-/a/7015-87033.s

Mort Kunstler, 1,000 to 1 Shot of Guy Gibson’s Dam Busters,, February 1962. Via Heritage Auctions

Mort Kunstler

Mort Kunstler. Navy Skyraiders and a great flare gun.

Mort Kunstler

Mort Kunstler. Hey be careful with that hand buddy…

Mort Kunstler

Mort Kunstler

Mort Kunstler. Reckless Commando Raid, Male cover, c. 1958. Via Heritage Auctions. http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-reckless-commando-raid-male-cover-c-1958-gouache-on-board-15/a/7015-87013.s

Mort Kunstler. Reckless Commando Raid, Male cover, c. 1958. This is a much more correct use of the Thompson submachine gun as the British Commandos loved the controllable but effective room broom for up-close work Winston’s ungentlemanly fighters relished.  Via Heritage Auctions.

Mort Kunstler

Mort Kunstler. Who really stops at Soviet border crossings anyway? Bunch of crybabys is who.

Mort Kunstler. Prisoner, Stag cover, June 1960-- note the great BAR although I don't think those hot-pants are official Imperial issue. Via Heritage Auctions http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-prisoner-stag-cover-june-1960-gouache-on-board-15-x-15-in/a/7015-87025.s

Mort Kunstler. Prisoner, Stag cover, June 1960– note the great BAR although I don’t think those hot-pants are official Imperial issue, also, how is the BAR gunner suspended in mid-air?. Via Heritage Auctions A

Mort Kunstler

Mort Kunstler

Mort Kunstler. The Marine Who Hid the Pacific's 12 Most Wanted Women, Men Only cover, April 1961. Via Heritage Auction http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-the-marine-who-hid-the-pacific-s-12-most-wanted-women-men-only-cover/a/7015-87030.s#53855385134

Mort Kunstler. The Marine Who Hid the Pacific’s 12 Most Wanted Women, Men Only cover, April 1961. Via Heritage Auction. He really did like Tommy guns and titties didn’t he? I guess that’s the magic pulp formula.

Mort Kunstler. Wipe Out the 11th Panzer Division, Stag magazine, True Books Bonus story illustration. Via Heritage Auction http://fineart.ha.com/itm/illustration-art/mort-kunstler-american-b-1931-wipe-out-the-11th-panzer-division-stag-magazine-true-books-bonus-story-illu/a/5185-72172.s

Mort Kunstler. Wipe Out the 11th Panzer Division, Stag magazine, True Books Bonus story illustration. Via Heritage Auction The 11th, who saw heavy action on the Eastern Front, had been sent West around the D-Day period and, up until Ramagen Bridge, was perhaps the strongest Wehrmacht tank unit in Western Europe.

Thank you for your work, sir.

Combat Gallery Sunday : The (Secret) Martial art of Edward L. Cooper

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

Combat Gallery Sunday : The (Secret) Martial art of Edward L. Cooper

During the darkest days of the Cold War, from about the Cuban Missile Crisis until the Berlin Wall came down, the Defense Intelligence Agency was the go-to analytical group of the U.S. Intelligence Community that specialized in the nuts and bolts of a coming war. They came up with the specs and databases on foreign weapons and deployments. For instance, how many Backfire bombers the Soviet 22nd Air Regiment had and what was the range of the cruise missiles they likely carried.

The thing was, most available imagery of these systems was rather like pictures of bigfoot and UFOs as they were either captured by operatives with very small pocket cameras or at great distances from the deck of a moving ship or submarine. To really capture the imagination of the admirals, generals and privy lawmakers/cabinet members who needed to know, the DIA commissioned extremely well vetted in-house artists to take what was known about these weapons and turn them into a depiction of what (they believed at the time) looked like.

In these thirty years, highly skilled but shadowy artists such as Ronald C. Wittmann, Richard J. Terry and Brian W. McMullin, produced amazing art of things most westerners had very little if any idea of. Over 1,000 paintings all told. These would be used in both classified and unclassified (annual editions of Soviet Military Power and later the Military and Security Developments Involving the People’s Republic of China) produced by the Pentagon and distributed to those in Congress and elsewhere.

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One of the more prolific and multi-talented of these was Edward L. Cooper.

Soviet Mobile Laser in Afghanistan by Edward L Cooper

Soviet Mobile Laser in Afghanistan by Edward L Cooper. Click to big up

Soviet Kiev class aircraft carrier in a floating drydowck

Soviet Kiev class aircraft carrier in a floating drydock. Cick to big up

SOVIET BLACKJACK LOADING AS-16 MISSILES - Edward L. Cooper, 1987.

