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Michels Art and War eJournal (Renaissance (The Battle of Salvore image…

- - - - Assyrians
        
        Pre-Dynastic Egypt
        
        Ruled by Pharos
        
        The importance of the figure determined the durability of the material used.
        
        Palette of Narmer
        
        Doubled sided relief stone
        
        Composite view
        
        Used different registers (section) to show different images
        
        Being a palette, it was intended to be used for makeup.
        
        The bull represents war + the king
        
        Hierarchy of scale
        
        10 decapitated people to show power
        
        Narmer was the pharaoh that united Egypt which is shown
        
        The Egyptian God of War Horus is shown through the Hawk and the multiple Gods shown through symbols like the Hawk, reeds cows e.t.c show that the Gods helped him tp united Egypt.
        
        The pharaoh is shown as being the main reason for victory.
        
        Mentioned a lot in the bible
        
        The priestess of Yana when having sex with the king produces a ⅔ divine child according to their beliefs, similar to Gilgamesh.
        
        The first war focused civilization
        
        The Lion Hunt of Ashurbanipal
        
        Relationship to culture + form and function
        
        The killing of lions was reserved for kings (the people accompaning the king were also aloud to kill though)
        
        Shows what technologies were used for warfare during their time. (Bows, spears, war chariots, and swords)
        
        Made in the style of a comic strip in order to help spread out the scenes of the story over a larger space, to surround the palace.
        
        Made predominately to glorify the king of that time and showed off pride and bravery
        
        Materials + Medium
        
        Made using Gypsum Alabaster which was a type of rock that was found in multitudes in the Mesopotamian area.
        
        When not protected from the weather, it would tend to deteriorate over time. Paint was used to not only provide more detail, but also to help protect the reliefs.
        
        Made using copper and iron chisels of different sizes to help with the immense amount of detailing that was used for the kings and animals e.t.c.
        
        Patronage + Provenance http://etc.ancient.eu/photos/assyrian-lion-hunting-british-museum/
        
        Most likely was made during the time when Ashurbanipal was alive because of potential edits that he made to the images to make things look different.
        
        Originally was discovered by Hormuzd Rassam in 1853 and was moved to and has been stored in the British Museum since 1856.
        
        Style
        
        Relief carving into gypsum alabaster that composed one large scene (think horizontal comic strip) by a master and group of artists -- of the court, typically,
        
        Technique
        
        An imprint would be made by the master and then the detailing would come later, the group would work on the background and/or animal shapes
        
        Ashurnasipal
        
        Shown to be extremely ruthless through the playing of catch with decapitated heads.
        
        Similar in materials and how it was made to the lion hunt of Ashurbanipal
        
        The king was shown leading all of the troops and there was a brotherhood between the soldiers that helped them to be more successful
        
        Tortured the captives to show power and discourage other people from resisting them.
        
        Vultures were depicted many times
        
        With the final triumph, the troops are seen cheering for the king, showing how all of the soldiers looked up to the king.
        
        First time showing the logistics of warfare.
        
        Shows teamwork which made them so successful
        
        Hero overpowering a lion
        
        Gilgamesh is shown being triumphant over the lion
        
        Extreme detail is given not only to Gilgamesh but also the lion.
        
        Gilgamesh the hero scale wise is much larger than the lion to show his dominance.
        
        Facing the audience which shows that he is divine
        
        Large amounts of symbolism through different things Gilgamesh is seen wearing.
        
        Placed in front of the king, the power of the hero was thought to have traveled to the king through the statue.
        
        Sargon II was responsible for the conquering of the Israelites
        
        Tried to conquer people to help grow the influence of the kingdom through their main God.
        
        Assyrians were extremely skilled sculptors and artists
        
        Their army was organized based upon their function to help make the army more effective.
        
        Discovered in 1843 in the old capital of Assyria, Khorsabad.
        
        Paid homage to earlier civilizations like how Gilgamesh was originally Sumerian.
        
        Limestone sculpture
        
        The hero was traditionally identified as Gilgamesh, the king of Uruk
        
        Power was believed to pass on from the hero to the king
        
        The Hero Sculpture was carved in limestone and stands 5 meters tall (extremely tall, tall = power)
        
        The curls symbolize virility and the length of the hair symbolizes wisdom
        
        The rings on his arms symbolize his sovereignty over the world
        
        The hero wears a short fringed tunic, shawl and jewelry.
        
        It was originally colorfully painted with great detail
        
        King Esarhaddon said they were used to "repulse the wicked"
        
        Unlike the soldiers and servants, the hero stands with upper body and head facing us. This posture is very rare in Assyrian art and was only used for depicting magical beings.
        
        Used as a protection from evil
      - Very war-like
      - The Sumerians most likely married into and mixed into/formed the Akkadian culture
      - Added onto the cuneiform used by the Sumerians
      - Stele of Naram-Sin
        
        Symbolic representation of the king of the Akkadians’ (Naram-Sin) victory
        
        The stance of the king is shown to be prideful and the helmet he is wearing shows that he is divine.
        
        Meant to show Naram-Sin’s people his strength and to help the people believe in him.
        
        Relief
        
        Hierarchy of scale
        
        The king is seen to be the reason for the victory.
        
        Troops are organized which shows their discipline.
        
        The king (divine and a warrior) is leading his troops to a greater place.
        
        One of the first or the first example of landscape art.
        
        Helmet is a symbol of divine power
        
        The suns at the top represent the gods - there were originally 3 but only 2 are now visible because the stele was at some point damaged
        
        His stance is powerful and all the people around him are looking up at him. He is also physically placed above everyone else showing his power -hierarchy scale
        
        On the right
        
        Soldiers climbing up,
        
        Uniform, and organization
        
        On the left
        
        Wounded and defeated lullubi people falling down
        
        Chaos - to show that the lulluibi people were unorganized and seen as barbaric to the Akkadians
        
        The viewers attention is drawn from the bottom where the Akkadians are climbing up, to the king then back down to where the Lullubi people are falling
        
        Space:Bottom half is very busy and clumped, while the top half is very spacious and open, allowing for the attention to be on the king
        
