At the outbreak of the First World War in Europe, many nations enlisted artists who would serve in various capacities throughout the conflict. The importance of utilizing art in the war effort was recognized for various purposes including propaganda, creating camouflage, capturing the scenes of war for posterity, and to build morale. But why in an age where photography had become more sophisticated, and even moving pictures were an available medium, was it necessary to send artists into the field? First, there is an opinion that “to paint something gave it a sense of importance or permanence.” From a military perspective there were other reasons: Artists could convey important messages about the war. Photography is limited to only what it sees (and can potentially mislead the viewer), whereas the artist-eyewitness could convey or interpret emotions, feelings, and details not necessarily evident in a photograph. Artists could paint a scene while carefully omitting details that might compromise national security if published. Artists could paint in color at a time when photography was still black and white.
Shortly after the United States entered World War I in April of 1917, many artists were employed by the government in various capacities creating art to support the war effort. As the American Expeditionary Forces were being assembled, members of the U.S. Committee on Public Information consulted with representatives of Great Britain and France who suggested that “capable artists should be commissioned and assigned to duty within military zones not open to civilians.” General John J. Pershing, commander-in-Chief of the American Expeditionary Forces, was consulted and agreed to the plan. Eventually, eight artists were selected and commissioned as captains in the Army Engineer Reserve Corps. These chosen “Eight,” as they were referred to, were well-known and well-qualified illustrators from various backgrounds. They were William J. Aylwood, Walter Jack Duncan, Harvey Dunn, George Harding, Wallace Morgan, Ernest Peixotto, J. Andre’ Smith, and Harry Townsend. With little or no military training, these newly appointed and uniformed captains were immediately shipped to the Western Front.
Upon arrival in France, after some confusion with their unusual army status as “official artists,” it was decided to assign the “Eight” to the Press and Censorship Division. The artists were given specific orders to supply sketches and paintings for both historical purposes and for use in American publications. These men were issued permanent passes which gave them considerable freedom to do their job. The “Eight” would assign themselves to different units and accompany these soldiers into the trenches and in camp. They sketched and painted under extremely difficult conditions. Through their eyes we can witness the human side of life at the front and sometimes the violence and horror.
The enormous surviving body of work created by these “Eight” and several other unofficial artists in the ranks, is an impressive historical artifact and well worth viewing.