SOVIET BLACKJACK LOADING AS-16 MISSILES – Edward L. Cooper, 1987. Click to big up

Soviet Mike class attack submarine. Courtesy of Soviet Military Power, 1984. Photo 64, page 61.

Soviet Mike class attack submarine. Courtesy of Soviet Military Power, 1984. Photo 64, page 61. big up

SOVIET 203-MM 2S7 SELF-PROPELLED GUN - Edward L. Cooper, 1987

SOVIET 203-MM 2S7 SELF-PROPELLED GUN – Edward L. Cooper, 1987 big up

SOVIET MI-24 HIND DELIVERING CHEMICAL SPRAY - Edward L. Cooper, 1986

SOVIET MI-24 HIND DELIVERING CHEMICAL SPRAY – Edward L. Cooper, 1986 big up

TYPHOON Replenishing in the Arctic cooper

TYPHOON Replenishing in the Arctic cooper. big up

SOVIET 280-MM MULTIPLE ROCKET LAUNCHER - Edward L. Cooper, 1988

SOVIET 280-MM MULTIPLE ROCKET LAUNCHER – Edward L. Cooper, 1988. big up

SOVIET GROUND-BASED LASER - Edward L. Cooper, 1986

SOVIET GROUND-BASED LASER – Edward L. Cooper, 1986. big up

DELTA Class SSBN Firing ballistic missile from the safety of the Arctic bastion, Edward L Cooper DIA 1985

DELTA Class SSBN Firing ballistic missile from the safety of the Arctic bastion, Edward L Cooper DIA 1985 big up

SOVIET BM-27 MULTIPLE ROCKET LAUNCHER - Edward L. Cooper, 1986

SOVIET BM-27 MULTIPLE ROCKET LAUNCHER – Edward L. Cooper, 1986. big up

Tu-22M_Backfire_loads_AS-16_Kickback

Tu-22M_Backfire_loads_AS-16_Kickback

YANKEE Class SSGN firing SS-NX-24 Cruise Missiles while submerged, Edward L Cooper DIA 1986

YANKEE Class SSGN firing SS-NX-24 Cruise Missiles while submerged, Edward L Cooper DIA 1986. Big up

ZSU anti-aircraft guns Edward L. Cooper, 1987

ZSU anti-aircraft guns Edward L. Cooper, 1987. Big up

SOVIET RAIL-MOBILE SS-24 MOD 1 INTERCONTINENTAL BALLISTIC MISSILE - Edward L. Cooper, 1988

SOVIET RAIL-MOBILE SS-24 MOD 1 INTERCONTINENTAL BALLISTIC MISSILE – Edward L. Cooper, 1988. big up

DELTA-III Class SSBN firing SS-N-18 missiles while submerged, Edward L Cooper DIA 1987

DELTA-III Class SSBN firing SS-N-18 missiles while submerged, Edward L Cooper DIA 1987

In 1996 the agency released a bunch of the artwork publicly and even sold a number as prints, but since then has taken down the galleries. But hey, the art is still out there in a number of places including Global Security, Wiki  the Federation of American Scientists and elsewhere.

According to FAS, “Edward Cooper is the only one of the original visual information specialists still employed at the Agency. He’s still working at the graphics office. He switched his drawing table with a computer. Cooper and some of his colleagues still keep on working in their free time even after retirement.”

Thank you for your work, sir.

Combat Gallery Sunday : The Martial Art of Victor Prezio

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

Combat Gallery Sunday : The Martial Art of Victor Prezio

Born 21 March 1924, Victor Prezio became one of the most prolific and underrated pulp magazine and dime novel cover illustrators of the post WWII era. Active throughout the 50s and 60s, his work for Dell, Gold Key, Warren Publishing and others ranged from sports to sci-fi to western covers.

Write his Name in Gunsmoke-- what a great title!

Write his Name in Gunsmoke– what a great title!

The Stranger cover by VP

The Stranger cover by VP

The Men in the Jungle by Norman Spinrad. Macfadden Books 1977. Cover artist Victor Prezio. Vic had passed by the time this cover was published

The Men in the Jungle by Norman Spinrad. Macfadden Books 1977. Cover artist Victor Prezio. Vic had passed by the time this cover was published

Creepy Magazine, Vol 1.29, 1969. Cover by VP

Creepy Magazine, Vol 1.29, 1969. Cover by VP

Cover art to Dorothy Quentin's What News of Kitty. Published by Pyramid Books (1969)

Cover art to Dorothy Quentin’s What News of Kitty. Published by Pyramid Books (1969)

Boy Catching Ground Ball By Victor Prezio

Boy Catching Ground Ball By Victor Prezio

MIdnight Firefight

MIdnight Firefight

Impressive Whale you have there...