        Size:The King is the largest figure, symbolizing his importance
    - - Possibly for decoration or used as a sound box
      - A king should protect and provide resources for their people
      - Found in a royal tomb alongside many other items of wealth located in modern day Southern Iraq
      - Materials come from far and wide showing how much foreign trade
      - Inlay techniques + Flint Blades
      - War side + Peace side (How king should act during both times)
      - Nan (God of the Moon) was the patron god of the city-state of Ur.
      - Comparing war and peace influences later on pieces
      - The first civilization to show the domestication of animals
      - Hierarchy of Scale was shown by the king being larger than everyone else
      - The king organizes everything that goes on in society. Does not take part in the war but is the beneficiary of the war and peace times.
      - Made using a combination of shells, lapis lazuli, Red Limestone, and Bitumen
      - The Standard’s Peace side has a completely different theme from the War side. Its two lower registers illustrate the bounty of the land. The bottom one depicts men carrying produce in bags on their shoulders and in backpacks supported by headbands, as well as men leading onagers by ropes. The second register shows men leading bulls and caprids (sheep and goats) and carrying fish, presumably the produce of the pastures, rivers, and swamps. The upper register depicts a royal banquet. The ruler, wearing a kilt composed of tufts of wool, is shown larger in scale than the others—the center of attention. The other banqueters, who wear plain-fringed kilts, face him and raise their cups together while attendants provide food and drink. Banqueting in early Mesopotamia usually involved music. A lyre player and a singer, distinguished by their long black hair, stand to the right of the scene.
      - War side
        shows the defeat of some unknown enemy. At the bottom, war carts, drawn by onagers (donkeys), race with increasing speed from left to right, trampling naked enemy soldiers. The second register shows a phalanx of armed soldiers to the left, while on the right soldiers in a variety of poses dispatch some captives and lead others away. The top register shows the ruler, his height exceeding the border of the field, facing right. Behind him, his cart is drawn by four onagers alongside his attendants. In front of him, soldiers parade nude and bound prisoners.
      - By the 3rd millennium BCE, southern Mesopotamia was organized into 20-30 city-states, consisting of urban centers, towns, villages, and hamlets. Each city-state had its principle guardian deity. Ur’s patron was Nanna, the moon god. Officially, the city-state was the deity’s property. These deities chose and nurtured the city-state’s ruler, whose title varied from place to place. Lugal, literally, “big man,” was one title. For their part, city-state rulers acted on the deity’s behalf, even on the battlefield. Though sources provide evidence of peaceful cooperation among city-states, they equally record conflicts, both local disputes and more wide-ranging conquests. A long simmering dispute over the border between Lagash and Umma and involving access to water is the best documented interstate conflict. The Standard of Ur and other royal monuments provide graphic illustrations of these battles and their aftermaths.
        In addition to being a warrior, the city-state’s ruler was an intermediary between the gods and the people. One of his major responsibilities was to build and maintain the temples of the city’s gods and goddesses, a responsibility that included provisioning their cults. In doing so he guaranteed the fertility of the land, which the Standard’s Peace side so vividly illustrates.
- - - - Attributed to Euphronios (ancient Greek potter)
      - Euphronios was known for being important in the transition from black to red potery
      - Late Archaic period
      - “Amazon Battle”
      - The Greeks saw the Amazons as barbaric
      - The Greek soldiers are shown with hoplite style gear.
      - One side of the vase leads to the other
      - Made from terra cotta and liquid clay
      - Used watered down slip
      - Black figure pottery was used originally but than red figure vases were introduced (this pot is red figure)
      - Black figure pottery was in composite view
      - Euphronios’ red figure pottery helped to show three dimensions and not composite view.
      - The lighter figures on a dark background allowed for more detail to be made.
      - The battles were meant to be symbolic of the battle between civilization and barbarism.
    - - Metope sculpture
      - Orders
      - Tryglyphs (divides sculptures/relief)
      - Metos = individual sculptures
      - Doric in that there are many Metos surrounding the temple instead of one long relief.
      - Parthenon
      - Destroyed during the Second Persian invasion
      - 15 years to build
      - Had to employ the most skilled artists and sculptures in Greece
      - Marble = strong + reliable
      - Served as the city’s treasury (Athens)
      - Later converted to a temple for the Virgin Mary during the sixth century
      - Partly destroyed from an explosion from Ottoman weapons storage inside of the temple.
      - Centauromachy
      - Centaurs were seen as barbaric
      - Centaurs were meant to represent the anarchy and chaos the Greeks were fighting against
      - The battle between the Greeks and the centaurs
      - Upper half = human and lower half = horse
      - Centaurs were believed to have lived in the mountains and forests of Thessaly.
  - - - Facts
        
        Created in the third century BC originally and the Romans recreated them in the first or second century AD
        
        Made using Bronze (Original Greek sculptures) and Marble (Roman Copies)
        
        Marble is also beneficial to be used as a reflection of humans because the way in which marble permeates light is the same way the human body does.
        
        Tries to provoke empathy from the audience.
        
        A victory celebration
        
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      - Dying Gaul
        
        Dying from a wound from the battle
        
        Shows lots of emotion
        
        Humanity + Beauty and Destruction
      - Ludovisi Gaul
        
        Shown to be committing suicide after killing his wife
        
        Killed his wife to prevent the rape of her by the Greek soldiers that are coming
        
        Preservation of pride, shame
    - - Originally a floor mosaic
      - Persian King Darius is shown as being highest.
      - Foreshortening is used to create a three dimensional landscape
      - Alexander’s breastplate had Medusa on it
      - Alexander’s hair showed royalty
      - His horse (Eosphorus)
      - Tesserae were used originally to make up the floor mosaic
      - Opus Vermiculatum
      - Remarkably detailed for a private painting
      - Represented wealth and power for whoever had it in their house
      - The original was lost but another replica was made in 1983
      - First depiction of an actual battle
      - Massive feeling of flowing right as the Macedonians are smashing through the Persians.
  - - - Destroyed by a series of earthquakes
        
        Most likely made of Marble
        
        Completed after Mausolus and his wife died
        
        Was very large to help show Mausolus’ power (showing off)
        
        Between the Hellenistic and Archaic eras
        
        Four different artists did four different reliefs on the different sides of the tomb.
        
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- - - - Shows the military victory (logistics are important in the preparation and organization)
    - - Middle
    - - Top
  - - - 14 feet tall roughly
  - - - Unknown original owner
- - - - The Battle of Anghiari
        
        The Battle of Anghiari is a lost painting by Leonardo Di Vinci at times referred to as, “The Lost Leonardo”, which some believe to be still hidden beneath later frescoes in the Hall of the Five Hundred in the Palazzo Vecchio, Florence.
        
        Its central scene depicted four men riding war horses in a battle for possession of a flag at the Battle of Anghiari in 1440
        
        It is 16.7 by 6 meters
        
        It incorporates three scenes: the beginning, middle, and end of the battle
        
        Da Vinci only completed the central battle scene of colliding horses and cavalry.
        
        October 1503, Da Vinci was commissioned to paint the mural of the Battle of Anghiari, for the Great Council Hall of the Palazzo Vecchio in Florence,
      - Comparisons
        
        Similarities: drama as indicated by the diagonals, especially on the Battle of Cascina (left) with the humans to the right and on the Battle of Anghiari (right) with the horses one side and the riders on the other. Passion and excitement can also be seen with the persons and animals doing action-like motions: stabbing, riding, climbing, and etc…; the twisted figures add a layer of crazed energy to the depictions -- keeps the viewer in suspense (point to the twisted men on both paintings, horses too on the right one), men on both seem to be in various contorted states of emotion and survival-based anguish
        
        Differences: Michelangelo’s work (left) has a broader image where the viewer is almost asked to rove his eyes from one anguished person to another; Leonardo’s (right) differs in so much that the frenzy seems more ordered towards the middle of the painting, Leonardo’s work has animals whereas Michelangelo solely focuses on human anatomy and physiology, Michelangelo (as per his usual) has many men in the Classical contrapposto stances whilst Leonardo doesn’t (men riding or hiding or being trampled).
        
        Style + Technique
        
        The Battle of Anghiari (Leonardo)
        
        A Cartoon was originally made and placed over a plaster wall, Went horribly wrong at first as the first night there was lots of rain + humidity and the cartoon fell down and ripped.
        
        His second technique was encaustic, which was “Firstly a layer of granular plaster was applied, this being primed to a hard flat finish; over this was added a layer of resinous (yellowish/brown) pitch which was applied with sponges. The combination should have supplied a suitable base for the application of oils.”
        
        Disegno fresco (Disegno as the drawing/painting technique where the image was first drawn out with lines and then it was painted over using the lines as reference)
        
        The Battle of Cascina (Michelangelo)
        
        Also made a cartoon that was destroyed by his rival Bartolommeo Bandinelli out of his jealousy.
        
        The specific scene with the Battle of Cascina allowed Michelangelo to draw male figures in various postures showing contrapposto.
        
        Contrapposto is the normal stance that people are usually in with most of their weight on one foot, dynamic.
        
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  - - - Made of Cerrara
      - Agostino Di Duccio, Antonio Rossellino, Michelangelo were all working on the statue at different times, each being commissioned seperately at different times to do the sculpture.
      - The marble was very thin and had a fault so you couldn’t use all of it.
      - Michelangelo tried to show him as young and dominant in the spinning stance
      - Only used one marble block so very thin.
      - His facial expression shows him being nervous and defiant. (human emotions)
    - - Shown to be similar to a modern day MLB pitcher
      - We start to feel the power and empathy flowing out of it
      - Not similar to other Baroque style artworks
      - Shows how powerful he is by showing the sling being wrapped around about ready to throw the rock.
      - Shows David’s similarity in power to God.
      - Shows movement and is not still like the other two statues.
    - - First unsupported standing work of bronze cast since antiquity
      - Shown in a feminine stance
      - Contrapposto
      - Standing on Goliath’s head
      - Possibly a statement about sexuality and homosexuality
      - Lots of controversy, could have been arrested for the statement about
- - - - Painted using water colors and gold on pieces of paper that were organized to be similar to a book.
        
        Akbar is pictured in bright white clothes so he is noticeable.
        
        There is no hierarchy of scale but his importance is shown by him being at the top of the hill, above everyone else
        
        Sabats is a covered paths that allow troops to get closer to the enemy
        
        The placement of the hill directs the viewer's eye from the bottom, then forwards, in the way that the people are moving
        
        The Mughal emperor Akbar himself directed the attack of the imperial forces on the Rajput fortress of Ranthambore.
        
        It depicts Rai Surjan Hada, the ruler of Ranthambore in north-west India, submitting to the Mughal emperor Akbar in 1569, after a fiercely fought campaign of immense strategic importance to the expanding Mughal empire. Akbar is shown seated on a throne under a canopy, with the raja bowing in submission before him.
        
        Very different from war art in the western world in that there is a sense of a condensed space, or no space at all.
        
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  - - - Original painting by Ruben, who essentially was the creator of the Rubenist movement which emphasized the color over the drawing.
        
        The painting was created in response to the thirty years war and the plague that swept through the town of Florence, killing off 10% of its population. The significance of Florence was that the Grand Duke of Tuscany, Ferdinando II de’ Medici, potentially wanted a painting to show the cause for the plague.
  - - - Many darker colors were used and the only things that catch your eye are the white armor that Charles V is wearing and the lighter background behind and to the right of Charles V.
        
        Shown as being cool, calm, and collected so that he comes off more of someone who is powerful and confident.
        
        The holding of the spear shows that he was a great military general.
        
        The painter often met with Charles and took feedback on how to depict him.
        
        The trees are done in a way that instead of individual leaves, single brush strokes are used for the branches with leaves.
  - - - The renowned Spanish general Ambrogio Spinola made the decision to march on Breda, even though the city was heavily guarded by the Dutch. Spinola had made a positive military reputation for himself earlier in the war. Consequently, the siege of Breda was not just another battle in the eighty years war, but a contest between famous generals, the Spanish Spinola and the Dutch Nassau brothers.
        However the first Dutch general/brother, Maurice of Nassau, did not last long and died before the end of the siege, leading to Justin of Nassau taking over and trying to finish the battle. This did not last long and the Dutch soon surrendered the city to the Spanish. Funny enough though, Spinola also died later “from shame” after badly losing in a different battle shortly after Breda.
        
        The painting illustrates the exchange of keys that occurred three days after the battle between Spain and the Dutch. The focus of the painting is not on the battle itself, but rather the reconciliation between the two generals. At the center of the painting, literally and figuratively, is the key given to Spinola by Justin of Nassau. With the help of lines used with the spears as well as the use of shadow on the ground, the key becomes the focus of the entire large canvas, locking all other components into place.”
        
        The painting shows the humanity and moral values that the Spanish wanted to portray rather than the actual strength of the army.
        
        The symbol of the cross in the background shows that God was on their side.
        
        There are three different people who are looking at where the painter would be standing, these figures are potentially people that King Philip IV wanted to have shown as important in the painting.
  - - - His most famous work, a series of 18 engravings that correlate to the carnage and destruction and pestilence caused by war. The series panels do not directly follow one another, nor do they directly examine the Thirty Years War, but that may have been a purposeful choice as not to upset the hierarchies of France and/or to make a generalization of the chaos of war. This was done with the sole purpose of being “anti-war propaganda”
        
        Most of the engravings make the audience feel empathy for the looters that are shown as they are doing the looting because of the horrid conditions that they are living in.
        