Impressive Whale you have there…

Then of course, for the men’s pulp mags such as True Adventures and Real Men, he followed in the footsteps of contemporaries like Norem and Mort K in his portrayal of tough men of action and the dastardly deeds of Nazis. It was these images that occupied the time of servicemen from Korea to Vietnam and West Germany in foxholes and barracks alike.

Women n War cover, Nov. 1959 by Prezio

Women n War cover, Nov. 1959 by Prezio. This will teach you not to bring a Luger to a Tommy Gun fight

Victor Prezio6

Smacking a Nazi around...the very embodiment of 1960s pulp covers

Smacking a Nazi around with a good old American right cross…the very embodiment of 1960s pulp covers

Victor Prezio4

They seem to have a problem with their buttons but not their hair color or Spandau machinegun.

 

I'm not sure the Nazi's flew Piper Grasshoppers, but hey...

I’m not sure the Nazi’s flew Piper Grasshoppers, but hey…

Hiding from Cuban forces...

Hiding from Cuban forces…who all seem to be related

True Adventures Feb. 1961 cover by VP

True Adventures Feb. 1961 cover by VP. More button issues…

Real Men cover Nov 1958 by VP

Real Men cover Nov 1958 by VP. You have to dig the signature on the very sharp following edge of the shark

Girl Bait for the Outlaws of Lubang Island by VP

Girl Bait for the Outlaws of Lubang Island by VP. Apparently by this point, why even bother with buttons?

Burden's Mission cover, 1968

Burden’s Mission cover, 1968

Pulp Covers has a great collection of his work from which many of the above are sourced from.

Victor died December 1976 at just age 52 and sadly, not much is known about him other than his illustrations. So with that in mind, raise a glass to Vic next time you salute.

Thank you for your work, sir.

Combat Gallery Sunday: The Martial Art of Alphonse Mucha

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

Combat Gallery Sunday: The Martial Art of Alphonse Mucha

Born 24 July 1860 in the small Moravian mountain town of Ivančice–a neighbor to the current and historic CZ arms concern in Brno– in what was then the Austro-Hungarian Empire, was one Alfons Maria Mucha. Taking up painting as a youth more or less as a hobby, by his twenties, he grew more serious and attended the Munich Academy of Fine Arts and later schools in Paris.

The artist

The artist

Some of Mucha’s first paid international work, when he was just 33, was in creating a series of uniform plates for the Royal Brazilian Army.

Brazilian uniforms, c. 1894 Mucha, Alphonse (artist) 1st in pair of chromolith. pl. after Mucha; uniform figures of veteran, cadet of Colegio Militar, and horse artillery officer. Via the Anne S.K.Brown Military Collection at Brown University.

Brazilian uniforms, c. 1894 Mucha, Alphonse (artist) 1st in pair of chromolith. pl. after Mucha; uniform figures of veteran, cadet of Colegio Militar, and horse artillery officer. Via the Anne S.K.Brown Military Collection at Brown University.

Brazilian uniforms, c. 1894 Mucha, Alphonse (artist) 2nd in pair of chromolith. pl. after Mucha; 2 uniform figures of general staff officer, cavalry officer. Via the Anne S.K.Brown Military Collection at Brown University.

Brazilian uniforms, c. 1894 Mucha, Alphonse (artist) 2nd in pair of chromolith. pl. after Mucha; 2 uniform figures of general staff officer, cavalry officer. Via the Anne S.K.Brown Military Collection at Brown University.

By 1895, he had become a professional poster illustrator and had even begun his own unique style of artistic impression in his depiction of the female form, taking otherwise imperfect reference models dressed in contemporary clothes and creating the highly-stylized soft featured, long-haired beauties garbed in neo-classical robes that became his hallmark.

With the coming of Spring, and today being Easter, I find these below images to be very refreshing.

 

Alphonse Mucha The Seasons, 1896, Spring and Summer .

Alphonse Mucha The Seasons, 1896, Spring and Summer .

Fall and winter

…followed by Fall and winter. Note how the flowers create a halo effect, commonly seen in Mucha’s female portrayals.