        All of the engravings came off of metal plates than would smooth out over time so only a certain amount of authentic engravings were made.
        
        The Miseries of War shows how war changes people and makes them commit atrocities that they would normally not do. Also shows Barbarians and cruel people versus the innocent and common folk of the countries.
  - - - This painting was created in the 1640’s nearing the end of the Thirty year old war.
      - The thirty year old war was the inspiration for his painting.
      - The painting is filed with symbolism.
      - Many of the people are ambiguous while many are not.
      - The Guns, Swords and Skulls symbolize death and fighting
      - Sharp animal teeth represent savagery
      - The City is shown in Chaos
      - The scattered weapons and birds fighting birds, dogs fighting dogs represents the savagery cost of war.
      - Painting focuses on two people
      - One is a soldier dressed completely in traditional armor with a cape
      - The second person is wearing a toga and is holding a torch. Believed to be a rebel.
      - The whole painting basically just shows death all around the city.
      - Buildings are on fire
      - Skulls are scattered throughout the painting
      - Overall the painting represents the horror of the Thirty Year War
      - There is a silhouette of a Goat and a scorpion in the background which is most likely to be astrological signs as you can see a serpent behind the goat.
      - He uses colors to represent a lot of what is going on.
      - Red symbolizes the bloodshed
      - Black symbolizes the afterlife and dark times
        
        Oil on copper
        
        78.8 x 97 cm
        
        It is a Flemish Painting
  - - - Oil on canvas
      - Sketch of the image first
      - Typically, oil paints are mixed with linseed oil, poppy seed oil, walnut oil, and safflower oil
      - Oil paint did not gain popularity until the 15th century but quickly became the default method of painting
      - transition began with Early Netherlandish painting in Northern Europe
      - Oil remains wet longer than other paints so it allows changes to be made more easily
        
        Made by Philips Wouwerman
        
        Dutch painter
        
        Known for painting hunting and battle scenes
        
        Figures with horses
        
        Praised for his accurate depictions of horses
        
        Diagonal slopes of land
        
        Mostly imaginary subjects
        
        Finished in 1646
        
        We know this because it was one of the few signed and dated works of his
        
        Measures 4.5 ft x 6.25 ft
  - - - Sebastiaen Vrancx
        
        Flemish Baroque Painter
  - - - He was a Spanish romantic painter and printmaker
      - He is considered the most important Spanish artist of the late 18th and early 19th centuries
      - He was born in the village of Fuendetodos in Aragon on March 30 1746 to Jose Benito de Goya y Franque and Gracia de Lucientes y Salvador
      - They were a lower middle-class family
      - Francisco was their fourth child, following his sister Rita, brother Tomas, and second sister Jacinta. Francisco also had two younger brothers Mariano and Camilo.
      - In 1807 the French army was led into the Peninsular War against Spain which affected Goya deeply. Though he didn’t vocalise his thoughts in public, they can be seen throughout his work such as his Disasters of War series of prints and his 1814 paintings The Second of May 1808 and The Third of May 1808
      - Other works from his mid-period include the Caprichos and Los Disparates etching series, a lot of these paintings had to do with insanity, mental asylums, witches, fantastical creatures, and religious and political corruption. Which all indicate that Goya feared for his own mental and physical health but also his country’s fate.
      - His late period culminates with the Black Paintings of 1819-1823. Goya eventually left Spain in 1824 to retire in Bordeaux. There he completed his other canvases. Following a stroke which left him paralyzed on his right side, and suffering failing eyesight, and poor access to painting materials, he died and was buried on April 16 1828 at the age of 82.
        
        He studied painting from the age of 14 under a Spanish Baroque painter Jose Luzan, where he copied stamps for 4 years until he decided to work on his own. He moved to Madrid to study with Anton Raphael Mengs who was a german painter, he was a popular painter with Spanish royalty.
        
        Goya submitted entries for the Real Academia de Bellas Artes de San Fernando in 1763 and 1766, but was denied entrance
        
        Goya relocated to Rome at his own expense, he was unknown at the time and so the records are uncertain. Though, two surviving mythological paintings were completed during the visit, a Sacrifice to Vesta and a Sacrifice to Priapus, which were both dated 1771.
        
        He married Josefa Bayeu in 1773, she was the sister of Francisco Bayeu who Goya befriended after studying with him
        
        Goya became a court painter to the Spanish Crown in 1786 and this early portion of his career is marked by portraits of the Spanish aristocracy and royalty, and Rococo style tapestry cartoons designed for the royal palace.
        
        He suffered a severe and undiagnosed illness in 1793 which left him deaf. After 1793 his work became progressively darker and pessimistic.
        
        He was appointed Director of the Royal Academy in 1795.
        
        In 1799, Goya became the highest rank for a Spanish court painter. In the late 1790’s he was commissioned by Godoy, he completed his La maja desnuda, a daring nude for the time which was indebted to Diego Velazquez
        
        In 1801 he painted Charles IV of Spain and His Family, which was influenced by Velazquez
    - - The Peninsular War was a war fought during the Napoleonic wars. It was originally supposed to have been fought by the French, British, and Portuguese, however, Spain was involved when Napoleon invaded Spain during the beginning of the war.
        
        King Charles IV was forced to resign by people loyal to his son, Ferdinand. This allows Napoleon to capture much of Northern Spain and led to revolts all around Spain, with the most notable revolt being in Madrid which would influence Goya's later paintings, Second and third of May 1808.*
        
        Eventually, British forces led by Wellesley were able to go through Portugal and directly fight back against the French. As the relations between Russia and France feel through, Napoleon would be forced to withdraw from Spain to secure his Eastern border with Russia, bringing an end to the war.
        
        At first many of the Spanish people were welcoming the French because of the harsh restrictions forced upon them by the Inquisition, as things went South, relations got worse, war broke out, and Goya was one of many who created art about the major conflict.
    - - The section showing images of war does not take one specific side of the Peninsular war conflict, but rather shows the true atrocities that can be committed during war. The last plate however in the war section, depicts a women firing a cannon after the Spanish crew has been killed off, this is similar and probably inspired a similar story that happened during the American Civil War.
      - The second section of plates shows famine. The famine was something that came during the Peninsular War and killed off as much as 20,000 Spanish civilians and the plates show the horrible suffering that people had to go through during this time. There are multiple references to orphans when the parents have been killed off by the starvation.
      - (execution + clergy) Many of the later plates have separate meanings by themselves. There are multiple plates however, that are meant to be read side by side and only then will the titles of the plates make sense as some of them are connected. This final set includes multiple different themes ranging from women fighting back and shown as being courageous, actions against religion because of the poor handling of the situation by the inquisition (also its harsh set of rules against innovation), and showing how during the war, humanity and inspiration were being taken away as seen by the dying women surrounded in light in two of the plates.
    - - Also known as the Charge of the Mameluks
      - Mameluke is referring to the Mameluke warriors who were former slaves that became the rulers of Egypt. The Mameluke warriors had the curved swords named after them, and were hired by many European powers such as France as shown in the painting. Very deadly soldiers known for their skill in battle and their cruelty/savagery
      - The Second of May 1808 took place during the Dos de Mayo Uprising and specifically the painting is set in the middle of the Puerta del Sol square which is in the middle of the city of Madrid.
      - The painting shows the early hours of the conflict between the French forces responding to the rebellion started by the citizens of Madrid who were upset over the remaining members of the royal family being taken away. Specifically the remaining children (daughter and youngest son, Francisco de Paulato of King Carlos IV and his wife Maria Luisa.
      - The painting shows a clash between French cavalry forces which seems to be comprised of domestic french cavalrymen and Mameluke cavalry that are charging into the rebelling citizens of Madrid.
      - The Mameluke cavalry used by the French might have been moors which is a more general term to describe people of North African (along the Mediterranean sea) decent.
      - There seems to be a message with the painting as the civilians are overpowering the superior in quality cavalry. Showing the heroism of the Spanish civilians.
      - The depiction of the citizens fighting using simple weapons did not please later rulers/governments, so the painting was not hung on display for the public until many years after it was finished.
      - Goya asked for money from the Spanish government to help fund his paintings and‘… perpetuate with the brush the most notable and heroic actions or scenes of our glorious insurrection against the tyrant of Europe…”
      - The original painting was severely damaged during the Spanish civil war when the Nationalists (Fascism) began bombing the city of Madrid and the Republican Government (Democracy) that had a hold of Madrid moved artworks such as the original Second of May 1808 from the Prado. The truck was in an accident and the painting was ripped/torn in multiple pieces with parts of the original painting being lost.
      - There have been multiple restorations of the original, the first being in 1941 and the second in 2007-2008.
      - Oil on canvas painting. (Same dries slower so there is more time to change/edit the color)
      - Uses much brighter colors than its counterpart such as pastel blues, pinks, and browns to show a brighter mood and more positive message.
      - The painting has no real focal point that is trying to draw your attention, this is because Goya wanted to show the chaos of war. There is also a large presence of horses in the painting and Goya is also trying to show acute angles of movement which helps to solidify his wanting of the painting to not have a single focus point. The painting is meant to be examined multiple times following the different angles so you can better understand the elements of the painting.
      - It is important however, to attract attention to two figures in the painting, both Spanish civilians. One stabbing the right front thigh of the white horse and the other is about to stab the Mameluke soldier who is being pulled off of his horse. Both of these figures are shown later in the Third of May 1808 painting getting their punishment for fighting the French.
      - Goya was likely to have been influenced by the Baroque artist Peter Paul Rubens. One work specifically could have battle Reuben’s The battle of Ivry.
      - The Second of May 1808 painting was made roughly two weeks or a couple of months before the Third of May 1808 was finished. The Second of May was made in 1814, after the French army and been kicked out of Spain.
    - - Oil on Canvas
      - 8 feet 9 inches by 11 feet 4 inches
      - The colors used on this oil canvas are supposed to highlight the victims in light and make the firing squad seem evil by shading it dark and showing the blackness around it
      - Painting completed in 1814 by Francisco Goya
      - Sought to commemorate Spanish resistance against Napoleon's armies
      - Image of the horrors of war
      - Commissioned by provisional government of Spain
      - Diverging from traditions it is acknowledged as the first painting of the modern era
      - The first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention
      - Spain wasn’t happy when the Napoleon came to rule the French
      - It is said that there are 4 canvases made by Goya about a series of the second and third of may but two of them disappeared
        
        The disappearance of two paintings may indicate official displeasure with the depiction of popular insurrection
      - The third of may inspired a number of major paintings
      - It is a scene of martyrdom–a feat that is believed to have formed the foundations of the much celebrated Spanish freedom
      - Carries the heavy message of liberation and an instant reminder of Spain’s freedom
      - Painting was criticized for being gory but ended up being one of the most famous war paintings
      - The scene is depicted as an ambush
      - The killers are turned so the viewer can’t connect with them
      - Most of the victims have faces but the killers do not
      - The focus on the victims is perhaps a way to make the viewer feel sympathy for the victims
      - The main victim is shown in white which shows his innocence and righteousness
      - A couple Spanish men lie in a pool of blood to show the realism of war
      - The rest of the men have looks of fear across their faces and the main victim raises his hands up to show he surrenders
      - The painting was set in the early morning/ end of the night hours following the uprising
      - Emphasis on two masses of men
      - Firing squad vs. captives
      - By a stroke of genius Goya was able to contrast the fierce repetition of the soldiers attitudes and the steely line of their rifles
      - The brightest illumination falls on the huddled victims to the left including a monk in prayer
      - On the right side stands the firing squad, engulfed in shadow and painted as a monolithic unit
      - Central group cowers in fear
      - Background - It all started when Napoleon the 1st of France declared himself First Consul of the French Republic.
      - Then he eventually crowned himself emperor in 1808
      - King Charles IV was seen as a “half wit king” who renounces cares of the state for the satisfaction of hunger.
      - Napoleon took advantage of the weak king, and occupied a plan to seize his throne.
        