This one reminds me of someone special

Inset of “Madonna of the Lilies,” 1905…This one reminds me of someone special

Luna

Luna

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The application of the artist's eye.

The application of the artist’s eye.

The model and final artwork for a 1903 illustration

The model and final artwork for a 1903 illustration

Zodiac 1896

Zodiac 1896

job cigarettes ad Alphonse Mucha

job cigarettes ad Alphonse Mucha

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Soldiers Dream

Soldier’s Dream

By the 1900 Exposition Universelle where was an esteemed exhibitor, he had become acclaimed and his style soon known as Art Nouveau.

However lovely his style for commercial art was, he preferred more serious historical art depicting great battles and events– but that didn’t pay the bills. By 1910, he had found a benefactor in Chicago millionaire Charles Richard Crane, who brought luminaries such as Czech independence advocate Thomas Masaryk, Russian constitutional monarchy (Kadet) proponent Pavel Milyukov, and peacenik Maksim Kovalevsky to the U.S. to speak on Eastern European revolutionary ideals against the Tsar and Kaisers.

He toiled away on his Slav Epic for more than a decade, often working 10 hours or more everyday.

He toiled away on his Slav Epic for more than a decade, often working 10 hours or more everyday.

Crane financed Mucha’s dream work, a series of 20 immense panels that became known as the Slovanská Epopej (Slav Epic) that told the history of the Slavic peoples. Funded by Crane, Mucha rented part of the old historic 13th century Zborov Castle (which according to legend is built on the site of a gate into hell), near the Russian border and worked on his saga for several years until the advance of the Tsar’s Army into the region in 1915 sent him away from the castle, which became a battlefield of Slav-on-Slav violence for the next several years.

Nevertheless, before the Epic was complete, in 1919, his country had become Czechoslovakia and Mucha the Slavic patriot drew up the first currency, stamps, Army recruiting posters, and government insignias (even using a model of Crane’s wife for the 100 crown note!)

The 50 Crown note designed by Muncha

The 50 Crown note designed by Muncha

100 C note-- with Crane's old lady on it

100 C note– with Crane’s old lady on it

By 1928, his Slav Epic was complete and the now-68 year old patriot donated it to the city of Prague for public display– then went on to design a stained glass window for St. Vitus Cathedral, a national landmark.

Petr Chelcicky at Vodnany: Do not repay evil with evil - 1918.Vodnany was a small town caught in the crossfire between the Hussites and the Germanic forces. They chose to flee to Petr Chelcicky, a religious peasant philospher. When they arrived, they lay down exhausted and dieing, consumed by anger and grief, their homes burning in the background. Chelcicky moves amongst them with a Bible, offering comfort and support, asking that they do not seek vengeance.

Petr Chelcicky at Vodnany: Do not repay evil with evil – 1918.Vodnany was a small town caught in the crossfire between the Hussites and the Germanic forces. They chose to flee to Petr Chelcicky, a religious peasant philosopher. When they arrived, they lay down exhausted and dieing, consumed by anger and grief, their homes burning in the background. Chelcicky moves amongst them with a Bible, offering comfort and support, asking that they do not seek vengeance.

After the Battle of Grunwald (1st Tannenberg) 1410 http://en.wikipedia.org/wiki/Battle_of_Grunwald during the Polish–Lithuanian–Teutonic War. The early fourteenth century was marked by military incursions by the German Order of Teutonic Knights into the land of the Northern Slavs. In response, The Polish King Wladyslaw Jagiello and the Czech King Vaclav IV signed a defensive treaty which was first acted upon at the battle of Grunwaldu in 1410 when the Slavs won an important victory. Mucha elects to illustrate not the fighting but the aftermath, with the Polish King holding his face in sorrow as he views the cost to both enemy and ally.

After the Battle of Grunwald (1st Tannenberg) 1410 during the Polish–Lithuanian–Teutonic War. The early fourteenth century was marked by military incursions by the German Order of Teutonic Knights into the land of the Northern Slavs. In response, The Polish King Wladyslaw Jagiello and the Czech King Vaclav IV signed a defensive treaty which was first acted upon at the battle of Grunwaldu in 1410 when the Slavs won an important victory. Mucha elects to illustrate not the fighting but the aftermath, with the Polish King holding his face in sorrow as he views the cost to both enemy and ally.