        Napoleon basically tricked everyone for his own benefits.
      - Companion piece to the Second of May 1808
    - - The Fates Clotho, with her distaff (which Goya replaces with a doll or newborn child, possibly an allegory of life), and Lachesis, the spinning one, which in this representation looks across a lens or in a mirror and symbolizes time, since she was the one who measured the length of the fiber. The painting is a reinterpretation of the mythological subject of the goddesses of destiny—the Moirai or fates as recounted in Homer, Hesiod, Virgil and other classical writers. These "Daughters of Night"[4] were headed by Atropos, the inexorable goddess of death, who carries a few scissors to cut the thread of life;To the three female figures suspended in the air a fourth figure is added in the foreground. Possibly male, this figure's hands are bound behind him as if he is captive. If this interpretation is true, the fates would be deciding the destiny of the man whose bound hands cannot be opposed to his fate. It has been speculated that he may represent Prometheus, who was bound on a mountain and left to be savaged by an eagle as punishment for stealing fire from Mount Olympus.[5] All four are hideously ugly.[6] https://en.wikipedia.org/wiki/Atropos_(Goya)The ugliness of the fates represents Goya’s fear of death. The man bound could have been inserted into the picture to make it relatable to Goya himself.
      - Fighting with Cudgels The painting with the clearest meaning, Duel with Cudgels, shows two peasants fighting each other with their legs stuck in a quagmire, unable to escape from one another except by beating their opponent to death. Most scholars agree that this represents Spain's violent civil war at the time: stuck in their home country, the only way forward for each side was victory.
        Shows the desperation that Spain was experiencing and how them fighting was the only choice that they had for survival.
      - Judith and Holofernes The account of the beheading of Holofernes by Judith is given in the deuterocanonical Book of Judith, and is the subject of many paintings and sculptures from the Renaissance and Baroque periods. In the story, Judith, a beautiful widow, is able to enter the tent of Holofernes because of his desire for her.
      - Men Reading Thematically less dark than the other works in the series, although they are chromatically darker. The book that most of the people are looking at seems to be emitting light, but not a lot of it, possibly saying that the people are not able comprehend the book or are unable to acquire the knowledge
      - Women Laughing The women are seen with different faces where one for example looks wicked and evil. The mural is very dark which might show the same ignorance that many of the other "Black Paintings" show.
      - The dog It's a frightful picture of dream-like helplessness and despair. It's also a demonstration of the power of simplicity. The dog is shown as desperate to get out of whatever they are in, but no one is there to help them. The background of this mural is much lighter than most of Goya's "Black Paintings"
      - Fantastic vision The title is likely a feminine naming of the demon king Asmodeus from the Book of Tobias. Asmodeus also appears in the myth of the Greek Titan Prometheus, in which the goddess Minerva carries him to the Caucasus mountains.[2] Evan Connell notes that the mountain's shape resembles Gibraltar, a refuge for Spanish liberals during the aftermath of the Peninsular War.[4] In the foreground, a row of French soldiers, resembling those from Goya's 1814 The Third of May 1808, take aim at a group of people passing in the lower distance. This group is traveling with horses and wagons, and are perhaps refugees[3] fleeing from the earlier war with France, the victims of whom Goya had detailed so closely in his The Disasters of War.
        https://en.wikipedia.org/wiki/Asmodea Another reference to Prometheus, who’s Greek name means forethought. The common references to Prometheus could have been used by Goya to symbolise his forethought about death. Prometheus was also responsible for the creation of man, which Goya demonised in his paintings.
      - Procession of the Holy Office This painting is meant to show how Goya felt about the Inquisition at that time. He shows the clergy and enforcers of the inquisition as being not human and also going away from light and hope into the darkness where Goya thought the Inquisition brought to Spain.
      - Leocadia It shows a woman commonly identified as Goya's maid, companion and, most likely lover, Leocadia Weiss. It seems to be one of the only positive paintings that he did during this time as this one is most likely to glorify the person who stood by him during his time of suffering and depression.
      - Two old men In the picture, two elderly figures dressed in friar's habits stand before a black background. The man in front has a long grey beard, is tall and rests on a cane. He may represent Chronos, the god of time. Beside him is a highly-caricatured figure whose face is animal-like. This figure seems to be shouting into the ear of his companion, which might be an allusion to Goya's deafness. It could also be that the thing whispering in the ear of the old man is badly influencing him.
      - Saturn devouring his son We can speculate that it deals with Goya's own fear of madness and death.
        (The face is of one who has gone mad, and is full of anguish)
        Goes off of the original Greek myth where all of the Gods that represented truth and reason were eaten by Saturn who represents hate and evil. In the myth, the Gods are eaten whole, but in this painting, Saturn is eating his son piece by piece which is a difference from the original myth.
      - Witch's sabbath Shows humanity living in a dark and strange world full of evil. Humanity entwined with Satan and supernatural forces. Many of the faces are distorted, grotesque.
      - Two old men eating soup The transition between life and death is clearly portrayed here. The old man with the face like a skull is barley ready to slip away. This painting evokes a feeling of uselessness among these men, they are living for nothing. There could also be a sense of greed as both of the men are pointing to the spoon/soup and the healthier man is hoarding it.
      - The meadow of San Isidro versus A pilgrimage to San Isidro The painting of the meadow at San Isidro seems to be a lively and nice place to be just outside of the city of Madrid, however after the Peninsular war and the Inquisition, Goya's view totally changed. We can see the drunken people in The Pilgrimage to San Isidro walking to the meadow but now everybody is seen as being confused and the picture has a much more negative and depressing message. "Unlike The Meadow of San Isidro, Goya’s black version captures the vice of humanity during the Spanish holiday. Drunken and crazed prominent figures parade through the night. Instead of focusing on the visual as his former paintings did, Goya changes his style from realism to focus on the underlying monstrosity of mankind."
- - - - The painting shows the surrendering British army of Yorktown, Virginia . This decisive battle led to the end of the Revolutionary War. The blue sky filled with smoke and broken cannon suggests that there was a battle prior to the surrender...
        
        Created by John Trumbull
        
        The background of this battle is that Lord Cornwallis who was surrounded by a force of 7,000 men. He attempted to rescue himself through the seas, but the British ships were repelled by the French. Then in the following weeks General Washington deployed more men into his troops creating a larger army to attack the remaining British positions resulting Cornwallis too surrender on October 19, 1781
        
        The painting has remained in the Capitol Rotunda ever since, although in the year 1971 a penny was thrown at the painting and pierced through the canvas.
    - - General Montgomery was leading the Continental Army against the city of Quebec during the invasion of British held Quebec. Born in Ireland, was formerly a British soldier but then joined the patriots. In the painting, Montgomery is killed by grapeshot from an enemy cannon just as the Continental Army was about to take Quebec. This forces the Continental Army to retreat after orders given by Montgomery's successor even though they were only minutes from entering and capturing Quebec. Aaron Burr is seen as the person whom Montgomery is falling into, it is said that Burr tries to drag Montgomery's body away but is unable to as he cannot pull Montgomery's weight and is forced to flee to avoid capture by the British. He was given a proper burial by the British and is seen as an American war hero.
        
        "Grief and surprise mark the countenances of the various characters. The earth covered with snow,–trees stripped of their foliage,–the desolation of winter, and the gloom of night, heighten the melancholy character of the scene."
        -John Trumbull
        
        Trumbull was injured as a boy and became able to only see with one eye. He served as an aid to George Washington and eventually would achieve the rank of colonel. Would eventually travel to London to study art with Benjamin West who was the official painter for King George III. He was encouraged in roughly 1784 (same year he went to study with West) by Thomas Jefferson and West to paint historical scenes from the American Revolution.
        
        The painting itself is an oil painting and the feeling is shown to be much darker and depressing as Montgomery has fallen, there is snow everywhere and everyone is seen shocked and a little panicked. Darker colors are used for the background to show the battle raging on behind the seen. Also the fabric above the seen seems to be torn and ragged, showing the destruction of the battle. A romantic setting + the postures and expressions hint at Romanticism. The painting is of one of the defining moments of the American Revolution and shows one of the darkest days for the colonies during the Revolution.
        
        The death of Montgomery is similar to Trumbull's earlier work The death of General Warren at the battle of Bunker Hill completed less than a year before the death of Montgomery. Both paintings were completed in West's studio. Trumbull was watching the battle unfold using field glasses.
        
        John was most likely influenced by Benjamin West who was the official painter of King George III. Death of General Montgomery in the attack of Quebec is very similar in style to the earlier 1770 The Death of General Wolfe. Death of General Montgomery in the attack of Quebec was also completed in West's studio in London as John was being taught by West.
    - - The Painting symbolizes the spirit of the American Revolution ,and was exhibited at the 1876 Centennial Exposition in Philadelphia where it "Stirred the heart of the Nation"
        
        A general purchased the painting because it shows, "History is so interwoven with colonial and revolutionary times and whose patriotism shone forth in every epoch ... "
    - - Oil on canvas painting. There are many darker and bland colors in the painting that are associated with the time when Washington crossed the Delaware at dawn to surprise the mercenary German Hessian troops. The battle of Trenton. The sky above Washington is much lighter however which helps draw attention to Washington standing on the boat. This is also because Leutze is also trying to show how Washington and his troops were crossing the Delaware in the early morning. The perspective is a wider view of the crossing and all of the boats in the background are smaller than Washington’s lead boat to help draw the attention to him. Shows many different people in Washington’s boat including future president James Monroe, also people from across the colonies at the time including a women in men’s clothes, Native American clothing, farmers and riflemen. Shows unity.
        
        The painting was originally made in response to the revolution of 1848 which was a set of multiple political revolutions in Europe and in particular, Leutze made it after the failure of the German Revolution. The painting was made to glorify the success of the American revolution and to remind people that revolutions can be successful. Also draws on how George Washington leading his men was a popular myth that made Washington stand out.
        
        Possibly draws influence from the Romanticism movement (showing the importance of the individual) as the setting and the way Leutze portrays it seems to be a romantic-like setting. Similar to art such as the stele of Naram-sin (not direct) in that the leader is shown leading and above the rest of the troops.
        