Defense of Sziget against the Turks by Nicholas Zrinsky. http://en.wikipedia.org/wiki/Siege_of_Szigetv%C3%A1r during the the Ottoman–Habsburg wars, 1566 In 1566 The Turks began advancing along the Danube into the Hungarian plains. Their advance was eventually halted at the city of Sziget by a citizens' army let by Croatian nobleman, Nicholas Zrinsky. With the town under siege, he was obliged to fire the Old Town to deter advances. After a further nineteen days and with Zrinsky dead, the women of the city took refuge a watchtower; Zrinsky's widow, realising the inevitability of defeat, threw a touch into a gunpowder store, destroying the city but inflicting damage on the Turkish army which halted their progress.

Defense of Sziget against the Turks by Nicholas Zrinsky, during the the Ottoman–Habsburg wars, 1566 In 1566 The Turks began advancing along the Danube into the Hungarian plains. Their advance was eventually halted at the city of Sziget by a citizens’ army let by Croatian nobleman, Nicholas Zrinsky. With the town under siege, he was obliged to fire the Old Town to deter advances. After a further nineteen days and with Zrinsky dead, the women of the city took refuge a watchtower; Zrinsky’s widow, realizing the inevitability of defeat, threw a touch into a gunpowder store, destroying the city but inflicting damage on the Turkish army which halted their progress.

After the Battle of Vitkov Hill. http://en.wikipedia.org/wiki/Battle_of_V%C3%ADtkov_Hill during the Hussite wars 1420. In the early stages of the Hussite wars, the German King occupied the castle at Prague and was crowned king. A peasant army of Hus's followers arrived from Southern Bohemia to oppose the Germans, led by a brilliant military leader, Jan Zizka of Troenov. Their position at the hill of Vitkov was under siege until relieved by a group of Czech soldiers from Prague arrived, led by a priest bearing a monstrance. The mural shows the priest at a field bearing the monstrance and surrounded by supplicating clergy, with Prague's Hradcany Castle visible to the right.

After the Battle of Vitkov Hill during the Hussite wars 1420. In the early stages of the Hussite wars, the German King occupied the castle at Prague and was crowned king. A peasant army of Hus’s followers arrived from Southern Bohemia to oppose the Germans, led by a brilliant military leader, Jan Zizka of Troenov. Their position at the hill of Vitkov was under siege until relieved by a group of Czech soldiers from Prague arrived, led by a priest bearing a monstrance. The mural shows the priest at a field bearing the monstrance and surrounded by supplicating clergy, with Prague’s Hradcany Castle visible to the right.

Stained glass by Mucha at St. Vitus, 1931

Stained glass by Mucha at St. Vitus, 1931

Czechoslovakia became one of Hitler’s first targets and by early 1939, in violation of the Sudeten Agreements, the Germans had taken over the country (in a curious twist of fate, Crane, who funded the first U.S. oil investments in Saudi Arabia, was a big fan of Hitler’s).

Non a smile in the bunch on either side. German troops enter Prague,March 1939. Mucha would be dead within four months and his very funeral a spark of resistance in occupied Europe-- one of the first.

Non a smile in the bunch on either side. German troops enter Prague,March 1939. Mucha would be dead within four months and his very funeral a spark of resistance in occupied Europe– one of the first.

Eager to stamp out anti-German (or pro-Czech/Slav) dissent, the Geheime Staatspolizei soon rounded up the usual suspects to include the 78-year old Mucha who was interrogated and imprisoned for several weeks under horrible conditions. This led to the artist contracting pneumonia and dying in July of that year from lung infection.

The Nazis had banned all public demonstrations during the occupation, nevertheless the people of Prague turned out by the thousands for his funeral. He is interred at the famous Vysehrad cemetery near Anton Dvorak and remembered in a huge monument there.

Fearing the Nazis would seize or destroy the Epic, the paintings were stripped from their frames, rolled up, and spirited away to be hidden in a tomb in the countryside.

After the war, the newly Communist Czech government found Mucha’s works petit bourgeois and even the Epic was kept rolled up, only finally returning to public display in 1963 in a dilapidated chateau in Moravsky Krumlov, just outside of Brno– although Prague really wants them back.

The Epic on display. Keep in mind its 20 panels

The Epic on display. Keep in mind its 20 panels

He is remembered today as one of the most well known masters of, and perhaps the inventor of Art Nouveau besides being viewed as a national hero in the Czech Republic.

As such there are many of his works online in addition to several societies, foundations, galleries  and museums.

There are even hundreds who walk around with Mucha-inspired personal illustrations and a steady business in art nouveau Much ink.

Mucha-Inspired-Tattoo-4

Thank you for your work, sir.

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