        Emanuel Leutze was originally born in Germany, immigrated to the US before he was 10 years old, eventually moved back to Germany to study art. Leutze created the original which was finished in 1850. Created in Germany. The original painting was partially destroyed by a fire in Leutze’s studio, was restored, and was acquired by the Kunsthalle Bremen (art museum in Bremen, Germany) and was destroyed by an Allied bombing raid during WWII.
  - - - Two people do not take the oath in the room
      - Bailey is in the middle, astronomer, later became the mayor of Paris
      - Created to show the unity and uprising that were needed in order to take down the French Monarchy
      - All of the fingers are pointing to Bailey
      - David piece
    - - Marat died after being murdered after being in one of the political parties fighting in the revolution.
      - The lady responsible for his murder was captured later after killing Marat with a guillotine
      - The body is idealized, Escaped guards by swimming in a sewer and developed a skin condition.
      - Shows him as a leader and does not show his flaws.
      - Similar to christian martyrs
      - David piece
    - - Napoleon has garb usually associated with French General.
      - Pointing towards the mountain top telling his troops to continue up.
      - Romantic feeling, diagonal
      - Hero worship piece
      - Napoleon was trying to capture territory taken by the Austrians.
      - Originally commissioned by Joseph, who was the king of Spain
    - - Oil on canvas
      - Liberty is an allegorical figure that shows the hope that makes people want to join the revolution.
      - Leading the troops over a barrier and having them push forward. Shows the red, white and blue multiple times.
      - Shows how anyone no matter social class could join the revolution.
      - Notre Dame is shown in the background which represents the Monarchy.
      - Not glorifying violence, there is a price to war
      - Loose brush work
  - - - One of the main paintings of the Romantic movement
      - The captain left the sailors to die after there was a shipwreck. Only 15 survivors out of 140 crew members, resulted to cannibalism
      - Lithograph
      - Builds a bridge between Neoclassicism and Romanticism
      - Was made as an attack on the government
      - There are two pyramids which help to center the picture.
      - Very romantic, light brush work. Studied Michelangelo and dead bodies at the morgue in order to be able to depict dead bodies.
    - - Government Propaganda
      - Made after the massacre of protestors by the French military.
      - The riot was happening because people were protesting the new reforms and restrictions to the freedom of expression.
      - There is not a lot of symbolism, seems to allow the viewer to make their own opinions about the painting.
      - Designed to make you angry and inspire revolution.
    - - People performing religious celebration
      - Chaos is shown
      - De la croix
      - Wanted to show passion in his paintings
      - De la croix took influence from the Italian Renaissance and the brush work from it
      - Emphasis of color on certain elements of the painting
      - Sort of describes the depiction of cultures of the Middle-east when they were first seen by the Europeans.
      - Racist in that the people are seen as being twisted and completely different
      - “The other”, describes the people as being weird to the Europeans and just very different.
    - - Lithography (print)
      - Began painting advertisements for music companies.
      - Joined a comic industry that would come into conflict when political views would conflict with the king
      - A ramp going up to the mouth of the bloated figure (the king), eating the work and food produced from the peasants.
      - Represents Louis Philippe I
  - - - Center of Emancipation park in Charleston
      - Bronze
      - 1917
      - Romanisc feeling
      - Has a defeated look to show humility (makes people feel compassion)
      - Made to immortalize the commander (Lee)
      - Many protests over the values it shows
    - - Shows the carnage from the war
      - One of the first to capture the landscape using photography
      - 16 photographs made by Mathew Brady
    - - Shows a Union officer making Confederate soldiers surrender
      - The Union soldier is shown to be strong and proud, Confederate soldiers are seen as feeling defeated
      - Lacks emotion in the faces
      - Less about the philosophical right or wrong
    - - Barnaby Furnas
      - Very chaotic
      - No faces/humans are really shown
      - Shows a large amount of blood pooling at the bottom of the painting
      - Shows the Brother versus brother conflict
      - Contemporary style
      - Sort of cubist influence
      - Wanted to bring up how the troubles that caused the Civil War are still going on in the modern day (made in 2008).
  - - - Oil on Canvas
      - A single leader is leading the men (Columbus)
      - A narrow beach where Columbus first lands
      - Columbus is shown claiming the land for the Spanish
      - Natives are shown in the background either running away or bowing down
      - Very powerful seeing people falling onto the sand after being on the boats for months
      - John Vanderlyn (American) also worked with different French artists
    - - The French try to take Algeria, failed in the end
      - Horace Vernet (focused on war/battles)
      - As historically accurate as possible
      - Three different paintings
      - There is a strong sense of destruction, shows the chaos where everybody is rushing into the city after q wall has collapsed
      - The paintings are showing different point of views of the battle for Constantine.
    - - Oil on canvas
      - Unknown artist
      - Shows Hernan Cortes during the battle against the Aztecs after killing the Aztec King Montezuma II
      - The Aztec people are rushing out to push back the Spanish forces. Half a million Aztec citizens versus 20,000 French forces
      - Shows that the Aztec power was to much to handle even for the European settlers
    - - Shown from the African point of view (Ethiopian or Armenia is the oldest Christian country in Africa )
      - Oil painting on cloth
      - Lots of symbolism
      - The people who were enemies (Italians) only had half of a face to show less humanity
      - The friendly African forces had full faces showing more humanity.
      - Shows possibly St. Jeorge flying on a horse above the battle which shows Christianity is on the African people’s side.
      - Not a real sense of space
  - - - Shows soldiers dead on the Western Front
      - Neberson
      - Served on the western front as an orderly (nurse)
      - Realist style
      - The dead soldiers lie unburied which shows that it might have happened recently
      - Officially first colored picture of the war
    - - Stylised
      - Destruction is seen behind the people/ officers in the Foreground
      - Contracted by the British war committee
      - Atrocities of the war and innocent families being negatively impacted.
      - Much less was shown of the horrors of war/death.
      - Shows more of how war impacted the economy
    - - Oil painting on canvas, two canvases joined together
      - Otto Dix
      - Anti-war
      - Is considered to have been lost after the war
      - Shows the aftermath of an artillery bombardment on German occupied trenches
    - - Four wooden panels were used
      - Tryptic
      - Three main panels with a supporting panel below them
      - Also made by Otto Dix
      - Left wing shows German soldiers marching towards the fog of war
      - The middle panel shows death, destruction and the remains of people after the battles
      - The far right panel shows a skeletal figure holding a gas mask while pointing to a dead soldier
      - The bottom supporting panel shows dead soldiers lying next to each other in a tomb.
      - People needlessly died which represents Christ sacrificing himself for others.
- - - - https://www.britannica.com/topic/Vietnam-Veterans-Memorial
      - Over 58,000 American Men and Women served during the Vietnam war and many were listed as MIA (Missing In Action).
      - The war itself was extremely controversial as many of the American public were against the war and the same controversy came for the construction of the monument.
      - Maya Lin, a senior attending Yale, was the original designer for the monument as her entry into the competition with 1400+ entries was selected and it was a long wall with all of the names of the fallen and MIA listed.
      - All of the previous war memorials had been made using heroic statues and this was very against the norm for war memorials. Later on in 1984, two years after the construction of The Wall, three statues were placed at the entrance.
      - Where the two well polished black granite walls come together is the highest part of the monument that is meant to represent a wound that is closed and healing.
      - https://en.wikipedia.org/wiki/Vietnam_Veterans_Memorial
      - There were originally 57,939 names on The Wall, almost 400 names have been added to The Wall with the total being as of May 2018 58,320.
  - - - https://www.nps.gov/kowa/index.htm
      - https://www.abmc.gov/about-us/history/korean-war-memorial
      - The Korean war lasted for roughly three years from 1950 to 1953 and 5.8 million Americans served in the Korean war, 54,246 died or were listed as missing in action/buried at sea.
      - The memorial contains 19 different stainless-steel statues showing the different ethnicities of the people that served during the war.
      - The statues are positioned in a way that has all of them walking through what is supposed to be the rice paddies of Korea.
      - All of the soldiers are walking forward and converging to a center point with a dedication stone that reads, "Our nation honors her sons and daughters who answered the call to defend a country they never knew and a people they never met."
      - A mural wall on the south side of the memorial is a mural wall with over 2,400 images from the Korean war (from the national archives). There are a total of 38 individual figures on the wall which is meant to represent the 38 months of the war and the 38th parallel.
      - The memorial is unlike any other art we have seen as it is not constructed as one or a couple figures from one piece of granite (for example), the statues are all arranged in a certain way to help show symbolism.
  - - - The capture of Iwo Jima on February 23, 1945 was a very important victory for the United States as Iwo Jima had an airfield that was close enough to mainland Japan so that bombing with heavy duty bombers was possible.
      - Iwo Jima had also come after a long series of islands that the Japanese had defended with their lives causing a significant amount of casualties for the United States.
      - The memorial is created in memory of the picture that Joe Rosenthal took of the raising of the American Flag at the top of the volcano that took up a large part of Iwo Jima.
      - Not all of the memorial is made of bronze covered plaster, as there is a 60-foot bronze flagpole with an actual American flag flying from it. The flag is to always be hung, 24/7 365 days every year.
      - Dwight D. Eisenhower dedicated the memorial to the Marine corps on November 10, 1954.
      - The words, "In honor and in memory of the men of the United States Marine Corps who have given their lives to their country since November 10, 1775." are inscribed on the granite portion of the memorial along with all of the names of the principal marine corps member since the creation of the Marine Corps in 1775.
      - https://www.tripsavvy.com/iwo-jima-u-s-marine-corps-war-memorial-1039273
      - https://www.nps.gov/gwmp/learn/historyculture/usmcwarmemorial.htm
      - The marines shown raising the flag are racing to plant the flag, showing the determination of the American forces storming towards mainland Japan.
      - Different from many of the other statues we have observed as not only is it based off of an original photograph, but the people depicted in the statue are all seen as being dynamic which we have not really seen since Greek/Roman times.